African American Experience

Langston Hughes defended young African Americans writers end-to-end his life. He once said in their defense, "We younger black artists who create now intend to express our individual inexorable skinned selves without fear or shame," (A 1990, 1487). spot this mightiness relieve oneself been the intention, numerous barriers stood in the way of such uninhibited contemplation for African Americans in an oppressive, prejudiced society. It is suppression of African American infixed expression that is the subject of Hughes' A ideate Deferred. In this poem we are treated to a serious interrogative sentence of what happens to the imagines of individuals who are so oppressed. After asking what happens to a dream deferred, Hughes (1968) provides several answers, "Does it dry up/like a raisin in the sun?/Or fester like a sore-/And indeed run?/Does it stink like rotten meat?/Or crust and sugar over-/like a syrupy dulcet? / Maybe it just sags / like a heavy load. / Or does it explode? (430-431).

Hughes' last line is potent because he understands that when bulk have their natural expression suppressed forcibly through with(predicate) prejudiced institutions in society, they are in danger of vector decomposition away slowly like rotten meat or exploding like the riots in Watts or Los Angeles. However, despite Hughes' poem transaction with the African American experience on the surface, we can detect that his point and themes are universal. For any human being whose natural expression is forcibly oppressed might rot or explode as m

uch as any African American who experiences such treatment. The point is non that it is wrong to do this to African Americans, per se, but that it is wrong to do to any human being. A Dream Deferred is an effective accessible commentary on race relations in fifties America. The poem shows Hughes' great capacity to reaffirm the self eon still nurturing others, for the poem serves as a warning to individuals who might self-destruct because of oppression as untold as it does as a warning to societies that encourage oppression.

Naylor, G. (1983). The Women of Brewster present. New York, NY: Penguin.

The Women of Brewster Place besides addresses the deleterious impact of having to endure in a thought-provoking environment that offers little accept or joy. Brewster Place itself receives a negative label by the author, a "bastard child," much as bastard children in the neighborhood were labeled and then limited. Such children like Joe in Jazz and those who have their dreams deferred, the judgmental labeling and pigeonholing of individuals on Brewster place not only robs them of hope but it steals their access to a future or improvement. While many of the children may try to escape or drop dead Brewster Place, they always come back because they are unfairly denied in the world outside Brewster Place as much as the characters in Jazz or those whose dreams are deferred. As Naylor (1983) tells us, "Brewster Place knew that unlike its other children, the few who would leave forever were to be the exception rather than the rule, since they came because they had no choice and would remain for the aforementioned(prenominal) reason," (4). Once more we take care that those who are considered "different" are often marginalized and diminished by mainstream society in a manner that is beneath any human being careless(predicate) of color or creed.

In both Morrison's Jazz and Naylor's The Women of Brewster Place, we see similar themes as those expressed in A Dream Deferre
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