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Transcription: [00:06:36], it gave us form, it gave us verve, in short soul

but on the other hand of course you have the literacy tradition. Now they merged later on but between the years of 1834 roughly and 1861,

these were the peak years for anti-slavery activity, very stressful years for Blacks and Whites who joined them in the abolitionist effort.

There was a lot of literary activity, mostly what we would call protest poetry in both the oral and the written, sometimes what we call the library forms.

These poets formed pretty much the background, the spine, the foundation, for the literary tradition that we have in Afro-America today.

I think one of the things we have to keep in mind when we talk about development of Afro-American poetry

whether we are talking about the oral or literary, is that the act of creation

and the act of liberation have always been connected and that and those two forks have formed the basis of the Black aesthetic, kind of an ideological aesthetic.

{SPEAKER name="Brooks B. Robinson"}
Okay. What about writers in the 1800s or the 19th Century?

{SPEAKER name="Eugene B. Redmond"}
Ok, in the 1800s of course we had the end of slavery writers, the abolitionist writers

{SPEAKER name="Brooks B. Robinson"}

{SPEAKER name="Eugene B. Redmond"}
but then after the Emancipation Proclamation, after the Civil War,

we had a maturation of Afro-American poetry, a very, development, highly-stylized poetry and the epics of someone like a Whitman, who I've already mentioned or the fine poetry of Paul Laurence Dunbar, the excellent folk-based, Black-based work of James Weldon Johnson.

But yes. The poetry of the latter quarter of the...

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