A realist not only by artistic and significant persuasion, but by temperament, Sterling A. Brown has shown concern throughout his career with poetry as an art of communication. Brown's essential writings deal primarily with the literary portrayal of Afro-Americans. Brown renders in a trend that emerged from many types of folks discourse, a black dialect matrix that features the blues and ballads, the spirituals and work songs. Brown’s final referents are African-American music and mythology. Brown was born in May 1901 and graduated with honors from Dunbar High in 1918. when after he went to Williams college on a scholarship and was the only student awarded Final Honors. From 1922 to 1923 ...view middle of the document...
He worked to permit this genre in many ways. As a critic, Brown exposed the shortcomings of white literature that stereotypical blacks and demonstrated why black authors are best suited to explain the Negro experience”(Literary Tribute).
Brown's first printed poems, often portraitures of Virginia rural ebony folks like Sister Lou and big Boy Davis. once Brown's first book of poems, Southern Road was printed in 1932, Johnson's introduction accoladed Brown for having, in effect, discovered the way to compose an ebony vernacular poetry that wasn't fraught with the constraints of the dialect verse of the Paul Laurence Dunbar era thirty years earlier.
Brown believed his poetry would complement experiments by alternative american literary writers. Sterling wrote “Sister Lou” free verse. “Sister Lou” is that the is the poem whose speaker is a lady. As the lone mother and as the lone speaker of an personalized dialect:
“Jesus will find yo' bed fo' you
Won't no servant evah bother wid yo' room.
Jesus will lead you
To a room wid windows
Openin' on cherry trees an' plum trees
“Ma Rainey,” a four-part literary portrait revealed in 1932, characterizes the delight of fans who flock to listen to variety singer Gertrude Malissa Rainey, mistress of “Blackwater Blues.” It captured real language, everyday racial problems, and also the struggles and strife of black communities within the South with humor and honesty. "Ma Rainey" describes a concert by blues singer Ma Rainey from the attitude of her fans and concert-goers. It's written in their language, from their perspective, and it makes an attempt to point out us how much Ma Rainey and also the blues meant to the southern black community of Brown's day.
“Dey comes to hear Ma Rainey from de little river settlements,
From blackbottorn cornrows and from lumber camps;
Dey stumble in de hall, jes a-laughin’ an’ a-cacklin’,
Cheerin’ lak roarin’ water, lak wind in river swamps.”
Slim Greer is both a literary character created by Sterling A. Brown and also the term designating his unforgettable series of sarcastic poems. “These poems reveal Brown's careful study of oral and written literatures, from Moliére's irony to Mark Twain's humor, and his absorption of less formal teaching from a gallery of African American raconteurs.” The Slim Greer poems represent the principal concern in nearly all of Brown's work: reclaiming the humanity of African Americans to insure the completion of selfhood. “Slim in Hell” captures another memorable character from black...