âManeuvers of Silence and the Task of âNew Negroâ Womanhoodâ
Journal of Narrative Theory
Volume 42, Number 1, Spring 2012
pages 46-68
DOI: 10.1353/jnt.2012.0006
Emily M. Hinnov, Assistant Dean of Curriculum & Lecturer of English
Granite State College, Concord, New Hampshire
Yes, she has arrived. Like her white sister, she is the product of profound and vital changes in our economic mechanism, wrought mainly by the World War and its aftermath. Along the entire gamut of social, economic and political attitudes, the New Negro Woman, with her head erect and spirit undaunted is resolutely marching toward the liberation of her people in particular and the human race in general.
â Editorial, The Messengerâs âNew Negro Womanâ issue (1923)
But I have no civilized articulation for the things I hate. I proudly love being a Negro woman; [itâs] so involved and interesting. We are the PROBLEMâthe great national game of TABOO.â Anne Spencer, qtd. in Countee Cullenâs Caroling Dusk (1927)
Here is a woman who tried to be decisive in extremis. She âspoke,â but women did not, do not, âhearâ her. Thus she can be defined as a âsubalternââa person without lines of social mobility.â Gayatri Chakravorty Spivak, âCan the Subaltern Speak?â
Given the primitivist stereotypes projected upon African American women as oversexed, exotic creatures during the Harlem Renaissance era, contemporaneous poet Anne Spencerâs statement suggests that women writersâ doubly conscious performance of self must have been challenging (to say the least). With her comment about the state of âNew Negro Womanhoodâ in mind, we might ask: to what extent were women writers associated with the Harlem Renaissance successful in critiquing representations of race or gender within the context of that male-dominated literary and cultural movement? Forthright literary depictions of race, gender, and mobility in now canonical Harlem Renaissance works by Nella Larsen and Zora Neale Hurston allow expression of varied facets of the African American womanâs experience during the early part of the twentieth century. Hurstonâs women (and Hurston herself) refuse to be âtragically coloredâ and instead embrace the power inherent in their female sexualityâeven using it, in part, remain perpetually mobile. For Larsen, however, the triple bind of double-consciousness, female sexuality, and white supremacy eventually disallows any true mobility for her fictional characters. When Larsen was accused of plagiarism in 1930, there were no legal charges, but her career never recovered from this blow. It seemed that âin America, whites might borrow from blacks with impunity, but Negro use of white materials is always suspectâ (Douglas 105). As Ann Douglas writes, âThe New Negro was a figure with few claims on mainline Americaâs attention, interest, or sympathy. If he insulted or displeased, he could be cut off, erased, without thought or regretâ (106). It is difficult to determine how much mutuality between black and white artists and audiences could have existed in light of Larsenâs fate. She was âcut offâ from what has developed into the African American literary canon essentially because she was a black female artist working within the confines of a racist and sexist culture. Thankfully, Larsenâs rediscovery in the 1980s, and the subsequent inclusion of her work in high school, college, and graduate school classrooms, enabled Larsenâs legacy to resist such erasure. Larsen and Hurstonâs work has triumphantly evaded the threat of removal from the literary canon thanks to the gynocritical efforts of many feminist scholars, while other writers of the era still languish on the critical precipice of silence.
In this essay, I am especially interested in the ways in which two still largely ignored Harlem Renaissance women writers, Elise Johnson McDougald, in her more straightforward essay âThe Task of Negro Womanhood,â and Marita O. Bonner, in her multigenred, haltingly-titled âOn Being Youngâa Womanâand Colored,â use silence as a means to maneuver among the various identity positions that comprise the interstices of âNew Negro Womanhood.â Placing them within the context of more widely known writers of their era such as Hurston and Larsen is edifying,…


