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카운테이 컬른의 삶과 문학의 재평가- '기적의 책'을 중심으로

Re-evaluation of Countee Cullen’s Life and Works: Based on the ‘Miracle Book’

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Countee Cullen has never been fully understood as a poet or as a man, for there existed certain ambiguities concerning his earlier life including family background. But a short but enormously important biography written by Shirley Washington, his niece, a daughter of his youngest sister, titled Countee Cullen’s Secret Revealed by Miracle Book: A Biography of His Childhood in New Orleans, has at last come to shed some lights on his childhood which has never been disclosed by Cullen himself or anyone else. Now we can safely say that Countee Cullen was a combination of two personalities, James S. Carter, Jr. and Countee Cullen, In other words, he was a good example of a ‘dichotomous personality.’ Such disclosure of two conflicting personalities gives us a rare chance to re-examine his literary works. We can now put in perspective why in his first collection of poems Color Countee Cullen was so ironic, dark, cynic, and pessimistic about the life and the world. Also, we can understand why Cullen’s response to the jazz was so complex and contradictory and in what ways he used artistic technique to conceal his own feelings. Thanks to Washington’s biography, we are now able to locate the real cause of his failure to mature as a poet and of his failure to materialize what was promised in the beginning of his literary career.

Abstract

Countee Cullen has never been fully understood as a poet or as a man, for there existed certain ambiguities concerning his earlier life including family background. But a short but enormously important biography written by Shirley Washington, his niece, a daughter of his youngest sister, titled Countee Cullen’s Secret Revealed by Miracle Book: A Biography of His Childhood in New Orleans, has at last come to shed some lights on his childhood which has never been disclosed by Cullen himself or anyone else. Now we can safely say that Countee Cullen was a combination of two personalities, James S. Carter, Jr. and Countee Cullen, In other words, he was a good example of a ‘dichotomous personality.’ Such disclosure of two conflicting personalities gives us a rare chance to re-examine his literary works. We can now put in perspective why in his first collection of poems Color Countee Cullen was so ironic, dark, cynic, and pessimistic about the life and the world. Also, we can understand why Cullen’s response to the jazz was so complex and contradictory and in what ways he used artistic technique to conceal his own feelings. Thanks to Washington’s biography, we are now able to locate the real cause of his failure to mature as a poet and of his failure to materialize what was promised in the beginning of his literary career.

참고문헌 (23)

  1. Baker, Jr., "Afro-American Poetics of Harlem and the Black Aesthetic" (1988), Wisconsin UP
  2. Beech,Christopher, "The Cambridge Introduction to Twentieth-Century American Poetry" (2003), Cambridge UP
  3. Canaday, Jr. Nicholas, "Major Themes in the Poetry of Countee Cullen", pp.103~25 (1972), Dodd, Mead & Company
  4. Cullen,Countee, "Caroling Dusk:An Anthology of Verse by Negro Poets" (1927), Harper & Brothers
  5. Cullen, "Color" (1925), Harper & Brothers
  6. Cullen, "On These I Stand: An Anthology of the Best Poems of Countee Cullen" (1947), Harper & Brothers
  7. Davis, Arthur, "From the Dark Tower: Afro-American Writers 1900 to 1960" (1974), Howard UP
  8. Drake, St. Clair, "Hide My Face? The Literary Renaissance (Black Brotherhood: Afro-Americans and Africa)", pp.194~213 (1971), D. C. Heath and Company
  9. Du Bois,W.E.B, "The Souls of the Black Folk" (1989), Bantam
  10. Early, Gerald, "My Soul’s High Song: The Collected Writings of Countee Cullen, Voice of the Harlem Renaissance" (1991), Anchor
  11. Gray,Richard, "American Poetry of the Twentieth Century" (1990), Longman
  12. Huggins,Nathan Irvin, "Harlem Renaissance" (1971), Oxford UP
  13. Johnson,James W., "The Book of American Negro Poetry", pp.1959, A Harvest
  14. Lewis,David Levering, "When Harlem Was in Vogue" (1997), Penguin
  15. Locke,Alain, "The New Negro: Voices of the Harlem Renaissance" (1992), Atheneum
  16. Lomax, Michael L, "Countee Cullen: A Key to the Puzzle. The Harlem Renaissance Re-examined", pp.213~22 (1987), AMS
  17. Onyeberechi, Sydney E, "Critical Essays: Achebe, Baldwin, Cullen, Ngugi, and Totuola" (1999), Rising Star
  18. Ostendorf, Berndt, "Black Literature in White America" (1982), Barnes & Noble
  19. Perry, Margaret, "A Bio-Bibliography of Countee P. Cullen 1903-1946" (1971), Greenwood
  20. Scott, Jr. Nathan A, "Afro-American Poetry. The New Princeton Encyclopedia of Poetry and Poetics", pp.21~26 (1993), Princeton UP
  21. Shucard, Alan R, "Countee Cullen" (1984), Twayne
  22. Turner,Darwin T, "In a Minor Chord: Three Afro-American Writers and Their Search for Identity" (1971), Southern Illinois UP
  23. Washington, Shirley P, "Countee Cullen’s Secret Revealed by Miracle Book: A Biography of His Childhood in New Orleans" (2008), AuthorHouse

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