Melvin B. Tolson Criticism
Melvin B. Tolson (1898–1966) was a prominent American poet, journalist, and dramatist, whose work is celebrated for its rich allusiveness and exploration of the African-American experience. Born in Missouri, Tolson's early exposure to the oral traditions of preaching significantly influenced his poetic voice. He developed his craft early, publishing his first poem in 1912, and continued writing throughout his life. Tolson's career as an educator and writer was marked by notable achievements, including his role at Wiley College, where he directed the debate team and wrote the "Caviar and Cabbage" columns. His involvement with the Harlem Renaissance profoundly shaped his work, leading to the creation of A Gallery of Harlem Portraits, though it was not published until 1979.
Tolson's major works include Rendezvous with America, which broadens his focus from Harlem to the entire nation, and Libretto for the Republic of Liberia, celebrating African history. His ambitious Harlem Gallery delves into the social roles and identities of its characters, grappling with themes of inequality and artistic expression. This work reflects Tolson's belief, as noted by Robert M. Farnsworth, that art should project the needs and interests of black people into the broader cultural imagination.
Despite Tolson's impact, his work initially struggled to gain widespread critical attention, a challenge attributed to the complexity of his poetry. His style, often compared to Walt Whitman, T. S. Eliot, and Ezra Pound, has been criticized for being imitative yet is praised for elevating the Negro experience to classical grace, as Michael Bérubé notes in relation to African-American modernism. Tolson's work, as recommended by Roy P. Basler, holds timeless appeal for a broad audience due to its universal themes of social justice and identity, making him a pivotal figure in American literature.
Contents
- Principal Works
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Essays
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The Heart of Blackness—M. B. Tolson's Poetry
(summary)
In the following essay, Basler recommends Tolson's poetry for a general readership as opposed to an exclusively African-American audience.
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Preface to Melvin B. Tolson's Caviar and Cabbage Columns
(summary)
In the following essay, Farnsworth discusses Tolson's Caviar and Cabbage columns.
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What Can a Poet Do? Langston Hughes and M. B. Tolson
(summary)
In the following essay, Farnsworth traces Tolson's relationship with fellow poet Langston Hughes.
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Point and Counterpoint in Harlem Gallery
(summary)
In the following essay, Schroeder discusses Tolson's Harlem Gallery and asserts that "the character of the Curator and the central dilemma in which he is placed provide a perfect vehicle for an examination of social divisions and conflicting roles."
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Three Artists in Melvin B. Tolson's Harlem Gallery
(summary)
In the following essay, Hansell analyzes the roles of the three artists in Tolson's Harlem Gallery.
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Telling It Like It I-S 'IS': Narrative Techniques in Melvin Tolson's 'Harlem Gallery'
(summary)
In the following review, Dove traces Tolson's Harlem Gallery and its reception among African-American intellectuals.
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Evolution of Style in the Poetry of Melvin B. Tolson
(summary)
In the following essay, Russell analyzes the progression of Tolson's thought and style throughout his career, focusing on his epic form and developing perspective, while examining the maturation of his thought and the development of the hero figure.
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Masks, Margins, and African American Modernism: Melvin Tolson's Harlem Gallery
(summary)
In the following essay, Bérubé discusses Tolson's work in relation to African-American modernism.
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The Poetry of Melvin B. Tolson (1898–1966)
(summary)
In the following essay, Tolson discusses his father's career and major works.
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Melvin B. Tolson and the Deterritorialization of Modernism
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In the following essay, Nielsen states that Tolson's works are an assault upon Anglo-American modernism's territorial designs, but they have been little read.
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The Heart of Blackness—M. B. Tolson's Poetry
(summary)
- Further Reading