...Florian Gargaillo Abstract This essay argues for the distinctive role of allusion in queer poetry of the pre-Stonewall era, using the work of Oscar Wilde, A. E. Housman, and Countee Cullen as case studies. Most allusions depend on implicit verbal echoes that can be identified by readers able...

.... The simplicity of Hughes’s diction can be observed in the proem, titled “Negro”: I am a Negro: Black as the night is black, Black like the depths of my Africa. (1:22) Langston Hughes and Countee Cullen might be remembered for their remarkable similarities. As ambitious African Americans, both enrolled...

... striving” that W. E. B. DuBois believed brought people to the “Negro Church” and what Alain Locke in 1925 called the mingling of “Christian” and “‘almost pagan elements’ in ‘Spirituals’” (65). The chapter begins with short readings of works by Countee Cullen and Langston Hughes, followed by a much more...

..., Countee Cullen, and V. F. Calverton to later volumes by Langston Hughes and Arna Bontemps to recent collections by Clarence Major and Keith Gilyard, the anthology itself, and its place in a line of prior anthologies, often serves-as it does for Gates and McKay-to construct and confirm...

... and Stevens again, as well as at Countee Cullen, considering all three in the context of contemporary ideas on the primitive, particularly including Marius de Zayas s in uential 1916 volume, African Negro Art: Its In uence on Modern Art. DuPlessis concludes, in her discussion of wondering [sic] Jews...

... and Stevens again, as well as at Countee Cullen, considering all three in the context of contemporary ideas on the primitive, particularly including Marius de Zayas s in uential 1916 volume, African Negro Art: Its In uence on Modern Art. DuPlessis concludes, in her discussion of wondering [sic] Jews...

... and Stevens again, as well as at Countee Cullen, considering all three in the context of contemporary ideas on the primitive, particularly including Marius de Zayas s in uential 1916 volume, African Negro Art: Its In uence on Modern Art. DuPlessis concludes, in her discussion of wondering [sic] Jews...

... and Stevens again, as well as at Countee Cullen, considering all three in the context of contemporary ideas on the primitive, particularly including Marius de Zayas s in uential 1916 volume, African Negro Art: Its In uence on Modern Art. DuPlessis concludes, in her discussion of wondering [sic] Jews...

... and Stevens again, as well as at Countee Cullen, considering all three in the context of contemporary ideas on the primitive, particularly including Marius de Zayas s in uential 1916 volume, African Negro Art: Its In uence on Modern Art. DuPlessis concludes, in her discussion of wondering [sic] Jews...

... as a response to him, assessing the concerns and practices of these white writers alongside those of black writers Helene Johnson, Sterling Brown, and Langston Hughes. Then, in chapter 5, she looks at Hughes and Stevens again, as well as at Countee Cullen, considering all three in the context of contemporary...