Biography of Claude McKay
Claude McKay was a Jamaican-American writer and poet. He was a seminal figure in the Harlem Renaissance and wrote three novels: Home to Harlem (1928), a best-seller which won the Harmon Gold Award for Literature, Banjo (1929), and Banana Bottom (1933). McKay also authored a collection of short stories, Gingertown (1932), and two autobiographical books, A Long Way from Home (1937) and Harlem: Negro Metropolis (1940). His book of poetry, Harlem Shadows (1922) was among the first books published during the Harlem Renaissance. His book of collected poems, Selected Poems (1953), was published posthumously.
McKay was attracted to communism in his early life, but he was never a member of the Communist Party.
Claude McKay was born Festus Claudius McKay in Nairne Castle near James Hill, Clarendon, Jamaica. He was the youngest child of Thomas Francis McKay and Hannah Ann Elizabeth Edwards, well-to-do peasant farmers who had enough property to qualify to vote. Thomas McKay's father was of Ashanti descent, and Claude recounted that his father would share stories of Ashanti customs with him. Claude's mother was of Malagasy ancestry.
At four years old, McKay started basic school at the church that he attended. At age seven, he was sent to live with his oldest brother, a school teacher, to be given the best education available. While living with his oldest brother, Uriah Theodore, McKay became an avid reader of classical and British literature, as well as philosophy, science and theology. He started writing poetry at the age of 10.
In 1906, McKay became an apprentice to a carriage and cabinet maker known as Old Brenga. He stayed in his apprenticeship for about two years. During that time, in 1907, McKay met a man named Walter Jekyll who became a mentor and an inspiration for him. He encouraged McKay to concentrate on his writing. Jekyll convinced McKay to write in his native dialect and even later set some of McKay's verses to music. Jekyll helped McKay publish his first book of poems, Songs of Jamaica, in 1912. These were the first poems published in Jamaican Patois (dialect of mainly English words and African structure). McKay's next volume, Constab Ballads, came out in the same year and was based on his experience as a police officer in Jamaica.
Career in the United States
McKay left for the U.S. in 1912 to attend Booker T. Washington's Tuskegee Institute, but did not become an American citizen until 1940. McKay was shocked by the intense racism he encountered when he arrived in Charleston, South Carolina, where many public facilities were segregated, which inspired him to write more poetry. At Tuskegee, he disliked the "semi-military, machinelike existence there" and quickly left to study at Kansas State University. At Kansas State, he read W. E. B. Du Bois' Souls of Black Folk, which had a major impact on him and stirred his political involvement. But despite superior academic performance, in 1914 McKay decided he did not want to be an agronomist and moved to New York, where he married his childhood sweetheart Eulalie Lewars.
McKay published two poems in 1917 in Seven Arts under the Alias Eli Edwards while working as a waiter on the railways. In 1919 he met Crystal and Max Eastman, who produced The Liberator (where McKay would serve as Co-Executive Editor until 1922). It was here that he published one of his most famous poems, "If We Must Die", during the "Red Summer", a period of intense racial violence against black people in Anglo-American societies. This was among a page of his poetry which signaled the commencement of his life as a professional writer.
McKay became involved with a group of black radicals who were unhappy both with Marcus Garvey's nationalism and the middle class reformist NAACP. These included other Caribbean writers such as Cyril Briggs, Richard B. Moore and Wilfrid Domingo. They fought for black self-determination within the context of socialist revolution. Together they founded the semi-secret revolutionary organization, the African Blood Brotherhood. Hubert Harrison had asked McKay to write for Garvey's Negro World, but only a few copies of the paper have survived from this period, none of which contain any articles by McKay. McKay soon left for London, England.
McKay in London
McKay arrived in London in autumn 1919.He used to frequent a soldier's club in Drury Lane and the International Socialist Club in Shoreditch. A militant atheist, he also joined the Rationalist Press Association. It was during this period that McKay's commitment to socialism deepened and he read Marx assiduously. At the International Socialist Club, McKay met Shapurji Saklatvala, A. J. Cook, Guy Aldred, Jack Tanner, Arthur McManus, William Gallacher, Sylvia Pankhurst and George Lansbury. He was soon invited to write for the Workers' Dreadnought.
In 1920, the Daily Herald, a socialist paper published by George Lansbury, included a racist article written by E. D. Morel. Entitled "Black Scourge in Europe: Sexual Horror Let Loose by France on the Rhine", it insinuated gross hypersexuality on black people in general, but Lansbury refused to print McKay's response. This response then appeared in Workers' Dreadnought. This started his regular involvement with Workers' Dreadnought and the Workers' Socialist Federation, a Council Communist group active in the East End and which had a majority of women involved in it at all levels of the organization. He became a paid journalist for the paper; some people claim he was the first black journalist in Britain. He attended the Communist Unity Conference which established the Communist Party of Great Britain. At this time he also had some of his poetry published in the Cambridge Magazine, edited by C. K. Ogden.
When Sylvia Pankhurst was arrested under the Defence of the Realm Act for publishing articles "calculated and likely to cause sedition amongst His Majesty's forces, in the Navy, and among the civilian population," McKay had his rooms searched. He is likely to have been the author of "The Yellow peril and the Dockers" attributed to Leon Lopez, which was one of the articles cited by the government in its case against the Workers' Dreadnought.
From November 1922 to June 1923, he visited the Soviet Union and attended the fourth congress of the Communist International in Moscow. There, he met many leading Bolsheviks including Leon Trotsky, Nikolai Bukharin and Karl Radek. He wrote the manuscripts for a book of essays called Negroes in America and three stories published as Lynching in America, both of which appeared first in Russian and were re-translated into English. McKay's original English manuscripts have been lost.
Home to Harlem and Other Works
In 1928, McKay published his most famous novel, Home to Harlem, which won the Harmon Gold Award for Literature. The novel, which depicted street life in Harlem, would have a major impact on black intellectuals in the Caribbean, West Africa, and Europe.
McKay's novel gained a substantial readership, especially with people who wanted to know more about the intense, and sometimes shocking, details of Harlem nightlife. His novel was an attempt to capture the energetic and intense spirit of the "uprooted black vagabonds." Home to Harlem was a work in which McKay looked among the common people for a distinctive black identity.
Despite this, the book drew fire from one of McKay's heroes, W. E. B. Du Bois. To Du Bois, the novel's frank depictions of sexuality and the nightlife in Harlem only appealed to the "prurient demand[s]" of white readers and publishers looking for portrayals of black "licentiousness." As Du Bois said, "Home to Harlem ... for the most part nauseates me, and after the dirtier parts of its filth I feel distinctly like taking a bath." Modern critics now dismiss this criticism from Du Bois, who was more concerned with using art as propaganda in the struggle for African American political liberation than in the value of art to showcase the truth about the lives of black people.
McKay's other novels were Banjo (1930), and Banana Bottom (1933). Banjo was noted in part for its portrayal of how the French treated people from its sub-Saharan African colonies, as the novel centers on black seamen in Marseilles. Césaire stated that in Banjo, blacks were described truthfully and without "inhibition or prejudice". Banana Bottom was McKay's third novel. The book is said to follow a principal theme of a black individual in search of establishing a cultural identity in a white society. The book discusses underlying racial and cultural tensions.
McKay also authored a collection of short stories, Gingertown (1932), and two autobiographical books, A Long Way from Home (1937) and Harlem: Negro Metropolis (1940). His book of collected poems, Selected Poems (1953), and his second autobiography, My Green Hills of Jamaica (1979), were published posthumously.
Becoming disillusioned with communism, McKay embraced the social teachings of the Roman Catholic Church, to which he converted in 1944. He died from a heart attack in Chicago at the age of 59.
In 2002, scholar Molefi Kete Asante listed Claude McKay on his list of 100 Greatest African Americans. He is regarded as the "foremost left-wing black intellectual of his age" and workheavily influenced a generation of black authors including James Baldwin and Richard Wright.
Jamaican Institute of Arts and Sciences, gold medal, 1912, for two volumes of poetry, Songs of Jamaica and Constab Ballads;
Harmon Foundation Award for distinguished literary achievement, NAACP, 1929, for Harlem Shadows and Home to Harlem;
James Weldon Johnson Literary Guild Award, 1937.
Claude McKay's Works:
Songs of Jamaica (1912)
Harlem Shadows (1922)
Trial by Lynching: Stories About Negro Life in America (1925)
Home to Harlem (1928)
Banana Bottom (1933)
A Long Way From Home (1937)
Harlem: Negro Metropolis (1940)
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Claude McKay Poems
If We Must Die
If we must die, let it not be like hogs Hunted and penned in an inglorious spot, While round us bark the mad and hungry dogs, Making their mock at our accursèd lot.
Although she feeds me bread of bitterness, And sinks into my throat her tiger's tooth, Stealing my breath of life, I will confess I love this cultured hell that tests my youth!
A Memory Of June
When June comes dancing o'er the death of May, With scarlet roses tinting her green breast, And mating thrushes ushering in her day, And Earth on tiptoe for her golden guest,
A Red Flower
Your lips are like a southern lily red, Wet with the soft rain-kisses of the night, In which the brown bee buries deep its head, When still the dawn's a silver sea of light.
So much have I forgotten in ten years, So much in ten brief years! I have forgot What time the purple apples come to juice, And what month brings the shy forget-me-not.
Oh when I think of my long-suffering race, For weary centuries despised, oppressed, Enslaved and lynched, denied a human place In the great life line of the Christian West;
O lonely heart so timid of approach, Like the shy tropic flower that shuts its lips To the faint touch of tender finger tips: What is your word? What question would you broach?
Flower Of Love
The perfume of your body dulls my sense. I want nor wine nor weed; your breath alone Suffices. In this moment rare and tense I worship at your breast. The flower is blown,
Dawn In New York
The Dawn! The Dawn! The crimson-tinted, comes Out of the low still skies, over the hills, Manhattan's roofs and spires and cheerless domes! The Dawn! My spirit to its spirit thrills.
To clasp you now and feel your head close-pressed, Scented and warm against my beating breast; To whisper soft and quivering your name,
I Shall Return
I shall return again; I shall return To laugh and love and watch with wonder-eyes At golden noon the forest fires burn, Wafting their blue-black smoke to sapphire skies.
The Harlem Dancer
Applauding youths laughed with young prostitutes And watched her perfect, half-clothed body sway; Her voice was like the sound of blended flutes Blown by black players upon a picnic day.
The sun sought thy dim bed and brought forth light, The sciences were sucklings at thy breast; When all the world was young in pregnant night Thy slaves toiled at thy monumental best.
I hear the halting footsteps of a lass In Negro Harlem when the night lets fall Its veil. I see the shapes of girls who pass To bend and barter at desire's call.
To A Poet
There is a lovely noise about your name,
Above the shoutings of the city clear,
More than a moment's merriment, whose claim
Will greater grow with every mellowed year.
The people will not bear you down the street,
Dancing to the strong rhythm of your words,
The modern kings will throttle you to greet
The piping voice of artificial birds.