A literary analysis of the portrait in georgia the sequel to conversion

Documented Literary Analysis Laurel In: Brownies is a fiction story that is a testament to this statement. It takes place at Camp Crescendo, a summer camp popular for fourth graders from around Atlanta, in Georgia Stewart,

A literary analysis of the portrait in georgia the sequel to conversion

These structurally similar catalogues of female features do not even attempt to mediate linguistically the stark contrast between the synecdochic outlines of a woman's body and the images of pain and brutality that devastate that body in the process of visualizing it.

Along with the poems' syntax, all expectations of beauty disintegrate before our very eyes as what might have been visions of loveliness decompose into a grotesque living corpse and a monstrous charred body There is no narrative voice here to relieve the oppressive, almost clinical silence, to offer us a distraction, an escape from what is barely even recognizable as human.

These images are shocking not because they appeal to feelings either of guilt or of outrage but because they do not allow us to keep intact a reassuring distance between mind and body.

The purple of the Georgia dusk may well be beautiful, the sweet scent of cane may well be sensuous, but only if we can forget that that purple is also the color of bloated, decaying flesh and that the sugarcane's intense sweetness is also the sickening stench of burned bodies.

Nature and History in Placido and Toomer. On one level, the white woman becomes a sinister figure, rather like the seductive "White Witch" of a James Weldon Johnson poem of that name, or like Lula in Amiri Baraka's Dutchman. But Toomer goes beyond these writers in suggesting an identity between the figures joined in his poem.

By superimposing the images of the white woman, the apparatus of lynching, and the burning flesh of the black man, Toomer graphically embodies both a union of black male and white female and the terrifying method of exorcising that union to maintain a racial difference the poem linguistically defies.

A literary analysis of the portrait in georgia the sequel to conversion

Susan Gubar I n one of the short, imagistic poems he included in Cane Toomer linked America's racechange imperative "Make white! Through its grotesque personification of those who perpetrate racial violence, "Portrait in Georgia" hints that the hurt inflicted on victims boomerangs to damage the victimizers: Hair--braided chestnut, coiled like a lyncher's rope, Eyes--fagots, Lips--old scars, or the first red blisters, Breath--the last sweet scent of cane, And her slim body, white as the ash of black flesh after flame.

Brilliantly collapsing several planes of meaning, Toomer presents a woman with hair, eyes, lips, breath, and a slim body catalogued as in a love sonnetan illness much like advanced stages of syphilis scars, red blisters ; and lynching a coiled rope, fagots to fuel the flame.

The pathologized portrait of Georgia that emerges is a sexchanged personification of the character Anne Spencer called the "ghoul," here a murderous femme fatale. Like a syphilitic whore, this deathly dame demands the sacrifice of the black man who undergoes a racechange from black flesh into white ash because of a fiery consummation in "flame[s]" that invoke the hot passion of the miscegenation used to justify such scapegoating but also the whole burnt offering of the sacrificed body, which is the literal meaning of the word holocaust.

To fall from the primacy of color into whiteness is to be excoriated, a word connoting condemnation that literally means being stripped of one's skin.

In the shocking protests of Spencer and Toomer, whiteness emerges as simply the fantastic, destructive belief in superiority Du Bois had analyzed in "The Souls of White Folk.

For, as Walter Benn Michaels notes, "whiteness is produced by rather than produces the burning of black flesh" in a poem that turns out to be a "narrative of the origins of racial difference, a narrative in which white bodies are depicted as the consequence of violence against black bodies.

Charles Scruggs and Lee VanDemarr.

The great power of "Portrait in Georgia" resides in the relations between Petrarchan enumeration of parts "Hair. The "clear-cut" images of the poem not only create a "mystery" of identity within the poem but point to the larger mystery of miscegenation within the text itself.

U of Pennsylvania P. Jean Toomer's Cane is a bittersweet elegy to the beauty and the horror of the South. The object of this poem is a woman whose braided hair is likened to a lyncher's rope and whose slim white-skinned body is actually made of the ash of burned black flesh.

As is always the case with Toomer, the land is compared to a woman. This time it is a white woman. In the poem and the story, the races arc bound together in a relationship of interdependence. The image of Southern white womanhood is fragile and dying because of this dependence.

The poet identifies the matrix linking Southern white womanhood to the lynching of black men.

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He is neither the first nor the last to do so: A black woman, Ida B. Wells and a white woman, Jessie Daniel Ames, precede and follow him, respectively.

Tabulated Statistics and Alleged Causes of Lynching in the United States "and "Mob Rule in New Orleans"Wells explored the connections between the sexual exploitation of black women, the economic exploitation of black people, and the practice of lynching.

According to Wells, the political and economic threat to the Southern status quo posed by black people invited the violence enacted upon them. As the founder of the Association of Southern Women for the Prevention of Lynching, Ames articulated an understanding of the connections between white women and lynching from the perspective of a Southern white woman.

According to Ames's biographer, Jacquelyn Dowd Hall, for Ames, "Lynching, far from offering a shield against sexual assault, served as a weapon of both racial and sexual terror, planting fear in women's minds and dependency in their hearts.

Martha Jane Nadell The visual is not confined to Cane's prose vignettes. The first section of Cane contains three poems that had been collected in the Modern Review as "Three Portraits.

They compare the elements of a woman's face to a variety of objects or states. The eyes produce a "mist of tears. The comparisons shift from beautiful stars to rotting grapes, suggesting pain without naming it. The face in this poem is constituted by the racist violence in the South: This poem is the scene of a brutal lynching.

Southern racial violence dominates what could have been a conventional portrait poem. The "lyncher's rope," the "fagots" that burn the "black flesh" are images with which Toomer stresses how society's understanding of race has and will continue to produce unfathomable terror for African Americans.Feb 10,  · "Portrait in Georgia," the sequel to "Conversion," uses the figure-ground pattern to expose the white southern obsession behind the blood sacrifice of lynching.

Through Toomer's newly made eyes, the image of a southern belle dissolves into a Status: Resolved. View Essay - module from ENGLISH at Blanche Ely High School. Comparison/ Contrast Literary Analysis Outline Thesis Statement: the novel The Great Gatsby and the poem Harlem has the same%(4).

"Portrait in Georgia," the sequel to "Conversion," uses the figure-ground pattern to expose the white southern obsession behind the blood sacrifice of lynching. Through Toomer's newly made eyes, the image of a southern belle dissolves into a black man tortured and burned alive at the stake.

A literary analysis of the portrait in georgia the sequel to conversion

Technical analysis of Portrait in Georgia literary devices and the technique of Jean Toomer. Our Bookshelf Our Favorite Authors Literary Articles Author Interview Form Media Kit Free Writing Course Join Literative Here @Literative, we believe that everyone has the potential to write an amazing story.

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