Claude Mckay eBooks

eBooks di Claude Mckay di Formato Pdf

Claude McKay (1889-1948), poeta e scrittore bisessuale afroamericano di origini giamaicane e parte del movimento degli anni Venti dell’Harlem Renaissance, scrisse diversi romanzi tra cui: Home to Harlem (1928), un best seller che vinse l’Harmon Gold Award for Literature, Banjo (1929), e Banana Bottom (1933). McKay fu autore molto attento e sensibile a diverse tematiche, tra cui l’emancipazione sessuale, l’autodeterminazione delle persone di colore e la liberazione da costrizioni sociali, soprattutto nell’ambito artistico-culturale. Fu inoltre autore di una raccolta di racconti, Gingertown (1932) e di due libri autobiografici. Il suo libro di poesie, Harlem Shadows (1922), fu tra i primi libri pubblicati durante l’Harlem Renaissance. Romance in Marseille è uscito l’11 febbraio 2020 per la casa editrice Penguin Classics, ma il suo autore cominciò a scriverlo 91 anni fa. La particolarità di questo romanzo, hanno scritto in diversi, tra cui il New York Times, è la sua contemporaneità. La Los Angeles Review of Books ha paragonato Romance in Marseille a grandi classici americani come Santuario (1931) di William Faulkner.
Constab Ballads. E-book. Formato PDF ebook
EBOOK   9780243832460

Constab Ballads. E-book. Formato PDF Claude Mckay   -  Forgotten Books, 2017  - 

Let me confess it at once. I had not in me the stuff that goes to the making of a good constable; for I am so con stituted that imagination outruns discretion, and it is my misfortune to have a most improper sympathy with wrong doers. I therefore never made cases, but turning, like Nelson, a blind eye to what it was my manifest duty to see, tried to make peace, which seemed to me better.

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Harlem Shadows. E-book. Formato PDF ebook
EBOOK   9780259658634

Harlem Shadows. E-book. Formato PDF Claude Mckay   -  Forgotten Books, 2017  - 

These poems have a special interest for all the races of man because they are sung by a pure blooded Negro. They are the first significant expression of that race in poetry. We tried faithfully to give a position in our literature to Paul Laurence Dunbar. We have excessively welcomed other black poets of minor talent, seeking in their music some distinctive quality other than the fact that they wrote it. But here for the first time we find our literature vividly enriched by a voice from this most alien race among us. And it should be illuminating to observe that while these poems are characteristic of that race as we most admire it - they are gentle-simple, candid, brave and friendly, quick of laughter and of tears - yet they are still more characteristic of what is deep and universal in mankind. There is no special or exotic kind of merit in them, no quality that demands a transmutation of our own natures to perceive.

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