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Books, Poetry and Other Writings

Advancing the Legacy

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James Weldon Johnson was a prolific and visionary writer whose works spanned poetry, fiction, anthologies, essays, editorials, and cultural commentary. A true Renaissance man, Johnson used his literary talents to address the struggles, achievements, and cultural richness of African Americans, becoming one of the most influential voices of the Harlem Renaissance and a powerful advocate for social justice. His writings not only reflected his profound intellect and creativity, but also advanced the fight for racial equality in America.

Poetry: Elevating African American Spiritual and Cultural Traditions

Johnson’s poetry captures the essence of African American culture and spirituality. His poetic works range from reflections on Emancipation to love to artistic interpretations of Black religious traditions:

In His Own Voice

  • 00:00 / 00:39

    How would you have us, as we are?
    Or sinking ’neath the load we bear?
    Our eyes fixed forward on a star?
    Or gazing empty at despair?

    Rising or falling? Men or things?
    With dragging pace or footsteps fleet?
    Strong, willing sinews in your wings?
    Or tightening chains about your feet?

  • 00:00 / 01:13

    “O Southland!”

    O Southland! O Southland!
    Have you not heard the call,
    The trumpet blown, the word made known
    To the nations, one and all?
    The watchword, the hope-word,
    Salvation's present plan?
    A gospel new, for all-for you
    Man shall be saved by man.

    O Southland! O Southland!
    Do you not hear to-day
    The mighty beat of onward feet,
    And know you not their way?
    'Tis forward, 'tis upward,
    On to the fair white arch
    Of Freedom's dome, and there is room
    For each man who would march.

    O Southland, fair Southland!
    Then why do you still cling
    To an idle age and a musty page,
    To a dead and useless thing?
    'Tis springtime! 'Tis work-time!
    The world is young again!
    And God's above, and God is love,
    And men are only men.

    O Southland! my Southland!
    O birthland! do not shirk
    The toilsome task, nor respite ask,
    But gird you for the work.
    Remember, remember
    That weakness stalks in pride;
    That he is strong who helps along
    The faint one at his side.

  • 00:00 / 01:24

    “Sense you Went Away”

    Seems lak to me de stars don't shine so bright,   
    Seems lak to me de sun done loss his light,   
    Seems lak to me der's nothin' goin' right, Sence you went away.

    Seems lak to me de sky ain't half so blue,   Seems lak to me dat eve'ything wants you,   
    Seems lak to me I don't know what to do,
     Sence you went away.

    Seems lak to me dat eve'ything is wrong,  Seems lak to me de day's jes twice ez long,   
    Seems lak to me de bird's forgot his song,
    Sence you went away.

    Seems lak to me I jes can't he’p but sigh, Seems lak to me ma th’oat keeps gittin’ dry,   
    Seems lak to me a tear stays in ma eye,
     Sence you went away.

  • 00:00 / 04:50

    (A Funeral Sermon)

    Weep not, weep not,
    She is not dead;
    She’s resting in the bosom of Jesus.
    Heart-broken husband—weep no more;
    Grief-stricken son—weep no more;
    Left-lonesome daughter—weep no more;
    She only just gone home.

    Day before yesterday morning,
    God was looking down from his great, high heaven,
    Looking down on all his children,
    And his eye fell on Sister Caroline,
    Tossing on her bed of pain.
    And God’s big heart was touched with pity,
    With the everlasting pity.

    And God sat back on his throne,
    And he commanded that tall, bright angel standing at his right hand:
    Call me Death!
    And that tall, bright angel cried in a voice
    That broke like a clap of thunder:
    Call Death!—Call Death!
    And the echo sounded down the streets of heaven
    Till it reached away back to that shadowy place,
    Where Death waits with his pale, white horses.

    And Death heard the summons,
    And he leaped on his fastest horse,
    Pale as a sheet in the moonlight.
    Up the golden street Death galloped,
    And the hooves of his horses struck fire from the gold,
    But they didn’t make no sound.
    Up Death rode to the Great White Throne,
    And waited for God’s command.

    And God said: Go down, Death, go down,
    Go down to Savannah, Georgia,
    Down in Yamacraw,
    And find Sister Caroline.
    She’s borne the burden and heat of the day,
    She’s labored long in my vineyard,
    And she’s tired—
    She’s weary—
    Go down, Death, and bring her to me.

    And Death didn’t say a word,
    But he loosed the reins on his pale, white horse,
    And he clamped the spurs to his bloodless sides,
    And out and down he rode,
    Through heaven’s pearly gates,
    Past suns and moons and stars;
    on Death rode,
    Leaving the lightning’s flash behind;
    Straight down he came.

    While we were watching round her bed,
    She turned her eyes and looked away,
    She saw what we couldn’t see;
    She saw Old Death. She saw Old Death
    Coming like a falling star.
    But Death didn't frighten Sister Caroline;
    He looked to her like a welcome friend.
    And she whispered to us: I’m going home,
    And she smiled and closed her eyes.

    And Death took her up like a baby,
    And she lay in his icy arms,
    But she didn’t feel no chill.
    And death began to ride again—
    Up beyond the evening star,
    Into the glittering light of glory,
    On to the Great White Throne.
    And there he laid Sister Caroline
    On the loving breast of Jesus.

    And Jesus took his own hand and wiped away her tears,
    And he smoothed the furrows from her face,
    And the angels sang a little song,
    And Jesus rocked her in his arms,
    And kept a-saying: Take your rest,
    Take your rest.

    Weep not—weep not,
    She is not dead;
    She’s resting in the bosom of Jesus.

  • 00:00 / 04:25

    And God stepped out on space,
    And he looked around and said:
    I'm lonely—
    I'll make me a world.

    And far as the eye of God could see
    Darkness covered everything,
    Blacker than a hundred midnights
    Down in a cypress swamp.

    Then God smiled,
    And the light broke,
    And the darkness rolled up on one side,
    And the light stood shining on the other,
    And God said: That's good!

    Then God reached out and took the light in his hands,
    And God rolled the light around in his hands
    Until he made the sun;
    And he set that sun a-blazing in the heavens.
    And the light that was left from making the sun
    God gathered it up in a shining ball
    And flung it against the darkness,
    Spangling the night with the moon and stars.
    Then down between
    The darkness and the light
    He hurled the world;
    And God said: That's good!

    Then God himself stepped down—
    And the sun was on his right hand,
    And the moon was on his left;
    The stars were clustered about his head,
    And the earth was under his feet.
    And God walked, and where he trod
    His footsteps hollowed the valleys out
    And bulged the mountains up.

    Then he stopped and looked and saw
    That the earth was hot and barren.
    So God stepped over to the edge of the world
    And he spat out the seven seas—
    He batted his eyes, and the lightnings flashed—
    He clapped his hands, and the thunders rolled—
    And the waters above the earth came down,
    The cooling waters came down.

    Then the green grass sprouted,
    And the little red flowers blossomed,
    The pine tree pointed his finger to the sky,
    And the oak spread out his arms,
    The lakes cuddled down in the hollows of the ground,
    And the rivers ran down to the sea;
    And God smiled again,
    And the rainbow appeared,
    And curled itself around his shoulder.

    Then God raised his arm and he waved his hand
    Over the sea and over the land,
    And he said: Bring forth! Bring forth!
    And quicker than God could drop his hand,
    Fishes and fowls
    And beasts and birds
    Swam the rivers and the seas,
    Roamed the forests and the woods,
    And split the air with their wings.
    And God said: That's good!

    Then God walked around,
    And God looked around
    On all that he had made.
    He looked at his sun,
    And he looked at his moon,
    And he looked at his little stars;
    He looked on his world
    With all its living things,
    And God said: I'm lonely still.

    Then God sat down—
    On the side of a hill where he could think;
    By a deep, wide river he sat down;
    With his head in his hands,
    God thought and thought,
    Till he thought: I'll make me a man!

    Up from the bed of the river
    God scooped the clay;
    And by the bank of the river
    He kneeled him down;
    And there the great God Almighty
    Who lit the sun and fixed it in the sky,
    Who flung the stars to the most far corner of the night,
    Who rounded the earth in the middle of his hand;
    This great God,
    Like a mammy bending over her baby,
    Kneeled down in the dust
    Toiling over a lump of clay
    Till he shaped it in is his own image;

    Then into it he blew the breath of life,
    And man became a living soul.
    Amen.      Amen.

[02]

1927

God’s Trombones: Seven Negro Sermons in Verse

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God’s Trombones: Seven Negro Sermons in Verse (1927) is a celebrated collection of poetic sermons inspired by the cadence and style of African American preachers. This work is widely regarded as a masterpiece, blending artistry with cultural preservation.

[01]

1917

Fifty Years and Other Poems

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Fifty Years and Other Poems (1917) commemorated the 50th anniversary of the Emancipation Proclamation, addressing themes of progress and resilience amidst ongoing struggles for equality.

[03]

1935

Saint Peter Relates an Incident: Selected Poems

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Saint Peter Relates an Incident: Selected Poems (1935) showcased his poetic range, offering spiritual reflections alongside explorations of identity and heritage.

The James Weldon Foundation

Fiction: Exploring Racial Identity and Human Experience

In 1912, Johnson anonymously published The Autobiography of an Ex-Colored Man, a groundbreaking and popular novel that delves into the complexities of racial identity, passing, and the personal costs of societal prejudice. The novel’s candid portrayal of a racially ambiguous protagonist navigating life in America remains a cornerstone of African American literature. It was republished in 1927, during the Harlem Renaissance, under Johnson’s name, gaining widespread recognition.

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Autobiography: A Distinguished Life

His autobiographical work, Along This Way (1933), provides an intimate look at his life, from his formative years in Jacksonville, Florida, to his achievements as a writer, educator, and activist. This book offers insights into his personal experiences with racism, his intellectual development, and his dedication to the civil rights movement.

The James Weldon Foundation

Anthologies: Preserving African American Literary and Musical Heritage

Johnson was a pioneer in elevating African American voices through anthologies that celebrated their cultural contributions. His editorial efforts were instrumental in shaping public perception of African American art and literature:

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The Book of American Negro Poetry (1922) introduced the works of African American poets to a broader audience, establishing a literary foundation for the Harlem Renaissance.

The Book of American Negro Spirituals (1925) and The Second Book of American Negro Spirituals (1926), co-authored with his brother J. Rosamond Johnson, preserved and celebrated the spiritual music of African Americans, ensuring its legacy for future generations.

Essays and Articles: A Voice for Justice and Advocacy

Johnson’s essays and articles were a powerful extension of his activism, providing incisive critiques of social and political issues:

[01]

1920

“The Truth About Haiti”

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Published in The Nation, this investigative series exposed the injustices of the U.S. occupation of Haiti and advocated for Haitian self-determination.

[02]

1920

“Self-Determining Haiti”

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This essay, part of a series for The Nation published on August 28, 1920, examined the exploitation and political suppression of Haitians under U.S. control. The series was later compiled and published as a book under the eponymous title.

[03]

Various

Editorials in The New York Age

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As an editor, Johnson wrote extensively on lynching, racial violence, and civil rights, using his platform to influence public opinion and advocate for policy changes.

The James Weldon Foundation

Cultural and Historical Studies: Documenting the African American Experience

Johnson’s non-fiction works provided a comprehensive look at the cultural and historical achievements of African Americans:

  • Black Manhattan (1930) chronicled the rich history of African American culture in New York City, from the 17th century to the Harlem Renaissance.

  • Negro Americans, What Now? (1934) offered a critical analysis of the social and economic challenges facing African Americans during the Great Depression, while also proposing solutions to foster progress.

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James Weldon Johnson. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.

Legacy of His Writings

Johnson’s body of work remains a testament to his intellectual brilliance, artistic versatility, and unwavering commitment to equality. His poetry preserves the spiritual and cultural traditions of African Americans, while his fiction offers profound explorations of identity and race. His anthologies and essays ensured that African American voices were heard and celebrated, paving the way for future generations of writers and activists.
 

As a leading figure of the Harlem Renaissance, Johnson played a crucial role in shaping the cultural and intellectual landscape of early 20th-century America. Through his writings and activism, he not only documented the African American experience but also inspired transformative change, securing his legacy as a towering figure in both American literature and civil rights history.

[02]

1927

God’s Trombones: Seven Negro Sermons in Verse

gods trombone.jpeg

God’s Trombones: Seven Negro Sermons in Verse (1927) is a celebrated collection of poetic sermons inspired by the cadence and style of African American preachers. This work is widely regarded as a masterpiece, blending artistry with cultural preservation.

[01]

1917

Fifty Years and Other Poems

JWJ50YearsModBook (1).jpg

Fifty Years and Other Poems (1917) commemorated the 50th anniversary of the Emancipation Proclamation, addressing themes of progress and resilience amidst ongoing struggles for equality.

[03]

1935

Saint Peter Relates an Incident: Selected Poems

JWJStPeterBooks (1).webp

Saint Peter Relates an Incident: Selected Poems (1935) showcased his poetic range, offering spiritual reflections alongside explorations of identity and heritage.

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