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Jessie Redmon Fauset (April 27, 1882 – April 30, 1961) was an editor, poet, essayist, novelist, and educator. Her literary work helped sculpt African-American literature in the 1920s as she focused on portraying a true image of African-American life and history. [ 1 ]
[3] [1] The magazine's literary editor was Jessie Redmon Fauset. [1] Each year, The Crisis published an issue referred to as the "Children's Number", which included stories, photographs, games, poetry, and educational achievements of black children. [4]
He is the author of Party of Black (2006), A Day of Presence (2008), Bottle of Life (2010), Speak Water (2012), winner of the 2013 NAACP Image Award for Outstanding Literary Work - Poetry, [1] and My TV is Not the Boss of Me (2013), Jessie Redmon Fauset Book Award Finalist 2014, [2] a children's book, illustrated by Cory Thomas.
“‘Harlem Rhapsody’ is my love letter to the extraordinary Jessie Redmon Fauset,” the author says of her forthcoming book and its protagonist
In her biography of Fauset, Jessie Redmon Fauset, Black American Writer, Carolyn Wedin Sylvander writes that after Fauset's departure, several poets criticized Du Bois for neglecting literature, printing pieces the poets had specifically requested not be published, or printing old pieces.
Soon after her husband's death, Johnson began to host what became 40 years of weekly "Saturday Salons" for friends and authors, including Langston Hughes, Jean Toomer, Anne Spencer, Richard Bruce Nugent, Alain Locke, Jessie Redmon Fauset, Angelina Weld Grimké and Eulalie Spence — all major contributors to the New Negro Movement, which is ...
The poetry of the era was published in several different ways, notably in the form of anthologies. The Book of American Negro Poetry (1922), Negro Poets and Their Poems (1923), An Anthology of Verse by American Negroes (1924), and Caroling Dusk (1927) have been cited as four major poetry anthologies of the Harlem Renaissance. [2]
Plum Bun: A Novel Without a Moral is a novel by Jessie Redmon Fauset first published in 1928. Written by an African-American woman who, during the 1920s, was the literary editor of The Crisis , it is often seen as an important contribution to the Harlem Renaissance .