The Dynamic New Negro, explored through Locke and Baldwin

   Through the exploration of both Locke and Baldwin's analysis of the New Negro, we can begin to grasp a holistic and nuanced understanding of the dynamic new movement in the Black community in the 20th century. 

    Alaine Locke's analysis of the New Negro is localized in Harlem and argues the explosion of Negro art and expression as the revolutionary indicator of the New Negro. He argues that the new shift into the self-expression of the Negro, about his internal world, signals a change in the Negro spirit that is proud, confident, and defiant. Locke suggests that "the elements of truest social portraiture...in the artistic self-expression  of the Negro to-day [is] a new figure on the national canvas and a new force in the foreground of affairs"(Locke, xxv). Therefore, Locke defines the New Negro as the artist who exposes the internal reality of the their own mind and spirit, and take back a narrative about themselves that has so long been defined by the language and paradigms of white society.  

     While Locke defines the New Negro as the ground-breaking artists of Harlem, Baldwin defines the New Negro as the rising Black Entrepreneurs in Chicago, who are challenging the hegemonic structures of white society through the economic arena. Baldwin explores the success of Madam C.J. Walker, who established herself as a prominent staple in the beauty market. Madam C.J. Walker 'promoted herself ' from the cotton fields to the typically white, and typically male world of business. While she didn't experience the universal support of black leadership at the time, and the "old settlers" of Chicago, she established herself as a lucrative business woman making it on her own accord. Madam C.J Walker fundamentally shifted the paradigms of beauty culture and ignited the "emergence of black beauty not just as an enterprise but also as a vibrant intellectual discourse about about alternative expressions of New Negro womanhood"(Baldwin, 56). Baldwin describes Madam C.J. Walker and others who broke  through the economic restraints of the "invisible hand" and single-handedly creating a new black middle class. 

   Although Locke and Baldwin differ on their specific definitions of the New Negro, both look to a population that is disrupting the racial hierarchy and hegemonic structures through their own means. This blatant assertion of agency in both the economic and artistic realms reveals a New Negro set on defining his reality beyond the narratives of white society. No longer does the "Negro" passively, adhere to the abuses and oppression of White society, rather he (she) finds new ways to challenge, destabilize, and disrupt the structures of white society that have inhibited the black community for too long. 

Claude McKay's "White Houses" and the eternal strength of "The New Negro"

    Claude McKay's poem "White Houses" resonates with the stories in "The Warmth of Other Suns" for it addresses the everlasting discipline and enduring strength of the Negro. In McKay's poem he reverses the negativity of the Negro plight to a source of strength. He argues that  the need for "superhuman power/ to hold me to the letter of your law!" elevates the Negro, as a noble sufferer, drawing an immeasureable amount of strength to survive in a world that isn't even human (Locke, 134). He must be "Super-human" to endure the "law" of white society. Consequently, the strength of the Negro's endurance is beyond human ability, its noble, divine, heroic.  McKay suggests that his strength and self-restraint is a divine battle. Later he claims, that he must save his own heart from the "potent poison of your hate" arguing that it is his heart that is pure, and ultimately must be protected from the villainousness poison of white society( Locke, 134).  Here he is honoring the element of patience, reserve, and self-restraint in black folk who have endured the poisons of white society, and still wait, hopping for something better. This motif of patience and endurance for something better is seen throughout "The Warmth of Other Suns" as each character silently endures their sacrifices though an internal rebellion. Although Robert Joseph Pershing Foster is overqualified and smarter than his peers, there continues to be a narrative of sacrifice throughout his story. However, there is a power within this sacrifice, because it occurs within as certain knowledge and hope, of a larger collective gain. And in doing that they are undercutting the white power structure through the strategic methods of their deceit. In "Beginnings" Pershing fights his way into the job market that discriminates against him two-fold. Firstly because he's a man of color, and secondly he's educated, which makes him a double threat to the white foremen hiring him. Yet he needs a job to continue school, and establish a career. The invisible hand seems to be at work again. However, Pershing finds a way through these restrictions and works despite the foreman's refusal to hire him. He commits a level of endurance and sacrifice for his greater dream of medicine, and comments on this experience by saying,  "Sometimes you have to stoop to conquer" (Wilkerson, 117). Therefore, in both McKay's poem and Pershing's experience, there is a narrative of suffering for the self, and suffering for the greater good of one's people. And, of course, not implying that the suffering is neither justified nor right, but rather a part of a choice, within one's own agency, to empower oneself, and take the necessary actions to do so. Both stories reflect a determined and shining light within the "New Negro" that takes his reality and transforms it into a process of endurance, strength, hardening oneself, to be a survivor.
   This is crucial. because if asserts a certain agency within suffering. One is not simply suffering and oppressed passively, but rather planning and plotting to be something great, something better than the "poison" around him. This asserts not only a positive self image, but a better self image, better than the abuse around him, and better than the abusers around him. In short it makes the Negro spirit indestructible. It turns is suffering into fuel against his oppressors, and even more importantly, instills a hope for something brighter within himself. Both texts illustrate an autonomous shift, not only for the Negro to separate himself from the world around him, but to position himself above it, and that is a beautifully strong and inspiring narrative.