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Proletarian poetry
Proletarian poetry is a genre of political poetry developed in the United States during the 1920s and 1930s that endeavored to portray class-conscious perspectives of the working-class.〔 Connected through their mutual political message that may be either explicitly Marxist or at least socialist, the poems are often aesthetically disparate.〔 As a literature that emphasized working-class voices, the poetic form of works could range from emulating African-American slave work songs to contemporary modernist poetry. Major poets of the movement include Langston Hughes, Kenneth Fearing, Edwin Rolfe, Horace Gregory, and Mike Gold.〔〔〔〔
==Background==
While mainly originating in the proletarian literary movement that arose out of the avantgardist post-revolutionary era of the Soviet Union, proletarian poetry also had many antecedents in the United States before it rose to prominence in the 1920s. Coal miners in Pennsylvania wrote and sang militant labor songs, a form the Industrial Workers of the World embraced throughout the years before World War I.〔 Elements of proletarian literature and poetry could also be seen in the works of William Carlos Williams, Upton Sinclair, and Jack London.〔 During the 1910s, the reporter and poet John Reed, along with other professional writers and leftists in the labor movement, also assisted in strikes and formed plans for workers' theaters.〔
In 1926, the leftist magazine ''The New Masses'' was established and quickly took the forefront in defining and promoting proletarian poetry. Members of their staff went on in 1929 to organize John Reed Clubs in numerous cities around the country. Marxist in their ideology, although not officially affiliated with the Communist Party, these clubs sought to develop the writing skills of white and blue-collar workers to publish proletarian poetry and literature.〔 Other American communist organs publishing proletarian poetry and literature during the 1920s and 30s included Max Eastman's magazine ''The Liberator'', the Communist Party newspaper ''The Daily Worker'',''The Anvil'' edited by Jack Conroy, ''Blast,'' and ''Partisan Review.''
Limited career opportunities of the 1930s during the Great Depression also contributed in bringing the movement to the forefront of American life. The disenfranchisement and unemployment caused by the economic depression was an influential inspiration for working class artists because it directly exhibited the grievances experienced by many working-class people, and revealed imbalances within the U.S. economy despite the financial success and richness of the 1920s.〔 This realization of the imbalances of capitalism allowed for the growth of new leftist political and social discourses. Artists such as Langston Hughes, Edwin Rolfe, and Kenneth Fearing, in attempts to find solutions to the Great Depression, looked to socialism, communism, and anarchism, which resulted in these themes and ideas appearing in their literature and poetry. According to literary scholar Cary Nelson, "()espite considerable suffering, the mid-1930s were thus a heady time on the Left. Much of the poetry of the period combines sharp social critique with a sense of revolutionary expectation. More than simply reflecting the times, however, the "proletarian" poetry of revolution sought to define a new politics, to suggest subject positions within it, and to help bring about the changes it evoked." 〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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