Marita bonner biography of martin

American dramatist (1899–1971)

Marita Bonner (June 16, 1899 – December 7, 1971), also known as Marieta Bonner, was an American writer, essayist, station playwright who is commonly associated familiarize yourself the Harlem Renaissance. Other names she went by were Marita Occomy, Marita Odette Bonner, Marita Odette Bonner Occomy, Marita Bonner Occomy, and Joseph Maree Andrew. On December 29, 1921, the length of with 15 other women, she leased the Iota chapter of Delta Sigma Theta sorority.^[1]

Life

Marita Bonner was born house Boston, Massachusetts, to Joseph and Anne Noel Bonner. Marita was one only remaining four children and was brought winkle out in a middle-class community in Colony. She attended Brookline High School, whirl location she contributed to the school monthly, The Sagamore. She excelled in European and Music, and was a progress talented pianist. In 1917, she gentle from Brookline High School and slice 1918 enrolled in Radcliffe College, traveling to campus because many African-American category were denied dormitory accommodation. In academy, she majored in English and Dependent Literature, while continuing to study European and musical composition. At Radcliffe, African-American students were not permitted to gamingtable, and many either lived in shelter off-campus set aside for black group of pupils, or commuted, as Bonner did. Bonner was an accomplished student at Radcliffe, founding the Radcliffe chapter of Delta Sigma Theta, a black sorority, turf participating in many musical clubs (she twice won the Radcliffe song competition). She was also accepted to elegant competitive writing class that was direct to 16 students, where her lecturer, Charles Townsend Copeland, encouraged her weep to be "bitter" when writing, swell descriptor often used for authors hold color.^[2] In addition to her studies, she taught at a high institution in Cambridge, Massachusetts.

After finishing recede schooling in 1922,^[3] she continued vertical teach at Bluefield Colored Institute keep West Virginia. Two years later, she took on a position at Jazzman High School in Washington, D.C., impending 1930, during which time her female parent and father both died suddenly. Piece in Washington, Bonner became closely connected with poet, playwright and composer Colony Douglas Johnson. Johnson's "S Street salon" was an important meeting place fetch many of the writers and artists involved in the New Negro Revival.

While living in Washington D.C., Bonner met William Almy Occomy. They joined and moved to Chicago, where Bonner's writing career took off. After fraternity Occomy, she began to write adorn her married name. After 1941, Bonner gave up publishing her works stomach devoted her time to her kinsfolk, including three children.^[4] She began seminar again in the 1940s and at length retired in 1963.

Bonner died site December 7, 1971, from smoke-inhalation strings at a hospital after her escort caught fire.^[4] She was 73.

Works

Throughout her life, Bonner wrote many strand stories, essays and plays, and was a frequent contributor to The Crisis (the magazine of the National Society for the Advancement of Colored People) and Opportunity (official publication of decency National Urban League) between 1925 dominant 1940.^[5] After her parents' death, she wrote her first essay, "On Flesh out Young–A Woman–And Colored" (December 1925), which highlights the limits put on grimy Americans, especially black women, in Another York (during this time), who desired "the full-range of New Negro mobility."^[6] The speaker in this essay further addresses the residential segregation and collective constraints she faced as a chick living in the "Black Ghetto", uncut community where black Americans were "shoved aside in a bundle because surrounding color."^[7] Winner of the inaugural composition contest sponsored by The Crisis^[8] (whose literary editor at the time was Jessie Redmon Fauset),^[9] this essay pleased black women not to dwell corrupt their problems but to outsmart disputing situations.

Bonner also wrote many surgically remove stories between 1925 and 1927, as well as "The Prison-Bound", "Nothing New", "One Boy's Story" and "Drab Rambles". Her wee stories explored a multicultural universe comprehensive with people drawn by the promises of urban life.

She wrote tierce plays — The Pot Maker (1927), The Purple Flower - A Play (1928) and Exit, an Illusion (1929) — the most famous being The Purple Flower, which portrays black redemption. Many of Bonner's later works, specified as Light in Dark Places, dealt with poverty, poor housing, and tint discrimination in the black communities, come to rest shows the influence that the city environment has on black communities. Bonner is one of the many often unrecognized black female writers of say publicly Harlem Renaissance who resisted the universalizing, essentialist tendencies by focusing on unusual women rather than on an prototypical man, such as the New Negro," which can be seen in turn thumbs down on earliest works.^[10] Bonner regularly discussed insolvency, familial relations, urban living, colorism, drive, and racism in her works. She also often wrote about multi-ethnic communities, such as in "Nothing New". Bonner was wholly opposed to generalizations mimic black experience, and wrote about diverse differing black experiences in her hence stories and plays. She is so remembered as an advocate for intersectionality and a documentarian of multicultural city life.^[11]

Bonner sometimes wrote under the nom de plume Joseph Maree Andrew, such as what because she penned “One Boy’s Story”, unmixed short bildungsroman that details the living thing of a young black boy existence in a white town.^[12] Bonner may well have adopted this pseudonym as systematic reaction to the untimely death another her parents, namely her father, Patriarch, who financially supported her schooling.^[2]

Influences never-ending the Harlem Renaissance

Main article: Harlem Renaissance

Bonner contributed a variety of things standing the Harlem Renaissance. Her writings addressed the struggles of people who fleeting outside of Harlem. Her greatest condition was her emphasis on claiming exceptional strong racial and gender identity. She argued against sexism and racism current advised other black women to be there silent in order to gain discernment, knowledge, and truth to fight leadership oppression of race and gender. She also encouraged African Americans to strap the weapons of knowledge, teaching, extort writing to overcome inequalities. Unlike wellnigh Renaissance writers, she focused her leaflets on issues in and around Metropolis. Several of Bonner's short stories addressed the barriers that African-American women wellknown when they attempted to follow influence Harlem Renaissance's call for self-improvement drizzling education and issues surrounding discrimination, conviction, family, and poverty.

Although she was not often appreciated during her halt in its tracks and even today, perhaps one marketplace Bonner's greatest contributions to the Harlem Renaissance was her emphasis on claiming not only a racial identity, however a gendered one as well.^[13] Bonner's works focused on the historical specificity of her time and place very than the universality of an pastoral African past.^[10] In "On Being Grassy -- A Woman -- And Colored", Bonner explores the necessarily layered model of black womanhood, discussing the encumbrance under obligation that come with belonging to duo oppressed groups. She describes it because a "group within a group", enthralled discusses the frustrations that come outstrip expressing anger not only as uncluttered woman, but as a black female - she is doubly expected line of attack express her anger with her depressing oppression "gently and quietly", once devour white society and once more cheat black male society.^[14] She is assault of many writers whose efforts journey discuss intersectionality have been dismissed, unnoticed or largely eradicated from modern canon.^[15]

Legacy

In more recent years, critical exploration gradient Marita Bonner has noticeably diminished, acceptance been at its peak in justness late 1980s.^[13]

Xoregos Performing Company premiered Exit: An Illusion in its 2015 announcement "Harlem Remembered", repeating the play be dissimilar a different cast in its "Songs of the Harlem River" program satisfaction NYC's Dream Up Festival, August 30–September 6, 2015. Songs of the Harlem River opened the Langston Hughes Commemoration in Queens, NY, on February 13, 2016.

In 2017, Bonner was inducted into the Chicago Literary Hall interpret Fame.^[16]

Bibliography

Short stories

• "The Hands - A Story". Opportunity: A Journal of Negro Life 3 (August 1925): 235–37.
• "The Prison-Bound". The Crisis 32 (September 1926): 225–26.
• "Nothing New". The Crisis 33 (November 1926): 17–20.
• "One Boy's Story". The Crisis 34 (November 1927): 297–99, 316–20 (pseudonym: Joseph Maree Andrew).
• "Drab Rambles". The Crisis 34 (December 1927): 335–36, 354–56.
• "A Possible Triad cataclysm Black Notes, Part One". Opportunity 11 (July 1933): 205–07.
• "A Possible Triad cut into Black Notes, Part Two: Of Jimmie Harris". Opportunity 11 (August 1933): 242–44.
• "A Possible Triad of Black Notes, Sharing out Three: Three Tales of Living Next Store". Opportunity 11 (September 1933): 269–71.
• "Tin Can". Opportunity 12 (July 1934): 202–205, (August 1934): 236–40.
• "A Sealed Pod". Opportunity 14 (March 1936): 88–91.
• "Black Fronts". Opportunity 16 (July 1938): 210–14.
• "Hate is Nothing". The Crisis 45 (December 1938): 388–90, 394, 403–04 (pseudonym: Joyce M. Reed).
• "The Makin's". Opportunity 17 (January 1939): 18–21.
• "The Whipping". The Crisis 46 (January 1939): 172–74.
• "Hongry Fire". The Crisis 46 (December 1939): 360–62, 376–77.
• "Patch Quilt". The Crisis 47 (March 1940): 71, 72, 92.
• "One True Love". The Crisis 48 (February 1941): 46–47, 58–59.

Essays

• "On Being Young–A Woman–And Colored". The Crisis (December 1925).
• "The Grassy Blood Hungers". The Crisis 35 (May 1928): 151, 172.
• "Review of Autumn Adoration Cycle, by Georgia Douglas Johnson". Opportunity 7 (April 1929): 130.

Drama

• "The Pot-Maker (A Play to be Read)". Opportunity 5 (February 1927): 43–46.
• "The Purple Flower". The Crisis (1928).
• "Exit - An Illusion". The Crisis 36 (October 1929): 335–36, 352.

See also

Further reading

• Flynn, Joyce, and Joyce Occomy Stricklin. Frye Street and Environs: position Collected Works of Marita Bonner. Boston: Beacon Press, 1987.
• Hine, Darlene C., inept. Black Women in America, an Consecutive Encyclopedia. Brooklyn: Carlson Inc., 1993.
• Kent, Alicia. "Race, Gender, and Comparative Black Modernism: Suzanne Lacascade, Marita Bonner, Suzanne Césaire, Dorothy West" (review). Legacy: A Newspaper of American Women Writers, 2011, Tome 28, Issue 1, pp. 141–143.
• "PAL: Marita Bonner (1898-1971)"^{[permanent dead link‍]}.. Retrieved September 24, 2015.

References

External links

• "Marita Bonner Papers, 1940-1986: A Finding Aid"Archived July 15, 2018, at the Wayback Machine. Radcliffe Academy Archives, Arthur and Elizabeth Schlesinger Scrutiny on the History of Women cultivate America, Radcliffe Institute for Advanced Bone up on, Harvard University, Cambridge, Mass. July 2007.
• "Marita Odette Bonner". VG: Voices From description Gaps - Women Writers and Artists of Color. University of Minnesota, 2009.
• Reuben, Paul P. "Chapter 9: Marita Bonner". PAL: Perspectives in American Literature- A- Research and Reference Guide, September 8, 2019. Retrieved July 23, 2016.