Redemption in American Literature

American literature is not my favorite thing on any day. I can think of only one American author who would fit into my personal top ten list, and it is quite possible that I am least familiar with American literature as compared to other categorizations. Despite my lack of interest and excitement about the reading materials of this course, I have learned from these American authors, even if I do not particularly enjoy all of their writings. Though I may not rush to the nearest bookstore for a complete set of their works, I thought Raymond Chandler’s story Red Wind was engaging and pretty fun to read; I enjoyed Frost’s imagery; and I appreciated T.S. Eliot’s profundity. I especially responded to the theme of redemption that can be found in Moore, Hurston, and Hughes.

Redemption is perhaps most clearly realized in Zora Neale Hurston’s story The Gilded Six-Bits, in which the protagonist Joe’s wife is unfaithful to him. For several months, Joe and Missy May struggle to reconcile with each other. Their marriage shrinks to less than a shadow of the loving relationship detailed in the first few pages. However, when Missy May gives birth to Joe’s son, Joe is able to forgive his wife. Both must sacrifice to overcome the deficiency in the marriage: Joe must relinquish his anger towards his wife, and Missy May has to acknowledge the grief that has come through her action. As a family, their lives are redeemed and knit back together.

Less overt are the themes of redemption in Langston Hughes’ and Marianne Moore’s poetry. In some ways, both hope for redemption in seemingly hopeless situations. Moore wrote In Distrust of Merits during World War II. Throughout the poem she questions the worth of the countless deaths of soldiers fighting in the war. She believes in the cause that they are fighting for,

“Fighting the blind

Man who thinks he sees…

That hearts may feel and not be numb.”

Moore acknowledges the promise inherent in supporting the soldiers, that “we’ll never hate black, white, red, yellow, Jew, Gentile, Untouchable.” Yet she still cannot quite believe that this makes the deaths worthwhile, since “we are not competent to make our vows.”

Moore has a moment of questing despair as she asks, “The world’s an orphans’ home. Shall we never have peace without sorrow? Without pleas of the dying for help that won’t come?” This is a clear example of the often overwhelming disconnect between the way things are and the way they ought to be, and Moore is understandably troubled by it. I am not trying to say that Moore is here expressing a distinctly Christian view or anything of that sort. Still, these few lines are a cry for the redemption of humanity.

In the end, Moore maintains her hope for all of the deaths to be redeemed, saying,

“If these great patient

dyings—all these agonies

and wound bearings and bloodshed—

can teach us how to live, these

dyings were not wasted.”

Hughes’ is similarly hopeful for future redemption in a different situation. Writing during a time of intense racial prejudice, Hughes’ poetry often expresses his dreams of a truly equal America.

“Tomorrow,

I’ll be at the table

When company comes…

They’ll see how beautiful I am

And be ashamed—

I, too, am America.

Hughes displays a sense of urgency, desiring the racial/social redemption of America to come quickly. “I do not need my freedom when I’m dead./I cannot live on tomorrow’s bread,” he reminds his audience, calling for attention and change in place of lassitude and complacency. Elsewhere, he openly states that part of being American is being interdependent whether we want to be or not, despite differences in skin color.

“You are white—

yet a part of me, as I am a part of you.

That’s American.”

Hughes hopes for redemption in the negative situation through social change and recognition of the parts that each of us play in each others’ lives.

American literature may not replace my other interests any time soon, and my top ten authors list has not been disturbed by this course. But I have learned through exploring authors I liked or did not like, understood or barely managed to stumble through. American authors of this time period had a great deal to say about justice, freedom, redemption, and morality. That we are listening 60 to 100 years later says a great deal about the importance of their words.