Countee Cullen and The Harlem Renaissance

The Harlem Renaissance, also known as the New Negro Movement, was the major African American cultural and intellectual movement that flourished in the 1920s and early 30s and began to fade once the Great Depression hit. The movement was centered in the Harlem neighborhood of New York City but influenced the entire country. It is recognized as a period characterized by African-American achievements in art, music, and literature. The Harlem Renaissance marked the first time that publishers, critics, and the general public began taking African American literature seriously. It was predominantly identified as a literary movement but African American music, theater, art, and politics were also new developments of the Harlem Renaissance.

The Harlem Renaissance materialized toward the end of the First World War for many reasons. During the turn of the century, a black middle class emerged as a result of increased education and employment opportunities for African Americans. Additionally, the movement known as the Great Migration also influenced the Harlem Renaissance. During this time, thousands of black Americans moved from the rural South to the industrial cities of the North. Harlem was one of the neighborhoods that developed as a result of the Great Migration and it quickly became the political and cultural center of black America. New trends in American society also contributed to this cultural phenomenon. New attitudes about experimentation, racial equality, combined with an increase of radical black intellectuals and new political agendas against the discrimination of blacks in the U.S. all contributed to the movement.

Some of the most famous writers of the Harlem Renaissance include Langston Hughes, Countee Cullen, Claude McKay, Zora Neale Hurston and Jessie Fauset. These writers reflected the idea of a transformation from the “Old Negro” to the “New Negro.”. The New Negro was proud and challenged racism and the stereotypes that existed through their intellect and their production of literature, art, music, etc. These writers shared the common goal of developing innovative ways and forms of artistic representation of the African American experience. They explored and expressed the experiences of black America and life in the urban North. They celebrated their creativity, their race, their culture, and their freedom to express themselves in a new way that epitomized their black identities. At the same time, however, they did have a wide range of racially diverse concepts of blackness. And even though all of these writers were black, the Harlem Renaissance did mean different things to each of them and they all had unique ways of expressing their own black identity and personal experience.

Countee Cullen was one of the most acclaimed poets of the Harlem Renaissance. Many of Cullen’s works reflected the African and African American themes of the movement. In Color, race is a major theme. Nearly one-third of the poems in this volume have references to race. After reading many of Cullen’s poems, the theme of race consciousness is clear. Critics believe that some of Cullen’s best expressions of race consciousness come from his sonnets. As I previously discussed, “Yet Do I Marvel,” is a prime example of this. Race is another theme in Cullen’s “The Dark Tower.” In this poem, Cullen describes the inferiority of blacks in America. He expresses his belief that there is enough room for both blacks and whites in the world. Many of Cullen’s works also reflect the racial pride that was an important characteristic of the Harlem Renaissance. For example, “A Song of Praise,” addresses the beauty of black women. Cullen even hints at the idea that black women are more desirable than white women. Additionally, a common discussion in several of Cullen’s poems was Africa. He discussed the relationship between blacks and Africa, as well as using Africa as a symbol of many things. “Heritage” is an example of this. Cullen opens with a question of what Africa means to him, being that he is three centuries removed from that part of his heritage. “Tableau” is one of my favorite poems by Cullen. It looks into how race affects children versus adults.
Locked arm in arm they cross the way,
The black boy and the white,
The golden splendor of the day,
The sable pride of night.
From lowered blinds the dark folk stare,
And here the fair folk talk,
Indignant that these two should dare
In unison to walk.

To Cullen, children are innocent and have not been influenced by society’s racism and stereotypes. However, adults have been conditioned by society that interracial friendships are not acceptable and they cannot believe that the little black boy and white boy are walking together in unison. Cullen’s “Incident” is another poem with race as its theme. Cullen provides us with a story from his past. He spent time in Baltimore as a child and out of all the experiences and things he could remember, he only remembers one. He only remembers trying to befriend a white boy and the boy calling him a “nigger.” This is a clear example of how race affected Cullen. Cullen fit into this movement because much of his work reflected the common theme of race and the black experience that characterized the Harlem Renaissance.

However, at the same time, Cullen was different from many of the Harlem Renaissance writers because he wrote more conventionally. Although much of his subject matter focused on the black experience, his poetry mirrored the English-language literary tradition. Cullen believed that African American writers should study and follow the traditions of English verse. He wrote many sonnets in the British romantic style. In this way, Cullen was similar to Claude McKay’s style. They both expressed African American ideas in traditional standard English poetry.

This made him different than several other Harlem Renaissance writers. Hughes, Hurston, Toomer and others focused more on the folk tradition to create their unique literary forms and styles. Hughes was known for creating rhythmic literary experiments in everyday black English. Furthermore, Cullen differed from his contemporaries by rejecting a poetic identification solely with African Americans. Cullen didn’t necessarily deny his racial background, but he did emphasize his right to create subjects that didn’t overtly deal with race. Cullen understood that he was black, but he did not want to be recognized as only a “black poet.” He did not want to be solely defined by his race. Instead, Cullen wanted to be known as an American poet. Some scholars say that Cullen considered poetry “raceless.”

Additionally, Cullen criticized Hughes for his “jazz-like poems,” claiming that they were not “true poetry.” Cullen believed that Hughes’ poetry had too much emphasis on strictly black themes. Cullen critiqued Hughes because he had a different perspective about the way literature should be expressed. And Hughes criticized Cullen as well. He criticized Cullen’s style and his loyalty to the English tradition when expressing the black experience. Hughes claimed that Cullen was not being creative or bold enough in expressing the black experience in America. In general, Cullen’s work stems from the tradition of classical English poetry, while Hughes focused on the lives and rhythms of common folk in America.

Cullen had a profound effect on the Harlem Renaissance movement. As much as the Harlem Renaissance gave him, he gave to the movement as well. Cullen shared in the common goal of many of the movement’s writers and artists, but he did it in a unique way. Cullen added a different perspective to the movement through his traditional style. Through this style, he expressed a new idea. This new idea was that poetry of the Harlem Renaissance did not have to simply be defined by race. His desire to be known as an American poet, instead of simply a black poet reflected this idea. He left a lasting legacy and idea, through his poetry, that he did not have to be confined to only racial themes. He could express universal themes as well and do it in a conventional style. Cullen provided a different outlook that was unlike most Harlem Renaissance writers. He also provided the movement with formal, traditional poetry that encompassed not only racial themes, but also universal themes that could appeal to everyone.

Finkleman, Paul and Cary D. Wintz. 2004. Encyclopedia of the Harlem Renaissance (Volume 1). New York: Routledge.

Reimherr, Beulah. "Race Consciousness in Countee Cullen's Poetry." Susquehanna University Studies. 7.2 (June 1963): 65-82. Rpt. in Poetry Criticism. Ed. Carol T. Gaffke. Vol. 20. Detroit: Gale Research, 1998. 65-82. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 18 June 2009 https://webmail.sbu.edu/exchweb/bin/redir.asp?URL=http://go.galegroup.com/ps/start.do?p=LitRC%26u=east43610.

http://xroads.virginia.edu/~MA03/faturoti/harlem/collage/artistic.html

http://www.42explore2.com/harlem.htm

An Analysis of Cullen's "Yet Do I Marvel"

Yet Do I Marvel

I doubt not God is good, well-meaning, kind,
And did He stoop to quibble could tell why
The little buried mole continues blind,
Why flesh that mirrors Him must some day die.
Make plain the reason tortured Tantalus
Is baited by the fickle fruit, declare
If merely brute caprice dooms Sisyphus
To struggle up a never-ending stair.
Inscrutable His ways are, and immune
To catechism by a mind too strewn
With petty cares to slightly understand
What awful brain compels His awful hand.
Yet do I marvel at this curious thing:
To make a poet black, and bid him sing!

"Yet Do I Marvel" is one of Countee Cullen's most famous poems. The poem was published in 1925 in Cullen's first collection of poetry, Color. "Yet Do I Marvel" is a sonnet with seven rhymes. They are arranged in two quatrains (abab and cdcd) and one sextet (eeffgg).

The poem is written from the perspective of a Black poet. It is not clear if the narrator is Cullen himself or not. But, the tone of the poem is clear. The poet focuses on his doubts and confusions about the world, about the relationship between God and humans and about his own specific role and place in the world. Cullen starts by stating his belief in God but also ponders the nature of God. He wonders why certain things happen in the world. He knows that God must have a reason for all of the evil in the world, but he thinks it is just too difficult for humans to understand.

Throughout his poem, Cullen uses examples of the imperfections of the world. For instance, the fact that moles are blind and humans die. He makes references to Tantalus and Sisyphus, two figures from Greek mythology that were punished forever by the gods. The poet ponders these things and comes to the conclusion that only God can truly understand and explain why the world has so much evil in it. He also concludes that humans are far too distracted with everyday life and these explanations are far too complex for humans, like him, to ever understand.

It is not until the last two lines of the poem that we find out the poet is Black. The poet finally reveals himself as not only a poet, but a Black poet. I believe that this changes the meaning of the poem. It is now more than just a poet's reflection of the general human experience, but it is a reflection of God's choice to make him both a poet and Black. To him, this is the most difficult, yet most amazing act of God to understand.

Cullen's use of language in this poem is amazing. The poem has a balanced and consistent rhythm. "Tortured Tantalus" and "fickle fruit" are examples of alliteration in the poem. Cullen also makes use of repetition in this poem through the use of the word "why." This repetition reflects the basic question of the poem.

Cullen uses a metaphor when he writes, "When flesh that mirrors Him must some day die." He compares human flesh to a looking glass which reflects God's image. This is also an allusion to the Bible. In Genesis, Adam is made in the image and likeness of God. Cullen looks at this as another puzzle. If humans are made in the divine image of God, why do they die?

Cullen also uses an allusion to Greek mythology through making references to the punishments of Tantalus and Sisyphus. Tantalus is eternally starving while food is just beyond his reach, while Sisyphus was doomed to eternal labor, by either climbing an unending stairway or constantly rolling a large boulder up a hill. After doing some research, the allusions to Greek mythology are hard for me to understand. If you read their stories, Tantalus and Sisyphus were sinners and their punishments seemed to be logical and fair. Cullen seems to ignore the crimes and sins of these two figures and looks at their eternal punishments as inexplicable. He believes that humankind just will never understand these eternal punishments and their suffering.

"Yet Do I Marvel" is characterized by many scholars as a racial poem. The last two lines of the poem introduce the topic of race. The poet compares his black skin to the blindess of the mole and punishments of Tantalus and Sisyphus. Cullen explores the mystery of God's way of inexplicably making humans have different skin colors.

The question for the poet isn't that he is a poet and Black, but that he is a black poet and is expected to "sing." This is a paradox. An African American poet in 1925 might have found it difficult to "sing" of his blackness without ignoring the suffering of his race. One might ask how a black poet, whose race is oppressed beyond his control. may sing?

But, I think that Cullen is getting at how he can both "sing" of humanity and not necessarily his race. Unlike Langston Hughes, Cullen was known for wanting to be recognized simply as a poet and not only as a Black poet. He wrote about race but he didn't want to be defined by his race. He saw himself as a poet made Black by God, not a Black who was made poet. The poet didn't choose to be a poet any more than he chose to be Black. The source of this all is God and the poet is getting a divine call to sing. Cullen offers a different, unique perspective in this poem. It is not just about the African American experience and condition, but it is about the human condition in general. All humans experience the worldy imperfections like suffering and death. I think this gives the poem a unifying tone.


Fetrow, Fred M. "Cullen's 'Yet Do I Marvel.' (Countee Cullen's poem)." The Explicator. 56.2 (Winter 1998): p103. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 10 June 2009 http://go.galegroup.com/ps/start.do?p=LitRC&u=east43610.

Reimherr, Beulah. "Race Consciousness in Countee Cullen's Poetry." Susquehanna University Studies. 7.2 (June 1963): 65-82. Rpt. in Poetry Criticism. Ed. Carol T. Gaffke. Vol. 20. Detroit: Gale Research, 1998. 65-82. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 6 June 2009 http://go.galegroup.com/ps/start.do?p=LitRC&u=east43610.

http://department.monm.edu/classics/Courses/Clas230/MythDocuments/CHAD/MYTHWEB/yetmarv.htm

Works Cited/Bibliography

• Cullen, Countee. Color. New York ; London: Harper & Bros, 1925.


• Cullen, Countee. The Ballad of a Brown Girl: An Old Ballad Retold. New York; London: Harper & Bros, 1925.


• Cullen, Countee. Copper Sun. New York; London: Harper & Bros, 1927.


• Cullen, Countee. Caroling Dusk: An Anthology of Verse by Negro Poets. New York; London: Harper & Bros, 1927.


• Cullen, Countee. The Black Christ and Other Poems. New York; London: Harper & Bros, 1929.


• Cullen, Countee. One Way to Heaven. New York; London: Harper & Bros, 1932.


• Cullen, Countee. The Medea & Some Poems. New York; London: Harper & Bros, 1935.


• Cullen, Countee & Christopher Cat. The Lost Zoo. Englewood Cliffs, NJ: Englewood Cliffs Silver Burdett, 1940.


• Cullen, Countee. On These I Stand: An Anthology of the Best Poems of Countee Cullen. New York; Harper & Row, 1946.


• Cullen, Countee, and Arna Bontemps. "St. Louis Women." Martin Beck Theatre, New York. 20 Mar. 1946.

Scholarship and Discussion

SCHOLARSHIP ON COUNTEE CULLEN

Reimherr, Beulah. "Race Consciousness in Countee Cullen's Poetry." Susquehanna University Studies. 7.2 (June 1963): 65-82. Rpt. in Poetry Criticism. Ed. Carol T. Gaffke. Vol. 20. Detroit: Gale Research, 1998. 65-82. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 6 June 2009 http://go.galegroup.com/ps/start.do?p=LitRC&u=east43610.

In this piece of literary criticism, Reimherr argues that race is a central theme in Countee Cullen's poetry. The author believes that nearly all of Cullen's works had racial overtones and that Cullen's best poetry was motivated by race. In addition to race, the author also discusses the themes of love and religion in his poems. However, Reimherr states that Cullen was so aware of the issues of race in the country at the time that it was impossible for him to erase his feelings of race-consciousness that were so evident in his poetry. The author states that the theme of race that appeared in Cullen's poetry included stories of sorrow, joy, and racial pride. Cullen used his poetry to discuss racial themes and issues from all perspectives of the Negro in America at that time. Reimherr believed that race played a major role in and had a major influence on Countee Cullen's poetry.

Gorman, Herbert S. "Countee Cullen Is a Poet First and a Negro Afterward." The New York Times Book Review. 5. Rpt. in Poetry Criticism. Ed. Carol T. Gaffke. Vol. 20. Detroit: Gale Research, 1998. p5. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 6 June 2009 http://go.galegroup.com/ps/start.do?p=LitRC&u=east43610.

This author explores another idea about the role race plays in Countee Cullen's poetry. Gorman believes that Cullen's poetry "transcends racial boundaries." The author takes a look at Cullen's second volume of poetry, Copper Sun. The author describes how Cullen is often referred to as a negro poet versus just simply being called a poet. Although Gorman states that race is a key theme in Cullen's work, he also believes that in Copper Sun, he overcomes the racial limitations and becomes a "sheer poet." Gorman believes that Cullen is different than Langston Hughes, who is always just simply the negro poet. He believes that Cullen is more than that because not only does he represent a specific people, he also represents all of humanity. In this way, Gorman argues, Cullen surpasses racial boundaries and this makes him and his work universal.

Locke, Alain. "Color-A Review." Opportunity. 4.37 (Jan. 1926): 14-15. Rpt. in Poetry Criticism. Ed. Carol T. Gaffke. Vol. 20. Detroit: Gale Research, 1998. 14-15. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 6 June 2009 http://go.galegroup.com/ps/start.do?p=LitRC&u=east43610.

This article takes a look at Cullen's first volume of poetry, Color. Locke describes Cullen as having "a rare talent whose verse is firmly rooted in poetic tradition and in the African American experience." Locke believes Cullen's writing in Color has a distinct and mature style. Locke states that Cullen writes about the intimate, emotional experience of race but makes it universal to all humans and all moods of life. Locke describes Cullen as a poetic genius and compares him to some of the greats like Tennyson. Unlike the greats, though, Locke believes Cullen's work provides a unique ingredient that is the Negro inheritance and experience.

Fauset, Jessie. [Review of Color], Crisis 31, No.5 (March 1926): 238-239.

Fauset explores the role of race in Cullen's work, particularly in Color. Although Fauset recognizes that not every work of Cullen's is based on color, he argues that the most beautifully done are the ones that discuss the issue of color or race. Fauset states that Cullen's work makes a unique and valuable contribution to American literature. Fauset believes that Cullen has the experience, feelings and natural gift and talent to express "colored-ness in a world of whiteness." The author praises Cullen for his work and believes his work shows the Negro soul and mind.

Braithwaite, William Stanley. "On These I Stand." Opportunity 25, No. 3 (July-September 1947): 170.

The author speaks very highly of Countee Cullen and his style. He believes Cullen is worthy of being compared to the great English poets. The author argues that Cullen's poetic technique cannot be matched. He discusses the several ways in which Cullen has used the fourteen lines in a sonnet to express many moods and themes. This author feels that Cullen's style and structure creates a "lyrical unity" in his work. The author concludes that although racial issues played a role in his works, he did not allow them to distort the ideals and visions of being an artist and a poet.

Early, Gerald. "Introduction," My Soul's High Song: Collection of Writings of Countee Cullen, Voice of the Harlem Renaissance. New York: Doubleday, 1991. pg 6-8, 59.

This author concludes that Countee Cullen has never been fully understood as a poet or writer because he has never been fully understood as a person. As I stated in the biography, many specifics about Cullen's life remain a mystery. The author discusses the details of his life that are still disputed like his height, his birthplace, his childhood and his young life. This author believes that Cullen was very taken with the art of lying and this shows through his works, such as The Lost Zoo, his translation of The Medea which is about the lying of two lovers, and his character Sam in One Way to Heaven. The author makes connections through the themes and characters in Cullen's work to his personal life which the author claimed was based on lying, deception and hypocrisy.

DISCUSSION OF CULLEN'S WORKS

Countee Cullen published The Black Christ and Other Poems in 1929. It was his longest and probably most complicated poem. Yet, he received poor reviews and harsh criticism for his work. Overall, the book completely failed to win the favor of any critics. The poem "The Black Christ" deals with the dramatic story of two brothers in the south who are told by their mother to keep their faith in God. However, one of the brothers kills a man and is then murdered by a lynch mob. Cullen aims to create an allegorical representation of Christ's crucifixion and resurrection and the romantic image of the tragic death of spring. However, most critics agreed that Cullen was unsuccessful at connecting these two central themes.

Most critics complained that the poem's style was inappropriate, while the content of the poem was vague, confusing, and unrealistic. The same reactions seem to be present when critics today discuss the poem. Similarly, most critics agree that this was his least successful poem. Cullen seemed to think that the idea for this poem was intense and invogorating but critics, both then and now, disagree with him. Critics say that Cullen failed at trying to describe the horror and truth about lynching. The one thing that most of the critics, then and now, do agree upon is that this poem left them dissatisfied and was Cullen's weakest work. One critic called the poem an "impressive failure." Most critics in the past looked at the Jesus imagery in the poem, but critics today are doing more to try to understand more of the poem. One critic stated that although the poem was weak, Cullen did "effectively mix metaphors to provoke questions of faith and to demonstrate that belief is something more than just pain and grief." Critics today still agree with the harsh criticism at the time of the publication of "The Black Christ" for the most part. However, they are making an attempt to look at the poem from a different angle to try to better understand and discover new aspects of what Cullen was trying to say in his poem.

Whitted, Qiana. "In my flesh shall I see God: ritual violence and racial redemption in 'The Black Christ'." African American Review. 38.3 (Fall 2004): p379. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 6 June 2009 http://go.galegroup.com/ps/start.do?p=LitRC&u=east43610.

Lumpkin, Shirley. "Countee Cullen." American Poets, 1880-1945: Second Series. Ed. Peter Quartermain. Dictionary of Literary Biography Vol. 48. Detroit: Gale Research, 1986. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 6 June 2009 http://go.galegroup.com/ps/start.do?p=LitRC&u=east43610.

Smylie, James H. "Countee Cullen's 'The BlackChrist,'." Theology Today. 38.2 (July 1981): 160-173. Rpt. in Poetry Criticism. Ed. Carol T. Gaffke. Vol. 20. Detroit: Gale Research, 1998. 160-173. Literature Resource Center. Gale. EAST LANSING PUBLIC LIBRARY. 6 June 2009 .

Countee Quotes!

“So in the dark we hide the heart that bleeds, And wait, and tend our agonizing seeds.”

“Yet do I marvel at this curious thing:/ To make a poet black, and bid him sing!”

“My poetry, I think, has become the way of my giving out what music is within me.”

“There is no secret to success except hard work and getting something indefinable which we call the "breaks." In order for a writer to succeed, I suggest three things -- read and write -- and wait.”

"For we must be one thing or the other, an asset or a liability, the sinew in your wing to help you soar, or the chain to bind you to earth.”

“If I am going to be a poet at all, I am going to be POET and not NEGRO POET.”

The Life of Countee Cullen

Countee Cullen, a famed poet of the Harlem Renaissance is a somewhat mysterious figure. He was extremely secretive about his life, leaving scholars confused about the details of his early childhood and his upbringing. Scholars do know that he was born Countee Porter on March 3, 1903. However, where he was born has been a subject of dispute among many scholars. New York City, Baltimore and Louisville have all been listed as his place of birth. Cullen put Louisville as his place of birth on his college transcript but when he began achieving success for his literary work, he claimed New York City was his birthplace and continued to claim that for the rest of his life. However, his second wife and some of his closest friends said that he was born in Louisville.

It is believed that Cullen's parents abandoned him, leaving him to be raised by a woman who was possibly his paternal grandmother, Mrs. Porter. She raised him until she passed away when he was 15 years old. After her death, Cullen was unofficially adopted by Reverend Frederick and his family. Frederick Cullen was a pioneer black activist minister of Salem M.E. Church, one of the largest congregations in Harlem. The two became very close and Countee later changed his last name to Cullen to match his new family.

Cullen began writing in grade school but was not published until high school. He attended DeWitt Clinton High school in 1918 and was a very motivated student. He was a class officer, the editor of the school's newspaper, he was involved with the school's magazine, Magpie, a member of the debating society and wrote poetry. Cullen was first recognized for his poetry when he won a citywide competition for his poem, "I have a Rendezvous with Life." After graduating from high school, Cullen attended New York University on a scholarship. He was the poetry editor of the school magazine, The Arch. He also received several awards during college, such as the Witter Bynner Poetry Prize. While at NYU, Cullen dedicated himself to writing poetry. This is when he wrote the poetry for his first collection of poems, Color in 1925.

Cullen graduated from NYU Phi Beta Kappa and went on to pursue his master's degree in English and French from Harvard University. There, he worked as an assistant editor for Opportunity magazine as well as wrote poems for his collections: Copper Sun and Ballad of the Brown Girl. Cullen's work became famous during this time. He won more literary prizes than any other black writer in the 1920s.

After finishing his master's, Cullen traveled to France and Europe as part of the Guggenheim Fellowship. He was the second African American to win the fellowship. When he returned in April 1928, he married the daughter of W.E.B.Du Bois, Yolanda Du Bois. They had one of the biggest weddings in black New York history. They divorced two years later because according to Yolanda, Cullen told her that he was sexually attracted to men. He would remarry in 1940 to an old friend, Ida Mae Roberson. In 1929 Cullen published the The Black Christ and Other Poems. This work was heavily criticized and Cullen's career took a dramatic turn. His work just was not as acclaimed as it once had been.

He did write his only novel, One Way to Heaven in 1932. In 1934, Cullen began teaching English, French and creative writing at the Frederick Douglas Junior High School in New York City. In 1935, he translated Medea by Euripedes and also wrote plays. During this time, Cullen also contributed some to children's literature, writing The Lost Zoo and Christopher Cat.

In the last years of his life, Cullen wrote mainly for theatre. His one act play, The Third Fourth of July, ran for 113 performances on Broadway. He continued this type of work and was working on a musical with Arna Bontemps called St. Louis Woman, which was based on one of her novels when he passed away January 9, 1946 from a gastrointestinal disorder. Although some details of his life are still a mystery, it is no mystery that Cullen left a great legacy behind. His works are still famous today and his contribution to the Harlem Renaissance, one of the most inspirational movements in literature, is priceless.