Evidence Record

Summary and claim

Primary works and movement sources show formal sonnets, blues/jazz vernacular, folklore, montage, drama, manifesto, neighborhood lyric, feminist/queer address, and internationalist solidarity. No single “Black style” or audience contract fits Hughes, Hurston, McKay, Toomer, Johnson, Baraka, Sanchez, Giovanni, Brooks, Jordan, and Lorde.

Provenance and limitations

Poetry Foundation movement collections and author records, plus public primary works where available. Movement boundaries and the “adjacent” status of Brooks, Jordan, and Lorde are interpretive; the guide states rather than erases that.

Counterevidence

Shared institutions, racial domination, music, community publishing, and political struggle create real relations across the works despite difference.