You will be reading poetry, letters, and essays on Phillis Wheatley, an 18th century American poet. They are located in White Book from pages 506-534. You should take notes and gather quotations that help you address, either by support or refutation, what you will develop as your opinion on the question below.
Background Information:
(Please also read the background information on 506-507)
Phillis Wheatley was born in Africa and sold into slavery at a young age. She was brought to America and purchased by John and Susannah Wheatley. In addition to her duties as a slave, Wheatley was taught Latin, mythology, and various other subjects and converted to Christianity. She began writing poems, many of which became quite famous, and she traveled to London where her work was published with support of a local countess, becoming the first African American woman (and only second American woman) to have a book published in this young nation.
Many of Wheatley's poems bear a strong resemblance to the other traditional poetry of her time period and use elevated language, classical allusions, strict rhyme scheme, and rhythm and meter. They often celebrate important American religious and patriotic figures and at times express her gratefulness that she was brought from what she deems "a Pagan land." Understandably, this last idea generates a lot of the controversy about the legacy of Wheatley as many people struggle with a desire to celebrate Wheatley for her accomplishments but struggle to process the notion that she praises and emulates the culture that enslaved her and millions of others.
This brings us to our question which should guide our reading:
To what extent should the legacy of Phillis Wheatley and her poetry be perceived as a triumph or tragedy?
Our discussion on Wheatley will take place on October 15th, so make sure that you divide up your reading appropriately and don't save it all until the last minute. Please create a chart of your own design that helps you categorize the evidence in response to the question above.
