Angelina Weld Grimké

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Angelina Weld Grimké
File:Angelina Weld Grimké.jpg
Born (1880-02-27)February 27, 1880
Boston, Massachusetts, USA
Died June 10, 1958(1958-06-10) (aged 78)
New York City, USA
Education Boston Normal School of Gymnastics, later Wellesley College
Occupation Author, journalist, poet

Angelina Weld Grimké (February 27, 1880 – June 10, 1958) was an American journalist, teacher, playwright and poet who came to prominence during the Harlem Renaissance; she was one of the first African-American women to have a play publicly performed.[1]

Life and career

Angelina Weld Grimké was born in Boston, Massachusetts, in 1880 to a biracial family. Her father, Archibald Grimké, was a lawyer, the second African American to have graduated from Harvard Law School. Her mother, Sarah Stanley, was European American from a Midwestern middle-class family. Information about her is scarce. Grimké's parents met in Boston, where he had established a law practice. Angelina was named for her father's aunt Angelina Grimké Weld, who with her sister Sarah Grimké had brought him and his brothers into her family after learning about him. (He was a natural son of her brother, who had died.)

File:Archibald Grimké.jpg
Archibald Grimké, Angelina Weld Grimké's father

When Grimké and Sarah Stanley married, they faced strong opposition from her family, due to concerns over race. The marriage did not last very long. Not long after Angelina's birth, Sarah left Archibald and returned with the infant to the Midwest. After Sarah began a career of her own, she sent Angelina, then seven, back to Massachusetts to live with her father. Angelina Grimké would have little to no contact with her mother after that. Sarah Stanley committed suicide several years later.

Angelina's paternal grandfather was Henry Grimké, of a large and wealthy slaveholding family based in Charleston, South Carolina. Her paternal grandmother was Nancy Weston, an enslaved woman of mixed race, with whom Henry became involved as a widower. They lived together and had three sons: Archibald, Francis and John (born after his father's death in 1852). Henry taught Nancy and the boys to read and write. Among Henry's family were two sisters who had opposed slavery and left the South before he began his relationship with Weston; Sarah and Angelina Grimké became notable abolitionists in the North. The Grimkés were also related to John Grimké Drayton of Magnolia Plantation near Charleston, South Carolina.

Angelina's uncle, Francis J. Grimké, graduated from Lincoln University, PA and Princeton Theological Seminary. He became a Presbyterian minister in Washington, DC. He married Charlotte Forten, who became known as an abolitionist and diarist. She was from a prominent black abolitionist family from Philadelphia. From the ages of 14 to 18, Angelina lived with her aunt and uncle in Washington, DC and attended school there, as her father was serving as appointed consul (1894 and 1898) to the Dominican Republic. Indicating the significance of Archibald's consulship in her life, Angelina later recalled, "it was thought best not to take me down to [Santo Domingo] but so often and so vivid have I had the scene and life described that I seem to have been there too."[2]

Angelina Grimké next attended the Boston Normal School of Gymnastics – which later became the Department of Hygiene of Wellesley College.[3] After graduating, she and her father moved to Washington, D.C. to be with his brother and family.

In 1902, she began teaching English at the Armstrong Manual Training School. In 1916 she moved to a teaching position at the Dunbar High School, renowned for its academic excellence, where one of her pupils was the future poet and playwright May Miller. During the summers, Grimké frequently took classes at Harvard University, where her father had attended law school.

Around 1913, Grimké was involved in a train crash which left her health in a precarious state. Nevertheless, when her father took ill in 1928, she tended to him until his death in 1930.[4] Afterwards, she left Washington, DC, for New York City, where she settled in Brooklyn and lived a quiet retirement as a semi-recluse.[4] She died in 1958.

Literary career

Grimké wrote essays, short stories and poems which were published in The Crisis, the newspaper of the NAACP, edited by W.E.B. Du Bois; and Opportunity. They were also collected in anthologies of the Harlem Renaissance: The New Negro, Caroling Dusk, and Negro Poets and Their Poems. Her more well-known poems include "The Eyes of My Regret", "At April", "Trees" and "The Closing Door". While living in Washington, DC, she was included among the figures of the Harlem Renaissance, as her work was published in its journals and she became connected to figures in its circle. Some critics place her in the period before the Renaissance. During that time, she counted the poet Georgia Douglas Johnson as one of her friends.

Grimké wrote Rachel – originally titled Blessed Are the Barren[5] – one of the first plays to protest lynching and racial violence.[6] The three-act drama was written for the National Association for the Advancement of Colored People (NAACP), which called for new works to rally public opinion against D. W. Griffith's recently released film, The Birth of a Nation (1915), which glorified the Ku Klux Klan and portrayed a racist view of blacks and of their role in the American Civil War and Reconstruction in the South. Produced in 1916 in Washington, D.C., and subsequently in New York City, Rachel was performed by an all-black cast. Reaction to the play was good.[5] The NAACP said of the play: "This is the first attempt to use the stage for race propaganda in order to enlighten the American people relating to the lamentable condition of ten millions of Colored citizens in this free republic."

Rachel portrays the life of an African-American family in the North in the early 20th century. Centered on the family of the title character, each role expresses different responses to the racial discrimination against blacks at the time. The themes of motherhood and the innocence of children are integral aspects of Grimké's work. Rachel develops as she changes her perceptions of what the role of a mother might be, based on her sense of the importance of a naivete towards the terrible truths of the world around her. A lynching is the spectrum of the play; it authenticates the African-American experience.[7]

The play was published in 1920, but received little attention after its initial productions. In the years since, however, its significance has been recognized as a precursor to the Harlem Renaissance, and one of the first examples of a political and cultural trend to explore the African roots of African Americans.[5]


At the age of 16, Grimké wrote to a friend, Mary P. Burrill:

I know you are too young now to become my wife, but I hope, darling, that in a few years you will come to me and be my love, my wife! How my brain whirls how my pulse leaps with joy and madness when I think of these two words, 'my wife'"[8]

Two years earlier, in 1903, Grimké and her father had a falling out when she told him that she was in love. Archibald Grimké responded with an ultimatum demanding that she choose between her lover and himself. Grimké family biographer Mark Perry speculates that the person involved may have been female, and that Archibald may already have been aware of Angelina's sexual proclivity.[8]

Analysis by modern literary critics has provided strong evidence that Grimke was lesbian or bisexual. Some critics believe this is expressed in her published poetry in a subtle way, but more evidence came after her death by scholars' study of her diaries and more explicit unpublished works. The Dictionary of Literary Biography: African-American Writers Before the Harlem Renaissance states: "In several poems and in her diaries Grimké expressed the frustration that her lesbianism created; thwarted longing is a theme in several poems."[9] Some of her unpublished poems are more explicitly lesbian, implying that she lived a life of suppression, "both personal and creative.”[9]

In popular culture

Angelina Weld Grimke has often been confused with her great aunt, Angelina Grimke Weld, sister to Sarah Moore Grimke, and wife of abolitionist, Theodore Dwight Weld. The reference to the play "If She Stood" is to her great aunt and not herself. So it is Angelina Grimke Weld and her sister, Sarah Moore Grimke, who appear as main characters in Ain Gordon's 2013 play If She Stood, commissioned by the Painted Bride Art Center in Philadelphia.[10]



  1. Lorde, Audrey, "A burst of light: Living with cancer", A Burst of Light, Ithaca, NY: Firebrand Books, 1988, p. 73.
  2. Roberts, Brian Russell (2013). Artistic Ambassadors: Literary and International Representation of the New Negro Era. Charlottesville: University of Virginia Press. p. 93.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  3. Wellesley College. Wellesley College: Annual Reports [of] President and Treasurer, 1917. p.4
  4. 4.0 4.1 Perry (2000), pp.341–42
  5. 5.0 5.1 5.2 Perry (2000), p.338
  6. Angelina Weld Grimke biography, The Black Renaissance in Washington, D.C., 1920-1930s.
  7. Reuben, Paul P. "Chapter 9: Angelina Weld Grimke" PAL: Perspectives in American Literature- A Research and Reference Guide. Accessed April 8, 2013.
  8. 8.0 8.1 Perry (2000), pp. 312–14.
  9. 9.0 9.1 Dictionary of Literary Biography: African-American Writers Before the Harlem Renaissance, Vol. 50, 1986.
  10. Salisbury, Stephen. "Painted Bride productions on 19th century women touch familiar issues" Philadelphia Inquirer (April 26, 2013).


  • Perry, Mark, Lift Up Thy Voice: The Grimke Family's Journey from Slaveholders to Civil Rights Leaders, New York: Viking Penguin, 2002. ISBN 978-0-14-200103-5

Further reading

  • Botsch, Carol Sears (1997). Archibald Grimke. University of South Carolina-Aiken.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  • Hull, Akasha, "'Under the Days': The Buried Life and Poetry of Angelina Weld Grimké", in Smith, Barbara (ed.), Home Girls: A Black Feminist Anthology, New Brunswick, NJ: Rutgers University Press, 2000.
  • Jayasundera, Ymitri. "Angelina Weld Grimké (1880–1958)." in Nelson, Emmanuel S. (ed.), African American Authors, 1745–1945: A Bio-Bibliographical Critical Sourcebook, Westport, CT: Greenwood, 2000.
  • Mitchell, Koritha A. "Antilynching Plays: Angelina Weld Grimké, Alice Dunbar-Nelson, and the Evolution of African American Drama." in McCaskill, Barbara and Gebhard, Caroline (eds), Post-Bellum, Pre-Harlem: African American Literature and Culture, NY: New York University Press, 2006.
  • Parker, Alison M., Articulating Rights: Nineteenth-Century American Women on Race, Reform, and the State, DeKalb: Northern Illinois University Press, 2010.
  • Peterson, Bernard L., Jr. Early Black American Playwrights & Dramatic Writers, NY: Greenwood Press, 1990.
  • Shockley, Ann Allen, Afro-American Women Writers 1746–1933: An Anthology and Critical Guide, New Haven, Connecticut: Meridian Books, 1989. ISBN 0-452-00981-2
  • Roberts, Brian Russell, "Metonymies of Absence and Presence: Angelina Weld Grimké's Rachel," in Artistic Ambassadors: Literary and International Representation of the New Negro Era, Charlottesville: University of Virginia Press, 2013. ISBN 978-0813933689
  • Wall, Cheryl A., Women of the Harlem Renaissance, Indianapolis: Indiana University Press, 1995.

External links

  • "Angelina Weld Grimke", PAL: Perspectives in American Literature – A Research and Reference Guide, California State University-Stanislaus
  • "Angelina Weld Grimke", Modern American Poetry Profile, University of Illinois, Urbana-Champaign