Abstract
This paper offers close textual readings of poems from James Weldon Johnson's 1927 collection, God's Trombones, uncovering in Johnson's language resonant clues to his thought. In contrast to his disaffected novel The Autobiography of an Ex-colored Man (1912), Johnson's sermon–poems, through reengagement with the folkways of traditional African American worship, forge out a more potent creative space. As hybrid works, they diminish the gap between text and speech, and demand careful and lively ways of reading. My argument situates Johnson's practice in the contexts of sound recording, ragtime, and programmes for African American uplift at the turn of the century.
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