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Brown, who died early this month (February 7, 1989) at the age of 87 could not strictly speaking be considered to have been a member of the great constellation of Harlem Renaissance intellectuals, writers and artists who were gathered together on and off in Harlem between 1925 (the date of the publication of The New Negro edited by Alain Locke, an anthology of writings, African-American and African art giving cultural expression to this particular historical moment) and 1929 (the Stock-Market crash indicating the deep crisis of monopoly capitalism), nonetheless, in many ways, the cultural determinants informing this first black literary movement of the twentieth-century, were also central in mapping the cultural and political geography of Brown's poetic imagination. Modernism and the Harlem Renaissance (1987), p. Gives forth the deformative sounds of Ma Rainey. I believe, when the intellectual poet Brown. The indisputably modern moment in Afro-American discourse arrives, To rendering the actual folk voice in its simple, performative eloquence. What replaces this drive is an unashamed and bold dedication. Necessity to produce only recognizably standard forms. Gone in the work of poet like Sterling Brown is the felt Sterling A Brown, The Last of The Harlem Renaissance Greats: In Memoriam