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The 1920s were the time when the American engaged in testing the moral and social constraints until then complied with by the old norms of behavior. The black man was accepted as part, or an appropriate symbol of, nature rather than the ignoble or untouchable. Black writers took this situation to achieve their own ends, utilizing their own thoughts, attitudes, and ideas from the inside, that is, the black perspective. The poetic style of McKay was a very unusual one, different from that of contemporary black writers who at his time wrote with the commonly-shared view on literature: blackness. Parody was a way of addressing such a seemingly unbalanced style in his poetry as McKay was preparing to demonstrate that he would be acting like a non-black. His poetry was found very playful even though it looked very serious in socio-political issues. Blackness is thereby expressed in non-black form - the regular rhyming pattern just as seen in Shakespearean sonnets. Imitation of the Shakespearean sonnet characterizes some interactions, either derisive or serious, between the old and the new. His poetic style refers to “the cultural politics of parody” which helps contribute to the black parody of what McKay undoubtedly did hope for in different ways: traditional form and dictions with some interesting proletarian verse, and expressions of spiritual anguish in black beauty and white ugliness.