Following the praxes of black aesthetics, the African American author John Oliver Killens acknowledges a commitment to the black community. In Youngblood (1954) he focuses on the socioeconomic situation of his characters and their constant struggle against racism. For instance, Joseph Youngblood resists the abuse of a hostile white employer resulting in loss of life. His wife, Laurie, is forced to whip her son in the presence of white police officers. The lack of freedom constricts the development of the black community.
According to theoretician Stephen Henderson, liberation constitutes the leitmotif of black literature. Consistent with this is Killen’s portrayal of the gradual development of his characters’ awareness and their quest for self-determination and political freedom in Youngblood. Big Mama encourages the younger generations to struggle against lynching, starvation and exploitation. Richard Myles teaches the history of the black experience and instills a sense of unity within the community. As a result, Rob Youngblood motivates his coworkers to organize unions, and the idea of forming a chapter of the NAACP arises. During the historical period in which the story takes place black religion was central to the black struggle for freedom. For this reason the analysis of the novel involves particular references to black theological thought.
In summary, black aesthetically speaking, Youngblood, as an inspiring narrative, offers guidance in furtherance of the liberation and empowerment of the black community, evidencing the interconnectedness between the writer, his literary work and actual life.