Bennett was a prominent figure and best known for the poetry and writing she produced that had a direct influential impact on the motives and essence of the Harlem Renaissance. Some ideologies that her works brought into perspective include the emphasis of Racial pride and the reminiscence of African values, such as music and dance. One of her most influential poems, Fantasy,[13] not only emphasized the racial pride of African-Americans, but also for women in general by shining light on possibilities that may not have been necessarily attainable for women during this time period.[14]
When Bennett left Paris in 1926, she headed back to New York to become the assistant to the editor for Opportunity.[15] During her time at Opportunity, she received the Barnes Foundation fellowship for her work in graphic design and the fine arts. Her artwork was also used for Crisis and Opportunity covers with themes that included diverse races, ages, classes, and/or genders allowing Bennett to display of the beauty in diversity.[1] Later, during the same year, she returned to Howard University once again to teach fine arts. While assistant to the editor at Opportunity she published articles discussing topics involving literature and the fine arts, and her column titled "The Ebony Flute" (1926–28)[6] distributed news about the many creative thinkers involved with the Harlem Renaissance.[16]
In 1926, she was also a co-founder and editor of the short-lived literary journal Fire!![17] Conceived by Langston Hughes and Richard Nugent, Bennett served as an editor for the single edition of Fire!!, along with Zora Neale Hurston, John Davis, and Aaron Douglas.[17] The failed publication is now reportedly regarded in some circles as a key cultural moment of the Harlem Renaissance.[17]
Finding inspiration through William Rose Bennet's poem "Harlem", she founded and named her self-proclaimed literary column "The Ebony Flute", another way in which Bennett was able to impact the Harlem Renaissance. "The Ebony Flute" was another contribution that Bennett gave to the Harlem Renaissance, as she emphasized Harlem culture and social life.[18] To keep updated with news, Bennett counted on her network contacts to foster the thriving and diverse environment that the Harlem Renaissance had to offer.[1] Bennett found ways to influence and contribute to her community without even publishing her own assemblage of poetic and literary works.
Along with her emphasis on racial pride and her literary column, "The Ebony Flute", Bennett also shared a romantic vision of being African through romantic lyric. One way she expressed and shared this vision was through "To a Dark Girl", one of her more famous works of poetry. Creating an empowering aspect to African-American women features, Bennett's imagery and comparisons to queens are used to influence African-American women in embracing their blackness.[19] Bennett admired African-American artists and they made her feel proud to be part of that community, despite experiencing judgement from whites in the past.[20]
Although homosexuality was heavily criticized at the time, it had become common for both homosexual and straight female poets to write of lesbianism, and this included Bennett. Female, African-American poets had never before written about this topic, and even though it was considered taboo then, she and many other poets inspired other women to follow in their footsteps several years later.[21]
Harlem Circles, created by Bennett, were intended to be a place for writers to gather, share ideas, and spark inspiration. Over a period of eight years, some of the most famous Harlem Renaissance figures, such as Wallace Thurman and Langston Hughes met up in these groups and produced significant works as a result.[22]
