Neale Hurston, John Davis, and Aaron Douglas. The failed publication is now reportedly regarded in some circles as a key cultural moment of the Harlem Renaissance. 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. 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. 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. 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. 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. 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. Criticism Her work during this period of her life was praised by her fellow writers in Harlem. The playwright Theodore Ward declared that Bennett's work was one of the "most promising of the poets out of the Harlem Renaissance" and also called Bennett a "dynamic figure... noted for her depth and understanding." J. Mason Brewer, an African-American folklorist and storyteller, called Bennett a "nationally known artist