It seems to me that when those authors were writing (and earlier poets like Langston Hughes), the problems of assimilation and alienation were both more apparent (as in "WTF!!!") and at the same time more vague (as in "WTF???"). It demanded the attention of artists. It was the same era that included the most creative period in the development of Jazz and the Civil Rights Movement itself. I wonder if Asian-Americans find themselves at something of a similar juncture.
Ultimately, and unfortunately, I think the direction of African-American cultural identity ended up following in the direction Yang has set for himself. Yang says:
"The first step toward self-reform is to admit your deficiencies. Though my early adulthood has been a protracted education in them, I do not admit mine. I’m fine. It’s the rest of you who have a problem. Fuck all y’all."
He's obviously a bit tongue-in-cheek here, since earlier he wondered if his "defiance is just delusional, self-glorifying bullshit that artists have always told themselves to compensate for their poverty and powerlessness." I'm sure he's (ironically) comparing himself to African Americans (otherwise, why the black vernacular "Fuck all y'all"?).
Something he touches on but doesn't really flesh-out is the problem with defining yourself in the negative -- that is, defining yourself in terms of things you won't do because you've already established a social identity where you aren't that thing. When he says "I love this hard and unyielding part of myself more than any other reward the world has to offer a newly brightened and ingratiating demeanor, and I will bear any costs associated with it," I hear the the constant refrain in the African-American community to "keep it real", where what this really means is "don't range widely." And incidentally, this is also recognized by African-Americans -- see Dave Chappelle's sketch "When Keeping It Real Goes Wrong."
(btw, I'm an African American software engineer, so issues of race and culture are unavoidably fascinating to me)