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This updated edition of 'Harlem Renaissance' brings to a new generation of readers one of the great works in African American history and indeed a landmark work in the field of American studies.

Harlem Renaissance. --- African Americans --- African American arts --- American literature --- Intellectual life --- African American authors --- History and criticism. --- Harlem (New York, N.Y.) --- New York (N.Y.) --- Harlem Renaissance --- History and criticism

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"Women artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier. Including black and white illustrations, this book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Contributors to this first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers. In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era"-- "Women artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier. Including seventy-two black and white illustrations, this book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Contributors to this first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers. In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era"--

African American women artists. --- Harlem Renaissance. --- Harlem (New York, N.Y.) --- New York (N.Y.) --- Intellectual life

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"An American Friendship narrates the development of cultural pluralism, an idea that emerged in the early twentieth century to explain and shape American diversity, as told through the unlikely friendship of two philosophers, Jewish immigrant and Zionist leader Horace Kallen, and African American Alain Locke, intellectual godfather of the Harlem Renaissance"--

Cultural pluralism --- History --- Locke, Alain, --- Influence. --- identity politics, origins of multiculturalism, zionism in the harlem renaissance, black-jewish relations, American pragmatist philosophers.

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"With the publication of Cane in 1923 Jean Toomer emerged one of the most widely read, and now one of the most widely studied, authors of the Harlem Renaissance. Honored as a bold literary experimenter and as an eyewitness reporter of the abuses and outrages of Jim Crow Georgia, Toomer himself wished to evade being considered an African American writer and instead sought appreciation as a poet and idealist. While those qualities of his work have attracted significant critical attention, and his biography has been explored to illuminate them, his interest in class struggle and revolution have been eclipsed. In a series of articles that culminate in this book, Barbara Foley brings those aspects back into the light and into close focus, showing how often and how deeply he thought about them and how fierce and enduring they were. Without making the error of ignoring Toomer's artistic accomplishments, Foley shows how much history surrounds and informs Toomer's work, especially in Cane. In his journals from the time when he was writing Cane, Toomer wrote, "It is a symptom of weakness when one must bring God, equality, liberty, and justice to one's support. It follows that the working classes, particularly the dark-skinned among the working classes, are still weak. . . . If the Negro, consolidated on race rather than class interests, ever become strong enough to demand the exercise of Power, a race war will occur in America." This book examines Toomer's sense of "equality, liberty, and justice," of "nation," the South," and "America," to reveal elements in his writings that ignite them"-- "The 1923 publication of Cane established Jean Toomer as a modernist master and one of the key literary figures of the emerging Harlem Renaissance. Though critics and biographers alike have praised his artistic experimentation and unflinching eyewitness portraits of Jim Crow violence, few seem to recognize how much Toomer's interest in class struggle, catalyzed by the Russian Revolution and the post-World War One radical upsurge, situate his masterwork in its immediate historical context. In Jean Toomer: Race, Repression, and Revolution, Barbara Foley explores Toomer's political and intellectual connections with socialism, the New Negro movement, and the project of Young America. Examining his rarely scrutinized early creative and journalistic writings, as well as unpublished versions of his autobiography, she recreates the complex and contradictory consciousness that produced Cane. Foley's discussion of political repression runs parallel with a portrait of repression on a personal level. Examining family secrets heretofore unexplored in Toomer scholarship, she traces their sporadic surfacing in Cane. Toomer's text, she argues, exhibits a political unconscious that is at once public and private. "--

Harlem Renaissance --- Modernism (Literature) --- New Negro Movement --- Renaissance, Harlem --- African American arts --- American literature --- African American authors --- Toomer, Jean, --- Toomer, N. Jean, --- Pinchback, Eugene, --- Pinchback, Nathan Eugene, --- Criticism and interpretation. --- Toomer, Jean --- Criticism and interpretation --- United States --- LITERARY CRITICISM / American / African American. --- SOCIAL SCIENCE / Ethnic Studies / African American Studies. --- Harlem Renaissance.

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Eric Walrond (1898-1966) was a writer, journalist, caustic critic, and fixture of 1920s Harlem. His short story collection, Tropic Death, was one of the first efforts by a black author to depict Caribbean lives and voices in American fiction. Restoring Walrond to his proper place as a luminary of the Harlem Renaissance, this biography situates Tropic Death within the author's broader corpus and positions the work as a catalyst and driving force behind the New Negro literary movement in America.James Davis follows Walrond from the West Indies to Panama, New York, France, and finally England. He recounts his relationships with New Negro authors such as Countée Cullen, Charles S. Johnson, Zora Neale Hurston, Alain Locke, and Gwendolyn Bennett, as well as the white novelist Carl Van Vechten. He also recovers Walrond's involvement with Marcus Garvey's journal Negro World and the National Urban League journal Opportunity and examines the writer's work for mainstream venues, including Vanity Fair. In 1929, Walrond severed ties with Harlem, but he did not disappear. He contributed to the burgeoning anticolonial movement and print culture centered in England and fueled by C. L. R. James, George Padmore, and other Caribbean expatriates. His history of Panama, shelved by his publisher during the Great Depression, was the first to be written by a West Indian author. Unearthing documents in England, Panama, and the United States, and incorporating interviews, criticism of Walrond's fiction and journalism, and a sophisticated account of transnational black cultural formations, Davis builds an eloquent and absorbing narrative of an overlooked figure and his creation of modern American and world literature.

American literature --- Harlem Renaissance. --- New Negro Movement --- Renaissance, Harlem --- African American arts --- English literature --- Agrarians (Group of writers) --- Caribbean American authors --- African American authors --- Walrond, Eric, --- Authors, American --- Guyanese Americans --- Walrond, Eric --- Biography