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 New Voices
on the Harlem Renaissance

................. 11456$ $$FM 10-27-05 10:33:39 PS PAGE 1

................. 11456$ $$FM 10-27-05 10:33:40 PS PAGE 2
 New Voices
on the Harlem
Renaissance
Essays on Race, Gender,
and Literary Discourse

Edited by
Australia Tarver and
Paula C. Barnes

Madison • Teaneck
Fairleigh Dickinson University Press

................. 11456$ $$FM 10-27-05 10:33:40 PS PAGE 3

 䉷 2006 by Rosemont Publishing & Printing Corp.

All rights reserved. Authorization to photocopy items for internal or personal

use, or the internal or personal use of specific clients, is granted by the copy-
right owner, provided that a base fee of $10.00, plus eight cents per page, per
copy is paid directly to the Copyright Clearance Center, 222 Rosewood Drive,
Danvers, Massachusetts 01923. [0-8386-4073-7/06 $10.00 Ⳮ 8¢ pp, pc.]

Associated University Presses

2010 Eastpark Boulevard
Cranbury, NJ 08512

The paper used in this publication meets the requirements of the American
National Standard for Permanence of Paper for Printed Library Materials
Z39.48-1984.

Library of Congress Cataloging-in-Publication Data

New voices on the Harlem Renaissance / edited by Australia Tarver and Paula
C. Barnes.
p. cm.
Includes bibliographical references and index.
ISBN 0-8386-4073-7 (alk. paper)
1. American literature—African American authors—History and criticism.
2. American literature—New York (State)—New York—History and
criticism. 3. African Americans—New York (State)—New York—
Intellectual life. 4. American literature—20th century—History and
criticism. 5. Harlem (New York, N.Y.)—Intellectual life—20th century.
6. African Americans in literature. 7. Harlem Renaissance. I. Tarver,
Australia, 1942– II. Barnes, Paula C., 1952–
PS153.N5N47 2005
810.9⬘89607307471—dc22 2005017149

printed in the united states of america

................. 11456$ $$FM 10-27-05 10:33:40 PS PAGE 4

 In Memory of Darwin T. Turner
who helped set the course
for the study of African American literature
and mentored us in the process

................. 11456$ $$FM 10-27-05 10:33:41 PS PAGE 5

................. 11456$ $$FM 10-27-05 10:33:41 PS PAGE 6
 Contents

List of Illustrations 9
Acknowledgments 11

Introduction 17

Part I: Speaking for Race and Art: New Negro

Writers Claiming Space in the Modernist Project
What Was Africa to Him?: Alain Locke, Cultural
Nationalism, and the Rhetoric of Empire During the New
Negro Renaissance 33
John C. Charles
‘‘Feminine Calibans’’ and ‘‘Dark Madonnas of the
Grave’’: The Imaging of Black Women in the New Negro
Renaissance 59
Emily J. Orlando

Part II. Identity, Sexuality, and Hybridity

in Fiction and Poetry
Dorothy West: Harlem Renaissance Writer? 99
Paula C. Barnes
‘‘My House and a Glimpse of My Life Therein’’:
Migrating Lives in the Short Fiction of Jessie Fauset 125
Australia Tarver
Wandering Aesthetic, Wandering Consciousness:
Diasporic Impulses and ‘‘Vagrant’’ Desires in Langston
Hughes’s Early Poetry 151
Nicholas M. Evans
Decadence, Sexuality and the Bohemian Vision of
Wallace Thurman 194
Granville Ganter
No Heaven in Harlem: Countee Cullen and His
Diasporic Doubles 214
David Jarraway

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8 CONTENTS

Part III. Imaging and Imagery in Poetry and Fiction

Rereading Langston Hughes: Rhetorical Pedagogy in
‘‘Theme for English B,’’ or the Harlem Renaissance in the
Composition Classroom 241
Frank E. Perez
‘‘By the pale dull pallor of an old gas light’’: Technology
and Vision in Langston Hughes’s ‘‘The Weary Blues’’ 253
Steven A. Nardi
Getting the Full Picture: Teaching the Literature and the
Arts of the Harlem Renaissance 269
Anne E. Carroll

Notes on Contributors 289

Index 292

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 Illustrations

Aaron Douglas, cover of Opportunity, December, 1925 60

Winold Reiss, ‘‘The Brown Madonna,’’ frontispiece, The
New Negro, 1925 64
Aaron Douglas, cover of Opportunity, October, 1925 69
Aaron Douglas, ‘‘Sahdji,’’ The New Negro, 1925 71
Winold Reiss, ‘‘From the Tropic Isles,’’ The New Negro,
1925 81
Winold Reiss, ‘‘Mary McLeod Bethune,’’ The New Negro,
1925 83
Winold, Reiss, ‘‘Elise J. McDougald,’’ The New Negro,
1925 84
Gwendolyn Bennett, cover of Opportunity, July, 1926 85
Gwendolyn Bennett, cover of Opportunity, January, 1926 86
Lois Mailou Jones, ‘‘Jennie,’’ 1943 88

................. 11456$ ILLU 10-27-05 10:33:45 PS PAGE 9

................. 11456$ ILLU 10-27-05 10:33:45 PS PAGE 10
 Acknowledgments

THIS PROJECT HAS INCLUDED THE ADVICE, SUPPORT, AND HELP FROM
a number of people to whom we are very grateful. We benefited
extensively from the advice and direction of scholars Sharon M.
Harris, Alan Shepard, Simon Joyce, Linda K. Hughes, and Rich-
ard Enos. For aid in researching and locating copyright owners
and sources for illustrations we are grateful to authors Maureen
Honey, Venetria Patton, and Anne Carroll, who responded
quickly and precisely, despite busy schedules. We thank Jimmy
N. Webb, Copyright Clearance Coordinator, our library ‘‘angel,’’
at the Jean and Alexander Heard Library, Vanderbilt University,
who went to great lengths to help us identify copyright sources.
We appreciate the generous and expeditious consent by the
Urban League to use illustrations from Opportunity. We owe a
special thanks to Sherin Henderson, Peabody Librarian at the
William R. and Norma B. Harvey Library, Hampton University,
for the digital versions of two illustrations from Opportunity,
and Eileen Johnston, Registrar of the Howard University Gallery
of Art, for her generous agreement to loan us a slide of an art
piece by Lois Mailou Jones. Identifying and locating illustrations
brought us closer to the possibility of including them in this col-
lection, but the real credit for transforming a number of the il-
lustrations into camera-ready form goes to Nancy White,
administrative secretary in the English Department at Texas
Christian University, Damon Mack, Australia’s nephew, and
Austin Lingerfelt, whose photoshop skills far exceeded our ex-
pectations.
We received manuscript support from Danielle Gueguen, a
student assistant at TCU who reformatted and typed sections of
the manuscript with amazing speed, Susan Layne, a TCU ad-
ministrator, who patiently retyped and revised the most difficult
sections of the manuscript, and Jennifer Hritz, a doctoral gradu-
ate who seemingly performed miracles in reformatting text.
Support from family and friends and advisors must also be rec-
ognized. Australia appreciates the assurance of her teenaged

11

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12 ACKNOWLEDGMENTS

cousin, Kwame Webster, who assured her that computer tech-

nology did, indeed, include software called photoshop. Special
thanks goes to Australia’s husband, Duane Urquhart, who as-
sisted with the numerous mailings, computer supplies, xerox-
ing, and who bestowed comfort and spiritual support during
stressful moments. Paula thanks Carolyn Mitchell for her assis-
tance in editing during the early stages of manuscript prepara-
tion, and Australia, who had to go it alone at the end. We thank
Harry Keyishian, the director of Fairleigh Dickinson University
Press, the readers of the manuscript, and Christine Retz, the
managing editor of Associated University Presses, for their sup-
port, direction, and advice.
We both want to thank all those who responded to our call for
papers and the contributors who were so patient and under-
standing during this lengthy process. We have learned in this
process, gleaned from Harlem Renaissance models and all who
helped us, that forming a community of writers benefits all con-
cerned.
* * *

Permissions/Credits
‘‘Incident,’’ ‘‘Atlantic City Waiter,’’ ‘‘To a Brown Girl,’’ by
Countee Cullen. Published in Color 䉷 1925 by Harper and
Brothers, renewed 1953 by Ida M. Cullen. ‘‘Cor Cordium,’’ ‘‘The
Wind Bloweth Where It Listeth,’’ ‘‘Advice to a Beauty,’’ ‘‘Hun-
ger,’’ by Countee Cullen. Published in Copper Sun 䉷 1927 by
Harper and Brothers, renewed in 1955 by Ida M. Cullen. ‘‘The
League of Youth Address’’ by Countee Cullen. Published in Cri-
sis 26 (1923), renewed 1951 by Ida M. Cullen. ‘‘Negro Poetry’’ by
Countee Cullen. Published in Crisis 28 (1928), renewed 1956 by
Ida M. Cullen. All lines from One Way to Heaven by Countee
Cullen. Published 1932 by Harper and Brothers, renewed 1959
by Ida M. Cullen. All of the above reprinted by permission of
GRM Associates, Inc., agents for the estate of Ida M. Cullen.
‘‘Theme for English B’’ by Langston Hughes. Reprinted from
The Collected Poems of Langston Hughes by Langston Hughes,
copyright 䉷 1994 by the Estate of Langston Hughes, by permis-
sion of Alfred A. Knopf, a Division of Random House.
‘‘Danse Africaine,’’ ‘‘Poem[1] For the portrait of an African boy
after the manner of Gauguin,’’ ‘‘Our Land,’’ ‘‘Jazzonia,’’ ‘‘Poem

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 ACKNOWLEDGMENTS 13

[2] (to F.S.),’’ ‘‘Summer Night,’’ ‘‘Harlem Night Club,’’ ‘‘Old

Walt,’’ by Langston Hughes. Reprinted from The Collected
Poems of Langston Hughes by Langston Hughes, copyright 䉷
1994 by the Estate of Langston Hughes, by permission of Alfred
A. Knopf, a Division of Random House.

Permission to photograph covers of December, 1925 and Octo-

ber, 1925 Opportunity, Journal of Negro Life, courtesy of Rich-
ard Roberts, History and Genealogy, Connecticut State Library,
Hartford, Connecticut.

‘‘Decadence, Sexuality and the Bohemian Vision of Wallace

Thurman’’ by Granville Ganter from Multi-Ethnic Literature of
the United States 28.2 (summer 2003) 83–104, reprinted cour-
tesy of Veronica Makowsky, editor, Multi-Ethnic Literature of
the United States.

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................. 11456$ $ACK 10-27-05 10:33:49 PS PAGE 14
 New Voices
on the Harlem Renaissance

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................. 11456$ HFTL 10-27-05 10:33:52 PS PAGE 16
 Introduction

Harlem is a place—a city really—where almost anything any

person could think of to say goes on, . . . it must escape any
blank generalization simply because it is alive, and changing
each second with each breath any of its citizens take.
—‘‘City of Harlem,’’ LeRoi Jones [Amiri Baraka]

THE EVOLUTION OF THE GEOGRAPHIC AND HISTORICAL HARLEM

mirrors a kind of parallel unfolding in the literary criticism and
theory of the renaissance associated with the Harlem name. Just
as Harlem has developed from the seventeenth century Dutch
Haarlem to the politically and economically favored locale of a
former president and middle-class blacks and whites during the
twenty-first century, so has the literary discourse changed over
time from New Criticism to a plethora of discourses shaped by
intersections of race, class, and gender; identity and sexuality;
and theories of empire, rhetoric, and pedagogy.1 While its aim is
to focus primarily on selected literary criticism rather than on
the other arts of the Harlem Renaissance, this collection of es-
says offers what we believe is a nuanced response to the changes
in the way literature is read: the discourse in these essays exem-
plifies a recasting of the past though a current critical lens. The
volume’s title reflects the layered perspectives we offer. Race is
an overarching perspective here, intersecting with analyses of
gender, sexuality, class, and nationality. While race is used to
implant its importance for Harlem Renaissance writers, it is also
presented to interrogate interracial bigotry, color consciousness,
and elitism. Diana Fuss constructs multiple positions of essen-
tialism, suggesting that its variability or discursiveness allows
for a pluralization of the word. Similarly, recognizing the de-
bates over essentialism by such theorists as Kwame Anthony
Appiah, Houston Baker, and Henry Louis Gates, these new liter-
ary voices nevertheless invoke multiple ‘‘race cards’’—biological,
psychological, pedagogical, sociological—as critical tools to in-
terrogate Harlem Renaissance writers, who used race as a self-

17

................. 11456$ INTR 10-27-05 10:33:55 PS PAGE 17

18 INTRODUCTION

referential project to advance their own celebration (as Langston

Hughes and Helene Johnson did), critique (Alain Locke), and/or
interrogation (Wallace Thurman, Dorothy West, Jessie Fauset) of
blacks against preconceived, nineteenth-century notions of ‘‘ac-
ceptable’’ behavior.2 As Alain Locke, the dean or ‘‘midwife’’ of
the Renaissance, suggested with the term ‘‘New Negro’’ in his
promotional Survey Graphic issue, race and racial awareness
was at the center of being able to declare oneself ‘‘reborn’’ or
transformed from the ‘‘sambo’’ images of blacks that dominated
the media during the turn of the century.3 With Locke at the
helm, the term, ‘‘New Negro,’’ seemed to announce to the white
world in particular, in the words of an African proverb, ‘‘It is not
what you call me, but what I answer to.’’ For Locke and other
Harlem writers, the black arts were to be the vehicle through
which black racial images could be elevated and transformed.
This transformation, according to Walter Benn Michaels, was a
divestiture of the myth that black identity was achieved by
mimicking whites and devising a protective mask.4
The intersections of race and gender are also viewed discur-
sively in this collection of essays, as they suggest how New
Negro women created literary spaces for themselves both indi-
vidually and communally, sometimes in ways that countered
the literary and personal projects of male writers. Indeed, as Dor-
othy West observed in an interview, male inclusion of women
writers sometimes bordered more on the sexual (and racial)
rather than the artistic. West reluctantly admitted to Deborah
McDowell that she felt that young women (as aspiring artists) in
New York during the 1920s ‘‘were so helpless,’’ subject to the
unwanted advances of men. West explains that she and her
cousin, Helene Johnson, were propositioned, supposedly by the
very men to whom they looked for artistic support and guid-
ance.5 Thanks to Cheryl Wall, Deborah McDowell, Thadious
Davis, Verner Mitchell, Gloria T. Hull, Ann duCille and others,
New Negro women are being placed at the critical center of Har-
lem Renaissance discourse.6 For example, it is Wall, in The
Women of the Harlem Renaissance, who questions the periodi-
zation of the era, suggesting that to confine it to a fifteen- or
twenty-year time frame excludes some of the women writers
(10–11). Joyce Warren and Margaret Dickie, in their edited vol-
ume, Challenging Boundaries: Gender and Periodization (2000),
contest this issue by pointing to a ‘‘white male literary tradi-
tion,’’ with its static notions of literary periods as an ‘‘unyield-

................. 11456$ INTR 10-27-05 10:33:56 PS PAGE 18

 INTRODUCTION 19

ing’’ standard in classrooms and search committees (ix). In

Challenging Boundaries, Crystal Lucky follows Wall’s lead in a
discussion of Harlem Renaissance women writers such as Be-
atrice Murphy, Mary Effie Lee Newsome, and Anita Scott Cole-
man—all of whom extend and challenge the traditional Harlem
Renaissance boundaries of time, geography, and the canonical
preference for male writers. Lucky reminds us that reading
women during the Harlem Renaissance was largely governed by
the profile of the New Negro constructed in the seminal text of
the period, Alain Locke’s anthology, The New Negro (1925). In
this light, Lucky’s recovery work involving Murphy, Newsome,
and other women helps to redefine the role and presence of ig-
nored New Negro women whose writings extend beyond the
time and locale of this period. Ultimately, like the contributors
to this volume, Anne Carroll and Emily Orlando, Lucky calls for
a holistic restructuring of Harlem Renaissance studies. She ar-
gues that teachers should lead the way in selecting and recover-
ing women writers like Murphy for classroom work so that
students can see ‘‘how periodization and geography shift when
black women writers are considered’’ (92). As if in answer to
Lucky’s call for revision, Venetria Patton and Maureen Honey
also redress the imbalance of works between New Negro men
and women in their anthology, Double-Take: A Revisionist Har-
lem Renaissance Anthology (2001).
If the recovery of New Negro women helps to redefine the pe-
riod and locale of this era, the examination of the intersections
of sexuality, race, and writing also points to the multiple intent
of this volume. ‘‘Sex[uality] in the text,’’ as Anne duCille puts it
in The Coupling Convention: Sex, Text and Tradition in Black
Women’s Fiction (1997), is important for exploring and recon-
figuring the identities of New Negro writers and for privileging
black homosexuality, a major omission in African American lit-
erary discourse according to Suzette Spencer in ‘‘Swerving at a
Different Angle and Flying the the Face of Tradition: Excavating
the Homoerotic Subtext in Home to Harlem.’’ Spencer main-
tains that an examination of homosexuality’s effects ‘‘on the
narrative content and structure of particular artists’ works’’
(164) would prompt a reevaluation of some Harlem Renaissance
texts. Further, to explore the homoeroticism of the black text,
Spencer reminds us, is to critique and give voice to the same he-
gemony that silences black men and women (165). While Spen-
cer and Michael L. Cobb in ‘‘Insolent Racing, Rough Narrative:
The Harlem Renaissance’s Impolite Queers’’ blame the erasure

................. 11456$ INTR 10-27-05 10:33:56 PS PAGE 19

20 INTRODUCTION

of some Harlem Renaissance texts on the ‘‘homophobia of liter-

ary critics,’’ the essays in this collection by Nicholas Evans,
Granville Ganter, and David Jarraway are conversant with both
Spencer and Cobb in that they explore the hybrid manifestations
of homosexuality, the literary subversion and the communal
constraints on Langston Hughes, Wallace Thurman, and Coun-
tee Cullen.7
It is not the intent of this volume to cover all genres and as-
pects of the Harlem Renaissance, although one contributor,
Anne Carroll, reminds us of the importance of a multigenre,
multidisciplinary approach in teaching the Harlem Renaissance
to undergraduates and graduate students. While this collection
is by no means inclusive of all Harlem Renaissance writers who
need attention, its very selectivity may highlight the necessity
to rethink or reassess even some of the established writers, given
the possible application of critical perspectives in gay and les-
bian studies, cultural and multicultural studies, feminist stud-
ies, subaltern and postcolonial studies, and transatlantic studies.
The wealth of publications on this era underscores the contin-
ued interest in the era. A number of these publications are criti-
cal biogrphies and analyses of individual authors: Eleonore Van
Notten’s Wallace Thurman’s Harlem Renaissance (1994); Thad-
ious Davis’s Nella Larsen: Novelist of the Harlem Renaissance
(1994); Leon Coleman’s Carl Van Vechten and the Harlem Re-
naissance, A Critical Assessment (1998); or Verner Mitchell’s
This Waiting for Love: Helene Johnson, Poet of the Harlem Re-
naissance (2000). Scholars have also continued to publish an-
thologies of individual authors with accompanying critical
commentary. Two examples are Gerald Early’s My Soul’s High
Song: The Collected Writings of Countee Cullen, Voice of the
Harlem Renaissance (1991) and Robert B. Jones’s Jean Toomer:
Selected Essays and Literary Criticism (1996). We cannot over-
look the reference sources that have been published. Cary Wintz’s
seven volumes on the Harlem Renaissance are a series of re-
prints of selected criticism organized by decades through the
1980s. The purpose of these volumes is to provide a central
source for previously inaccessible documents.8 Other reference
works include Lorraine Elena Roses and Ruth Elizabeth Ran-
dolph’s Harlem Renaissance and Beyond: Literary Biographies
of 100 Black Women Writers: 1900–1945 (1990).
What is noticeably absent from the list of titles above is more
recent, broad based literary criticism. This volume of selected
essays reflects the need for more recent criticism in theoretical

................. 11456$ INTR 10-27-05 10:33:57 PS PAGE 20

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