Introduction

Summary

The Harlem Renaissance – what a complex and conflicted aura the term evokes! People can scarcely agree on what it means. A vogue. A blossoming. A failure. A foundation. A few stars. A movement of black self-assertion against white supremacy, connected with anticolonial movements worldwide, or a local phenomenon gradually co-opted and destroyed by white voyeurs, cultural colonialists taking advantage of black naifs, opportunists, or weak-kneed bourgeois artists. A post hoc invention of cultural historians, now abundantly exploited by publishers, New York tour guides, and even, of late, real estate investors.

What is commonly called the Harlem Renaissance today was known as the Negro Renaissance in its own time. “Negro”: a word of pride, of strong vowels and a capital N. The thick diagonal strode forward and put its foot down. “Negro” no longer signifies to most people what it did in the early to mid-twentieth century. A Spanish derivative, it did not exactly mean “Black” in American English – it was sui generis, a word only used to indicate persons of the slightest (non-“white”) sub-Saharan African descent, regardless of color, but it seized on the essential meaning of the metaphor of the one mighty “drop [of blood]” that made one “black.” Racial segregation was racing toward its apogee. Race was the word of the hour. Race suicide. Race purity. Race man. Race woman. The Passing of the Great Race. “Arise, O Mighty Race!” Enter the New Negro.