In this book from the #1 New York Times bestselling series, learn how this vibrant Black neighborhood in upper Manhattan became home to the leading Black writers, artists, and musicians of the 1920s and 1930s. Travel back in time to the 1920s and 1930s to the sounds of jazz in nightclubs and the 24-hours-a-day bustle of the famous Black neighborhood of Harlem in uptown Manhattan. It was a dazzling time when there was an outpouring of the arts of African Americans--the poetry of Langston Hughes; the novels of Zora Neale Hurston; the sculptures of Augusta Savage and that brand-new music called jazz as only Duke Ellington and Louis Armstrong could play it. Author Sherri Smith traces Harlem's history all the way to its seventeenth-century roots, and explains how the early-twentieth-century Great Migration brought African Americans from the deep South to New York City and gave birth to the golden years of the Harlem Renaissance. With 80 fun black-and-white illustrations and an engaging 16-page photo insert, readers will be excited to read this latest addition to Who HQ!

Published to accompany exhibition held at the Hayward Gallery, London, 19/6 - 17/8 1997.

The Harlem Renaissance was the most influential single movement in African American literary history. The movement laid the groundwork for subsequent African American literature, and had an enormous impact on later black literature world-wide. In its attention to a wide range of genres and forms – from the roman à clef and the bildungsroman, to dance and book illustrations – this book seeks to encapsulate and analyze the eclecticism of Harlem Renaissance cultural expression. It aims to re-frame conventional ideas of the New Negro movement by presenting new readings of well-studied authors, such as Zora Neale Hurston and Langston Hughes, alongside analysis of topics, authors, and artists that deserve fuller treatment. An authoritative collection on the major writers and issues of the period, A History of the Harlem Renaissance takes stock of nearly a hundred years of scholarship and considers what the future augurs for the study of 'the New Negro'.

By the time of his death in 1964, Carl Van Vechten had been a far-sighted journalist, a best-selling novelist, a consummate host, an exhaustive archivist, a prescient photographer, and a Negrophile bar non. A white man with an abiding passion for blackness.

Harlem symbolized the urbanization of black America in the 1920s and 1930s. Home to the largest concentration of African Americans who settled outside the South, it spawned the literary and artistic movement known as the Harlem Renaissance. Its writers were in the vanguard of an attempt to come to terms with black urbanization. They lived it and wrote about it. First published in 1988, Black Culture and the Harlem Renaissance examines the relationship between the community and its literature. Author Cary Wintz analyzes the movement's emergence within the framework of the black social and intellectual history of early twentieth-century America. He begins with Booker T. Washington, W. E. B. Du Bois, and others whose work broke barriers for the Renaissance writers to come. With an emphasis on social issues--like writers and politics, the role of black women, and the interplay between black writers and the white community--Wintz traces the rise and fall of the movement. Of special interest is material from the Knopf Collection and the papers of several Renaissance figures acquired by the Harry Ransom Humanities Research Center at the University of Texas at Austin. It reveals much of interest about the relationship between the publishing world, its writers, and their patrons--both black and white.

This Very Short Introduction offers an overview of the Harlem Renaissance, a cultural awakening among African Americans between the two world wars. Cheryl A. Wall brings readers to the Harlem of 1920s to identify the cultural themes and issues that engaged writers, musicians, and visual artists alike.

In his introduction to the foundational 1925 text The New Negro, Alain Locke described the “Old Negro” as “a creature of moral debate and historical controversy,” necessitating a metamorphosis into a literary art that embraced modernism and left sentimentalism behind. This was the underlying theoretical background that contributed to the flowering of African American culture and art that would come to be called the Harlem Renaissance. While the popular period has received much scholarly attention, the significance of editors and editing in the Harlem Renaissance remains woefully understudied. Editing the Harlem Renaissance foregrounds an in-depth, exhaustive approach to relevant editing and editorial issues, exploring not only those figures of the Harlem Renaissance who edited in professional capacities, but also those authors who employed editorial practices during the writing process and those texts that have been discovered and/or edited by others in the decades following the Harlem Renaissance. Editing the Harlem Renaissance considers developmental editing, textual self-fashioning, textual editing, documentary editing, and bibliography. Chapters utilize methodologies of authorial intention, copy-text, manuscript transcription, critical edition building, and anthology creation. Together, these chapters provide readers with a new way of viewing the artistic production of one of the United States’ most important literary movements.