Marketing Fragment 6 X 10.5.T65

Cambridge University Press 978-0-521-85699-7 - The Cambridge Companion to the Harlem Renaissance Edited by George Hutchinson Index More information

IND EX

abolitionism, 41 Caribbean, the, 184– 7, 193–5 activism, 20–5, 86; see also radicalism British Colonies, 184–6 Africa, 51–3 , 207–8 British Guiana (Guyana), 186 origins in, 222 –3 Cuba, 45 Afro-Asian alliance, 180 Dominican Republic, 45 Anderson, Garland, Appearances, 64 Haiti, 45–6, 191 anticolonial movements, 4; see also and the Harlem Renaissance, 44–8 decolonization; nationalism Jamaica, 184–6, 193 Armstrong, Louis, 158 and the United States of America, 45–6 authenticity, 216, 221–4 , 225 Caribbean migrants, 184, 187 avant-garde, the, 74–6, 78–9 and the Harlem Renaissance, 47–51, 190, 195–7 Baldwin, James, on Cane (Toomer), 79 and radicalism, 189–91 Bell, Bernard, 100 in the United States of America, 46–8 Benjamin, Walter, 165 Caribbean writers, 196 –7 Bennett, Gwendolyn Central America ‘‘To a Dark Girl,’’ 136 Nicaragua, 45 ‘‘To Usward,’’ 133 Panama, 45, 195 Black and White (film), 50 and the United States of America, 45–6 Bland, Edward, ‘‘Social Forces Shaping the Christianity, 118 Negro Novel,’’ 249 and homosexuality, 118 –19 Bonner, Marita, 65 citizenship, 13–25, 115, 176 ‘‘On Being Young – a Woman – and cultural, 17–18, 24–5 , 117, 124 Colored,’’ 126–7 and the New Negro, 19 Bontemps, Arna, 100, 249 political, 13–17, 24, 124 Bradford, Roark, 244 Civil Rights Movement, 22–4, 25, Briggs, Cyril V., and The Crusader, 47, 49 89, 251 Brown, Sterling A., 99, 100, 199, 243 class, 242, 245–6 and dialect, 104 –5 black lower, 194 and the left, 245 and sexual desire, 161–2 ‘‘The Negro Character as Seen by White working, 39, 247 Authors,’’ 243– 4 Clay, Eugene, see also Holmes, Southern Road, 104–7 Eugene Clay ‘‘Odyssey of Big Boy,’’ 105–6 Cold War, 22, 23 Brown vs. Board of Education, 24 Coleman, Anita Scott, ‘‘Portraiture,’’ 137 Burke, Kenneth, 248 communism, 48–50, 122, 177, 179, Burrill, Mary P., Aftermath , 62 245–7 consumerism, 20 capitalism, 160 Cotter, Joseph Seamon, On the Fields of Carby, Hazel, 215 France, 62

265

INDEX

Cowdery, Mae V. and Claude McKay, 170–1 ‘‘A Brown Aesthete Speaks,’’ 127–9 and communism, 179 ‘‘Interlude,’’ 134 and The Crisis, 34–6 , 51–2 Cowley, Malcolm, 76 Dark Princess: A Romance, 172–4 , Exile’s Return, 242 177–80, 181 Crisis, The, 34–6 , 51–2 and decolonized marriage, 181 ‘‘Southern Terror,’’ 50 and drama, 58, 60 Crusader, The, 47, 49 Dusk of Dawn, 178 Cruse, Harold, 48 and folk-songs, 217 Cullen, Countee, 114 –16, 124, 150, 250 and internationalism, 177–9 and Christianity, 118 on Jean Toomer, 79 dedications by, 150 Pan-African Congress, 178–9 education of, 114 reviews in Harlem, 113 of Banjo (McKay), 171 and Harold Jackman, 118 of Home to Harlem (McKay), 170–1 ‘‘Heritage,’’ 52, 118–19, 222 of Nigger Heaven (Van Vechten), 37 and homosexuality, 118 –19 The Souls of Black Folk, 98, 117, 210 and John Keats, 116 –17 The Star of Ethiopia, 60 and Langston Hughes, 112–13 and Walter White, 93 love poetry, 117 dualism, 124 and sexuality, 119 , 152 African American, 114–16, 117–19 and subjectivity, 117 duCille, Ann, 215 ‘‘Tableau,’’ 153 Dunbar, Paul Laurence, 113, 114–16 ‘‘Uncle Jim,’’ 112 dialect poetry, 116 ‘‘Yet Do I Marvel,’’ 118 ‘‘high’’ poetry, 116 ‘‘Sympathy,’’ 129 decolonization, 41, 179–81 ‘‘To a Poet and a Lady,’’ 130 Delany, Clarissa Scott, ‘‘The Mask,’’ 133 ‘‘We Wear the Mask,’’ 115–16 desegregation, 23–5; see also Jim Crow; Dunbar-Nelson, Alice, 134, 143 segregation ‘‘I Sit and Sew,’’ 130, 133 detective novels, 15 5, 159–62, 163–4, 166, 167 Mine Eyes Have Seen, 62 and sexual desire, 163 –5 ‘‘The Proletariat Speaks,’’ 129 dialect, 99, 109 , 221 Caribbean, 194 Edmonds, Shepard Randolph, 67 James Weldon Johnson and, 103 Edwards, Brent Hayes, 42, 46, 172, 178 Sterling Brown and, 104–5 The Practice of Diaspora: Literature, Zora Neale Hurston and, 221 Translation, and the Rise of Black see also vernacular Internationalism, 31 dialect verse, 116, 186 Eliot, T. S., The Waste Land, 164 Dixon, Ruth, ‘‘Epitome,’’ 132–3 Ellison, Ralph, 247–9 Domingo, Wilfred Adolphus, 47 assessment of the Harlem Renaissance, Doran, Charles, 91 248–9 Douglass, Frederick, 13 and ‘‘New Criticism,’’ 248 drama, 57–68, 223 Emerson, Ralph Waldo, ‘‘The American and Alain Locke, 58–9 , 60, 64 Scholar,’’ 17 folk, 58–60, 62, 67 folk and protest, 60, 61, 64 Fauset, Jessie Redmon, 51, 82–94 political, 62 The Chinaberry Tree, 87, 88 protest, 58, 61, 63–4 , 68 Comedy: American Style, 42, 87–9 and W. E. B. Du Bois, 58, 60 and The Crisis, 35, 83–4, 86 white playwrights, 57 essays, 84 Du Bois, W. E. B., 42 and Europe, 43 and activism, 86 in Harlem, 84

266

INDEX

as a mentor, 83, 84 Gibson, Richard, 250 and the NAACP, 82–3 Gilroy, Paul, 42, 174 and the Pan-African Congress, 85 Giovanni, Nikki, ‘‘For Saundra,’’ 127 Plum Bun, 87–8 Gloster, Hugh, ‘‘The Van Vechten Vogue,’’ prose portraits, 85 239–40 There Is Confusion , 42, 83, 86 Gordon, Eugene, and the ‘‘nation-within- and W. E. B. Du Bois: The Brownies’ a-nation thesis,’’ 246–7 Book, 85–6 Graham, Shirley, 67 feminism, 19–20, 127, 129, 215 , 228 Gregory, Montgomery, 59 Fire!!, 37, 144–5, 201 Grimke´, Angelina Weld, 143 First World War, see World War I ‘‘The Black Finger,’’ 131 Fisher, Rudolph, 167 Rachel, 61 The Conjure Man Dies, 155, 162–7 Grossman, James, 206 ‘‘Miss Cynthie,’’ 162 Gurdjieff, Georges I., 78 and sexual desire, 155 The Walls of Jericho, 167 Hammett, Dashiell, The Maltese Falcon, folk culture, 18, 79, 105, 107, 213 163, 164 and the church, 109 Harlem, 6, 18, 31–3, 167, 187, 202, 205–7 folk sermons, 102– 4 and Caribbean immigrants, 187 James W eldon Johnson and, 102–4, 21 9 , 221 nightlife, 32–3, 141 Jean Toomer and, 99–102 ‘‘rent parties,’’ 33 Langston Hughes and, 107–10, 122 stage shows, 32–3 and the New Negro Movement, 96–9 ‘‘Vogue,’’ 3, 206 on the road, 105–7 white interest in, 33, 206 folk drama, 58– 60, 62, 67, 224–6 Harlem Renaissance, 1, 28, 30–1, 39, folklore, 60, 215–20, 223–4 96, 250 white, 218 ‘‘canon’’ of, 9 and white scholars, 219 –20, 222 and the Caribbean, 44–8 ‘‘folklore fiction,’’ 214–16, 226– 9 and Caribbean migrants, 47–51, 190, France, 5 195–7 franchise, 13 critics of, 240–2, 247, 248–50 women’s, 14 dates of, 6–8, 34 see also citizenship ‘‘failure’’ of, 8–9 Frank, Waldo, 74–6 , 77 and the Irish Renaissance, 43–4 ‘‘buried cultures,’’ 75 and the Jazz Age, 32–3 City Block, 76 magazines and newspapers, 34 and cultural criticism, 75 reconsiderations of, 250–1 Our America, 75–6 social and political institutions of, 33–4 Freud, Sigmund, 160 tension within, 36 Harlem Renaissance studies, 2 Gaines-Sheldon, Ruth Ada, 65 Harrison, Hubert, 48 Garvey, Marcus, 5, 44, 177 Holmes, Eugene Clay (also Eugene Clay), 245 black nationalism, 187–9 homosexuality, 19–20, 141–2, 149–51 and Liberia, 52–3 and Christianity, 118–19 and the New Negro, 14 in coded language, 150 Universal Negro Improvement Association, in double meanings, 150 187– 9 in gay readings, 151 Garveyism, 177 , 188 in multiple meanings, 151 Gates, Henry Louis, Jr., 30, 142 stereotypes of, 145–7 ‘‘The Trope of a New Negro and the the ‘‘pansy,’’ 147 Reconstruction of the Image of the the ‘‘wolf,’’ 147 Black,’’ 29 homosociality, 180–1 gender, 127–8 , 135, 137; see also women Howard University, 245

267

INDEX

Huggins, Nathan, 222 and dialect, 221 Harlem Renaissance, 251 Dust Tracks on a Road, 214, 228 Hughes, Langston, 99, 107–10, 114–16, 124, and ‘‘Feather Bed Resistance,’’ 226 , 227 150, 246 a ‘‘folk novelist,’’ 214–16, 226–9 ‘‘Aesthete in Harlem,’’ 123 and folk theatre, 224–6 The Big Sea, 28, 31–3 , 38, 39, 241 and folklore, 223–4 The Black Mother and Other Dramatic ‘‘The Great Day,’’ 225–6 Recitations, 114 and the ‘‘Margarine Negro,’’ 219–20 ‘‘Black Renaissance,’’ 3 Mule Bone, 64 and the black working class, 39 and originality, 216, 230 on Cane (Toomer), 79 and Signifying, 229 and the Caribbean, 45–6 and storytelling, 227–30 in Cleveland, 113 Their Eyes Were Watching God, 143 , 214, and communism, 122 226–9 and Countee Cullen, 112–13 critics of, 227 –8 education, 114 and performance, 229–30 fiction, early, 123 and women, 228–9 Fine Clothes to the Jew, 38, 122 unpublished plays, 65 and folk culture, 107– 10, 122 ‘‘You Don’t Know Us Negroes,’’ 219 and the Harlem Renaissance, 241 Hutchinson, George, 42, 72 and internationalism, 4, 50 ‘‘Lament Over Love,’’ 108 –9 identity politics, 132 Little Ham, 146 industrialization, 20–1 maritime works, 148, 151 internationalism, 4, 175– 7, 189–90 ‘‘Mother to Son,’’ 109 and the Caribbean, 44–8 Mulatto, 67–8 and the Harlem Renaissance, 31, 41–53, ‘‘My Early Days in Harlem,’’ 31 172–4 and nationalism, 119 and the Irish Renaissance, 43–4 ‘‘The Negro Artist and the Racial and Langston Hughes, 4, 50 Mountain,’’ 36, 38–9, 112 of New Negro Movement, 195 ‘‘Negro Dancers,’’ 108, 122 and W. E. B. Du Bois, 177–9 on Nigger Heaven (Van Vechten), 38–40 see also transnationalism Not Without Laughter, 124, 146 Irish Renaissance, 43–4 and poetic language, 110 poetry, 123 Jackman, Harold, 118 blues, 108–9 , 121–2 James, C. L. R., 186 jazz, 107–8 Jazz Age, 32–3 Sandburgian poems, 120 Jazz Singer, The (film), 162 vernacular poetry, 120 –2 Jekyll, Walter, Jamaican Song and Story, 185 ‘‘Prayer Meeting,’’ 109 Jim Crow, 113–15, 117 Scottsboro Limited, 123 ‘‘John Henry’’ (folk ballad), 106 travels of, 120 Johnson, Charles S., 46, 220 and the vernacular, 109–10, 112 Opportunity, 34–5 ‘‘The Weary Blues,’’ 35, 121–2 Johnson, Francis Hall, Run Little Chillun, 67 The Weary Blues, 36 Johnson, Georgia Douglas, 62, 63–4, 134 Hull, Gloria T., 130, 143 and Alain Locke, 64 humor, 199–200; see also satire An Autumn Love Cycle, 138 Hurston, Zora Neale, 24– 5, 213–14 ‘‘Black Woman,’’ 127 and authenticity, 216, 221 –4, 225 lynching plays, 63–4 ‘‘Characteristics of Negro Expression,’’ Plumes, 64 59–60, 229 A Sunday Morning in the South, 63–4 as a collector, 213, 216, 220 Johnson, Helene Color Struck, 64 ‘‘Bottled,’’ 135

268

INDEX

‘‘Magalu,’’ 134 MacDermot, Thomas, All-Jamaica ‘‘Sonnet to a Negro in Harlem,’’ 137 Library, 186 ‘‘Trees at Night,’’ 138 McDougald, Elise, ‘‘The Task of Negro Johnson, James Weldon, 57, 58– 9, 99, Womanhood,’’ 130 102– 4, 241 McDowell, Deborah E., 144 Along This Way, 102 McKay, Claude, 22, 150, 184, 185–7 , Autobiography of an E x-Col ore d 195, 196 Man, 36 Banana Bottom, 184, 193 , 196 The Book of American Negro Poetry, Banjo: A Story without a Plot, 5 , 147, 149, 98, 218 171–4, 175–7, 179, 180–1 , 191–3 , 196 and dialect, 103 and the Caribbean, 191 and folk culture, 102–4 , 219, 221 and communism, 179 God’s Trombones , 102 Constab Ballads, 186 ‘‘Harlem: The Cultural Capital,’’ 206 and Garveyism, 188–9 ‘‘Listen, Lord – A Prayer,’’ 104 Gingertown, 193 and Old Testament poetics, 103–4 ‘‘Highball,’’ 146 and standard English, 103 Home to Harlem, 146, 147, 149, 170–1, 173, 191 Kellogg, Paul, and Survey Graphic, 34 ‘‘If We Must Die,’’ 187 Kitzinski, Vera, 74 interracial sex, 152 Knopf, Alfred A., 92 lesbians, representations of, 145 and The Liberator, 190 Laing, R. D., The Divided Self, 157 Pan-Africanism, 192 Larsen, Nella, 8 ‘‘Peasants’ Way o’ Thinkin’,’’ 186 ‘‘Freedom,’’ 157 poetry, 16, 47 interracial sex, 152 ‘‘angry,’’ 190 Passing, 143 , 159–62, 167, 173 dialect, 186 Quicksand, 135, 155–9, 167, 172 Jamaican, 148–9 and sexual desire, 155–62 ‘‘Report on the Negro Question’’ ( The ‘‘The Wrong Man,’’ 157 Negroes in America), 49, 178 Latin America, see Central America ‘‘Romance in Marseilles,’’ 147 Lewis, David Levering, 30, 171 Songs of Jamaica, 186 Lewis, Theophilus, 68 ‘‘Soviet Russia and the Negro,’’ 189 Lewis, Wyndham, Paleface: The travels of, 174 –7, 190 Philosophy of the ‘‘Melting Pot’’, ‘‘The Tropics in New York,’’ 190 179– 80 and Walter Jekyll, 185 Lincoln, Abraham, 13 and W. E. B. Du Bois, 170–1 Livingston, Myrtle Smith, For Unborn ‘‘When I Pounded the Pavement,’’ 148 Children, 67 Malindo (Rite of Procreation), 164–6 Locke, Alain, 20, 23 Maxwell, William J., 48–9, 50 and black women poets, 128 Mead, Margaret, 218 book reviews by, 241 Mencken, H. L., 82, 200, 201 and drama, 58–9, 60, 64 American Mercury, 200 and ‘‘The Great Day’’ (Hurston), 225–6 migration, 175–7 and the Harlem Renaissance, 241 Great Migrations, the, 15–17, 23, 31 and the New Negro, 15–17 Second, 22 The New Negro: An Interpretation, 2 , 3, see also Caribbean migrants 25, 29–30, 34, 57 Miller, May, 67 and folklore, 218 minstrelsy, 57, 97, 115, 122 and Survey Graphic, 15, 34 minstrel mask, 251 ‘‘lost’’ generation, 242 –3 modernism, 18, 155, 202 Lutz, Tom, 180 modernity, 155, 156–7, 163, 165, 166 lynching, 61, 63–4 , 83, 90–3, 101 Mumford, Kevin, 151

269

INDEX

Munson, Gorham B., and Old Negro, 29– 30, 219 Secession, 76 Opportunity, 34–5 , 71 Murnau, F. W., Sunrise, 167 literary contest, 34–5 music, 97, 108, 192–3 Ouspensky, P. D., 78 blues, 167 blues ballads, 105–7 Pan-African Congress, 51, 85, 91, 178–9 blues poetry, 108–9, 121 –2 Pan-Africanism, 174 jazz, 43, 158 Passing, 87, 92, 143, 159–62, 166 jazz poetry, 107–8 Patterson, Louise, 49–50 see also songs pilgrimage, 175–7 Pinchback, P. B. S., 72 Naison, Mark, 48 poetry, 96– 110 ‘‘nation-within-a-nation’’ thesis, 245 –7 addressing white women, 127–9 National Association for the Advancement blues, 108–9, 121–2 of Colored People (NAACP), and dialect, 99, 104–5 , 109, 116, 186 82–3 , 89, 90 gender, 137 National Negro Theater, 59 jazz, 107–8 nationalism, 119, 187 –9, 246–7 nature, 127, 130–1, 137– 8 cultural, 4 protest, 132–7 American, 4 –5 race, 137 Native Americans, 75 and the vernacular, 96, 105, 107– 8 ‘‘Negro,’’ 1 , 5 see also women, poets ‘‘Negro Emergent,’’ 77–8 popular culture, 155 Negro Renaissance, 1 , 2, 7 , 171; see also American, 97, 115 Harlem Renaissance Pound, Ezra, ABC of Reading, 122 ‘‘New Criticism,’’ 59 primitivism, 136, 139, 244 , 250 New Negro, 18–19, 25, 28–30 modernist, 132–4, 135 and activism, 20–5 and Alain Locke, 15–17 race, 1, 127 –8, 135, 204 –10, 222, 242 and Booker T. Washington, 14–15 hierarchies of, 179–80 influences on, 18–19 racism, 38, 42, 86–9, 187, 219, 242, 243 and Marcus Garvey, 14 radicalism, 3, 15, 47–51, 173–4 , and ‘‘soul,’’ 57 175–7 , 179, 243 see also Old Negro and Caribbean migrants, 189–91 New Negro Alliance, 20– 1 and the New Negro, 15 New Negro Movement, 2–5 , 30–1, 96, Rampersad, Arnold, ‘‘Racial Doubt and 202, 210 Racial Shame in the Harlem and poetic language, 98– 9 Renaissance,’’ 30 white interest in, 36, 39–40 Redding, J. Saunders, 243 see also Harlem Renaissance ‘‘Delaware Coon,’’ 250 New York, 5 representations of blacks, 220 New York Public Library (NYPL), 3, 6 minstrelsy, 57, 97, 115, 122 Ne w s om e , M ar y E f f i e Le e , ‘‘ W il d Ro se s , ’’ plantation tradition, 97, 115 13 7 stereotypes, 243–4 Niggerati, 144 –5 Richardson, Willis, 57 Nugent, Richard Bruce Chip Woman’s Fortune, 62 ‘‘Geisha Man,’’ 145 Compromise: A Folk Play, 63 interracial same-sex desire, 152 Mortgaged, 63 ‘‘Sahdji,’’ 145 Robeson, Paul, 21–2, 24, 25 ‘‘Smoke Lilies and Jade,’’ 144 Rogin, Michael, 162 and transgressive sexuality, 145 unpublished work, 145 satire, 198–210 ‘‘Who Asks This Thing?,’’ 149 and aesthetics, 201

270

INDEX

and Harlem, 206–7 songs and the Harlem Renaissance, 24, 199 folk, 217 and modernism, 202 spirituals, 39, 73 and ‘‘Negro art,’’ 201, 205 work, 73 and the New Negro Movement, 199, ‘‘Southern Terror’’ ( Crisis article), 50 202, 203–5 Spence, Eulalie, 65 and political power, 208–9 Spencer, Anne, 86, 138 and race, 204 –10 ‘‘Lady, Lady,’’ 131 Scar of Shame (film), 156 ‘‘Letter to My Sister,’’ 135 Schomburg, Arthur, 3 Stribling, T. S., Birthright, 82 Schuyler, George S., 198–9 subjectivity, 106–7 , 117; see also citizenship and aesthetics, 201 suffrage, see citizenship; franchise ‘‘Black Empire,’’ 207–9 sugar, 184 ‘‘Black Internationale,’’ 207 –9 Survey Graphic, 15, 34 Black No More, 203–5 , 206 and race leaders, 203– 4 ‘‘Talented Tenth Renaissance,’’ 171, 179, 181 critics of, 199 Teagarden, Jack, ‘‘You Rascal You’’ and Harlem, 206–7 (song), 163 and the Harlem Renaissance, 24, 199 Thurman, Wallace, 198 –9 and H. L. Mencken, 200 and aesthetics, 201 and the Messenger, 201 The Blacker the Berry, 146 , 202, 205 and modernism, 202 ‘‘Cordelia the Crude,’’ 144 and ‘‘Negro art,’’ 201, 205 critics of, 199 ‘‘The Negro-Art Hokum,’’ 36, 203 and Fire!!, 37, 201 a nd t h e Ne w Ne g ro Mo ve me n t , 202, and Harlem, 206–7 203– 5 Harlem: A Melodrama of Negro Life in and political power, 208–9 Harlem, 66 and race, 204 –10 reviews of, 66 and satire, 198–210 and the Harlem Renaissance, 24, 199, 240 Slaves Today, 209 and H. L. Mencken, 200 and transnational racial politics, 207–9 Infants of the Spring, 145 , 152, 200, 202, Scruggs, Charles, 73 205, 210, 241 Secession, 76 and the Messenger, 201 segregation, 38; see also desegregation; and modernism, 202 Jim Crow and the New Negro Movement, 201, 205 self-representation of black writers, 220–3 and race, 204–10 and the Harlem Renaissance, 221–2 and satire, 198–210 sexism, 86–8 and William Jourdan Rapp, 66 sexuality, 79, 155–62 Toomer, Jean, 50, 71–9, 99 bisexuality, 142 autobiographies, 77 and class, 161–2 and black urban life, 76–7 and the detective novel, 163–5 ‘‘Blue Meridian,’’ 77 female, 142–4 Cane, 71–5, 77, 79, 99–102 interracial, 151 –3 reviews of, 71–2 same sex, 151 –3 women in, 74 lesbianism, 142–4 , 145 essays, 78 same-sex desire, 141 –2, 143, 144–5, 148– 9 Essentials, 78 interracial, 151–3 and folk culture, 99–102 transgressive, 141–53 ‘‘Georgia Portraits,’’ 101 see also homosexuality and identity, 77–8 Shuffle Along (stage show), 32–3 marriage of, 77 slavery, 41, 97 as a mentor, 86 and sexual trauma, 88 minor work of, 77

271

INDEX

Toomer, Jean (cont.) ‘‘The Vampire Bat,’’ 194 and the rural South, 73–4 , 76 ‘‘The Wharf Rats,’’ 194 on sex and sexuality, 79 Washington, Booker T., 2 social position of, 72–3 A New Negro for a New Century, 14–15 and socialism, 75 White, Walter, 82–94 ‘‘Song of the Son,’’ 73 ‘‘The Burning of Jim McIlheron: An style of, 75 NAACP Investigation,’’ 90 in Washington, 72 and the Civil Rights Movement, 89 transnationalism, 174 –9, 207–9 ; see also The Fire in the Flint, 82, 83, 91–2 internationalism Flight, 92 Truman, Harry, 22–4 and the Harlem social scene, 93 Turpin, Waters, 249 lynchings investigation, 83, 90–3 A Man Called White, 89 United States of America as a mentor, 83, 89 and the Caribbean, 45–6 and the NAACP, 82–3, 90, 93 and Caribbean migrants, 46–8 Rope and Faggot: A Biography of Judge and Central America, 45– 6 Lynch, 93 occupation of Haiti, 191 and W. E. B. Du Bois, 93 and racialization, 46, 179–80 ‘‘The Work of a Mob,’’ 90 Universal Negro Improvement Association, Whitman, Walt, 148 187–9 Wilson, Frank, Meek Mose: A Comedy and international revolutionary Drama of Negro Life, 65 movements, 189–90 women, 19–20, 130–1 franchise, 14 vagabondage, 177, 180 mulattas, 155–6 Van Vechten, Carl, 239–40, 244 painters, 84 ‘‘Moanin’ Wid a Sword in Mah Han,’’ 39 poets, 126–39 ‘‘The Negro in Art: How Shall He Be addressing white women, 127–9 Portrayed?,’’ 37 and beauty, 128–9, 138 Nigger Heaven, 36–40, 239 and containment, 133–4 Van Vechten School, 240 and defeminization, 134–7 Vandemarr, Lee, 73 and femininity, 134 vernacular, 96, 105, 107– 8 and feminism, 127, 129 Langston Hughes and, 109–10, 112, and gender, 127–8, 135, 137 120–2 and image, 133–9 see also dialect and nature, 127, 130–1, 137–8 ‘‘Vogue,’’ 3, 7, 28–40, 206 and primitivism, 132–4, 135, and Harlem, 31–3 136, 139 nightlife, 32–3, 141 and protest, 132–7 white interest in, 33, 36, 39–40 and race, 127–8, 135, 137 and sexual exploitation, 100–1 Walker, Alice, 138, 215 writers, 19, 49–50, 84, 142–4 Wall, Cheryl, 42 workers’ rights, 20–1 Walrond, Eric, 184, 186, 196 World War I, 6, 42–3, 61 The Big Ditch, 195 Wright, Richard and Garveyism, 188 Black Boy, 200 and journalism, 188, 195 ‘‘Blueprint for Negro Writing,’’ 247 ‘‘The Palm Porch,’’ 190 and the Harlem Renaissance, 247 in Panama, 186 review of Their Eyes Were Watching God travels of, 195 (Hurston), 214 Tropic Death, 46, 173, 193–5 Wynbush, Octavia Beatrice, ‘‘Beauty,’’ 138 ‘‘Drought,’’ 194 ‘‘Tropic Death,’’ 194 ‘‘You Rascal You’’ (song), 163

272