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This volume provides new historical and literary insights into the Harlem Renaissance, returning attention to it not only as a broad expression of artistic work but also as a movement that found catharsis in art and hope in resistance.
By examining such major figures of the era as Jessie Fauset, Paul Robeson, and Zora Neale Hurston, the contributors reframe our understanding of the interplay of art, politics, culture, and society in 1920s Harlem. The fourteen essays explore the meaning and power of Harlem theater, literature, and art during the period; probe how understanding of racial, provincial, and gender identities originated and evolved; and reexamine the sociopolitical contexts of this extraordinary black creative class. Delving into these topics anew, The Harlem Renaissance Revisited reconsiders the national and international connections of the movement and how it challenged clichéd interpretations of sexuality, gender, race, and class. The contributors show how those who played an integral role in shattering stereotypes about black creativity pointed the way toward real freedom in the United States, in turn sowing some of the seeds of the Black Power movement.
A fascinating chapter in the history of the African American experience and New York City, the cultural flowering of the Harlem Renaissance reverberates today. This thought-provoking combination of social history and intellectual art criticism opens this powerful moment in history to renewed and dynamic interpretation and sharper discussion.
- Sales Rank: #470706 in Books
- Brand: Brand: Johns Hopkins University Press
- Published on: 2010-05-28
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .65" w x 6.00" l, .82 pounds
- Binding: Paperback
- 272 pages
- Used Book in Good Condition
Most helpful customer reviews
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Five Stars
By Amazon Customer
Had him as a professor, very interesting person & book.
3 of 3 people found the following review helpful.
Scholarly Reconsideration of an Important Period
By Amazon Customer
Title The Harlem Renaissance Revisited: Politics, Arts, and Letters
Author Ogbar G., Jeffrey O.
Rating ****
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This book is a collection of fourteen scholarly essays on the Harlem Renaissance, that flowering of black culture in the U.S. in the 1920s and 30s. It centered on Harlem, and is most known for its impact on the arts, but it involved intellectual pursuits across the spectrum. Editor Ogden divides the essays into five parts: Aesthetics and the New Negro; Class and Place in Harlem; Literary Icons Reconsidered; Gender Constructions; and Politics and the New Negro. The New Negro was a concept that was an integral part of the Harlem Renaissance, and also the title of one of the era's definitive books, an anthology of black writing edited by Alain Locke.
As usual in an anthology, the essays vary in quality. Some tend to suffer from an overabundance of academic terminology. Some are less interesting than others. Among the stand outs are "No Negro Renaissance: Hubert H. Harrison and the Role of the New Negro Literary Critic" , which discusses Harrison's critique of the Harlem Renaissance in which he argued that calling the period a Renaissance diminished great Negro artists of prior years; and "Harlem Globe-Trotters: Black Sojourners in Stalin's Soviet Union" about the African Americans who traveled to the Soviet Union and found an acceptance they could not find in other countries, certainly not in the United States.
Editor Ogden is to be commended for book's production values. Each essay has footnotes following the essay as well as a bibliography. Brief biographies of the contributors follow the essays, as does the most outstanding feature, an index of the whole work. For example, if you look up "Du Bois, W. E. B." you get every page he was referenced in all the essays.
It is a well-done work, overall, though probably is not the book to read for an introduction to the Harlem Renaissance. It is a valuable work for scholars of the era, bringing in fresh ideas about an important period in history.
Publication The Johns Hopkins University Press (2010), Paperback, 272 pages
Publication date 2010
ISBN 0801894611 / 9780801894619
0 of 0 people found the following review helpful.
Boxer Jack Johnson "represented black power in its fullest form: intelligent, ... jet black and able to crush white hegemony"
By T. Patrick Killough
Open at random any one of the 14 essays in THE HARLEM RENAISSANCE REVISITED: POLITICS, ARTS, AND LETTERS. Read that essay and see you don't then hunger for 13 more. They are all good, all provocative, all about "The New Negro," the Harlem Renaissance (1919 - 1935). They showcase black men and women who made both previously "supreme" whites and downtrodden blacks take a second, more admiring look at black men and women -- their art, their language, their corporate culture, their physical attributes and their politics. Connecticut Professor of History Jeffrey O. G. Ogbar, has carefully selected 14 different writers, each with much worth reading and pondering.
I took my own advice offered above and opened five of the 14 essays at random. I chose one to review a bit more fully and four others for you to sip a drop or two from.
(I.) Chapter Eleven: "Jack Johnson, Paul Robeson, and the Hypermasculine African American Uebermensch" by Paula Marie Seniors. Of the 21 pages of this essay, fully five-plus pages are footnotes. All 14 essays are scholarly. This one has the largest academic addenda. The essay is very, very good and convincing. But it might be nearly a page shorter if the author, a young prize-winning scholar teaching at Virginia Tech, had not exuberantly repeated a score of times "Hypermasculine African American Uebermensch."
Her prototypical black heroes of masculinity are the heavyweight boxer John Arthur "Jack" Johnson (1878 - 1946) and Renaissance man and all around athlete Paul Robeson (1898 - 1976).
Johnson, "the Galveston Giant," was flamboyant. He had three white wives, he rubbed his blackness in white men's faces. When Johnson won the heavy weight boxing title in 1908, no less than Jack London called for a "great white hope" to emerge and restore the honor of white males. One did arise. Former undefeated world champ James J. Jeffries came out of retirement and was worn down to a TKO. Boxer Jack Johnson "represented black power in its fullest form: intelligent, strong, muscled, impenetrable, jet black and able to crush white hegemony uncompromisingly."
* * *
Who has not heard of Paul Robeson. As singer of "Old Man River," sure. But as polyglot linguist? As All American footballer? As general Renaissance man? He was big. He was black. He was cosmopolitan. He was fearless of fascists American and elsewhere. And he showed white people everywhere what talents they could expect coming generations of black males to reveal.
(II) Snatches from four other essays selected at random:
-- (A) Chapter Ten. Wallace Thurman's 1929 novel THE BLACKER THE BERRY immortalized the folk saying, "The blacker the berry, / the sweeter the juice." Its heroine is Emma Lou Morgan. She did not mind being black, but Emma Lou, mistakenly, saw herself as TOO black, and that ruined her life till she came to terms with it.
--(B) "So the Girl Marries" is Chapter Four's theme: the 1928 Harlem high society wedding between soon to be revealed bisexual poet Countee Cullen and Nina Yolande Du Bois, daughter of the legendary black genius Dr W. E. B. Du Bois. The marriage lasted only a few months. But it inspired a stage play, YOLANDE, KNOCK ME A KISS. You can't understand the Harlem Renaissance without grasping the good and bad sides of Mr and Mrs Countee Cullen.
-- (C) Chapter Eight is all about the American Protestant "song sermon." When enslaved and transported African minstrels were converted to Christianity, they started retelling Bible stories in a Mandingo way: with acting, singing, dancing and active audience/congregation action and reaction. Their lineal discendants, the Spirit-filled black Protestant preachers, constitute perhaps black America's greatest contribution to culture.
-- (D) Chapter Three is about the spirituality behind the music -- all the music, secular and religious -- of Duke Ellington. Duke took the jazz that made him and his band famous in Harlem's Cotton Club into the cathedral. "Ellington took the Cotton Club concepts of elaborate ideas and precision pacing into church." His three sacred concerts (1965, 1968, 1973) were sublime show business, with "dancing, instrumental and vocal solos, luscious ensemble work (and) choirs."
Essayist Frank A. Salamone does not mention another link to a key figure of the Harlem Renaissance (1919 - 1935), boxer Jack Johnson. A nightclub that Johnson opened in Harlem in 1920 was sold in 1923 and renamed The Cotton Club. What goes around, comes around.
This is an almost perfect book. A great editor. Pretty fair writing. Important history of black Americans who made a difference. Much of the scholarship is derivative, but the originals selected are cited and the selecting was mighty fine.
-OOO-
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