
The African American Roots of Modernism
Description
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In identifying the Jim Crow period with the coming of modernity, Smethurst upsets the customary assessment of the Harlem Renaissance as the first nationally significant black arts movement, showing how artists reacted to Jim Crow with migration narratives, poetry about the black experience, black performance of popular culture forms, and more. Smethurst introduces a whole cast of characters, including understudied figures such as William Stanley Braithwaite and Fenton Johnson, and more familiar authors such as Charles Chesnutt, Pauline Hopkins, and James Weldon Johnson. By considering the legacy of writers and artists active between the end of Reconstruction and the rise of the Harlem Renaissance, Smethurst illuminates their influence on the black and white U.S. modernists who followed.
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Content
- Cover
- Contents
- Acknowledgments
- Introduction: New Forms and Captive Knights in the Age of Jim Crow and Mechanical Reproduction
- One: Dueling Banjos: African American Dualism and Strategies for Black Representation at the Turn of the Century
- Two: Remembering "Those Noble Sons of Ham": Poetry, Soldiers, and Citizens at the End of Reconstruction
- Three: The Black City: The Early Jim Crow Migration Narrative and the New Territory of Race
- Four: Somebody Else's Civilization: African American Writers, Bohemia, and the New Poetry
- Five: A Familiar and Warm Relationship: Race, Sexual Freedom, and U.S. Literary Modernism
- Conclusion: "Our Beautiful White. . .
- Notes
- Bibliography
- Index
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- R
- S
- T
- U
- V
- W
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