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"A major study...one that thorougly interweaves the philosophies and fads, the people and movements that combined to give a small segment of Afro America a brief place in the sun."—The New York Times Book Review.
- Sales Rank: #283215 in Books
- Published on: 1997-06-01
- Released on: 1997-06-01
- Original language: English
- Number of items: 1
- Dimensions: 7.70" h x .90" w x 5.10" l, .66 pounds
- Binding: Paperback
- 448 pages
From Library Journal
"Lewis summons back the spirit and substance of New York City's black center during its best years," said LJ's reviewer (LJ 3/15/81). The author traces the history of blacks in Harlem from 1905, when they began moving uptown, to the riot of 1935. Another natural for Black History Month, this "gem of a book" remains "highly recommended."
Copyright 1997 Reed Business Information, Inc.
Review
"A masterly book, it is the most unusual and authoritative work on the art and politics of the Harlem renaissance era. This volume is in the Lewis sytle: elegant prose based upon solid and voluminous research."--Kenneth R. Janken, University of North Carolina
"This book is a thoroughly documented text that is an excellent reference text for students studying any of the literary, social, economic, political or intellectual aspects of the Harlem Renaissance period in Black culture."--Dr. Pearlie Peters,Rider College
"It was an extremely well-written, informative, and exciting book. I highly recommend its use for courses on the Harlem Renaissance, or upon Afro-American history in general."--Richard Berkley, New York Univ.
"A major study...one that thoroughly interweaves the philosophies and fads, the people and movements that combined to give a small segment of Afro-America a brief place in the sun."--Jim Haskins, The New York Times Book Review
"A brilliant work....As an interpretation of one of America's major eras, it should be indispensable for the student of America's 1920s and exciting for any reader."--Darwin T. Turner, The Washington Post Book World
"[Lewis'] courageously brilliant, often witty, and beautifully clear book will become definitive for at least fifty years."--Choice
"From the social forums to the street-corner radicals, the the jazz clubs, and the white visitors, Lewis leaves a stirring impression....A gem of a book."--Library Journal
"In this thorough, penetrating study, [Lewis] examines not only the glittery surface of 'Afro-America's Paris'--the parties and cabarets that sent whites uptown in search of 'the exotic and forbidden'--but also the complex mix of people and circumstances that fostered extraordinary black achievements in writing, music, and art."--Publishers Weekly
"Lewis's book brings [Harlem's] past alive again."--The Smithsonian
"A brilliant socio-historical study that recaptures the verve and magic of those fascinating years."--Arthur P. Davis, Howard University
About the Author
About the Author:
David Levering Lewis is Martin Luther King, Jr. Professor of History at Rutgers, The State University of New Jersey, New Brunswick. He is the author of several books, including King: A Biography, The Race to Fashoda: European Colonialism and African Resistance in the Scramble for Africa, and a forthcoming volume, The Life and Times of W.E.B. Du Bois.
Most helpful customer reviews
35 of 36 people found the following review helpful.
Extremely exciting history of Harlem's culture - 1890-1935.
By A Customer
Beyond the speakeasys, definitive cabarets and birth of contemporary black America based in Harlem, Mr. Lewis has given us a poignant and hard-hitting study that pitifully few whites and most contemporary blacks know about. My God! The story of the 369th Infantry Regiment marching up 5th Avenue raised the hair on my arms. The poets, playwrights, noveslists of the period are still a volatile inspiration today.The roots, "why's" and "who's" of Marxism, Garveyism and "how" they made sense as movements became clear for the first time. This piece of work is a must read for anyone who considers themselves knowledgable about culture of any race in this country. We carry a shameful legacy of mistreatment of ourselves and our brothers, and the thrust of the first Harlem Rennaisance (1920-35) was that art,(literature and the arts) could influence politics and the government in this country to make them more humane and less extreme, whether left or right. The Rennaisance didn't work as effectively as anyone had hoped, but the results of the cultural struggle, as real as the physical struggles, are coming to fruition over the last 60 years. Now maybe the fruit is ripe enough to share between us all. Lewis offers a banquet of information, stories, names, dates and situations that made me wish I could have been a part of the magnificent movements he has so elegantly documented. There was a world before TV and the internet - a world where people had dialogues, exchanged impassioned thoughts and attitudes as a lifestyle, and shared bared Souls in the hope of expanding their minds and freeing a race from the most insulting racial intolerances. To read this book is to be a part of the struggle and to have the opportunity to commit to the ever expanding culture lost to so many generations. Somehow I guess the poetry of Claude McKay could be the root of Hip Hop. Would he approve, and would the current generation appreciate the perspective? Time will tell
7 of 8 people found the following review helpful.
The Crowded Party
By Arch Llewellyn
The Harlem Renaissance of the 1920s opened a fascinating chapter in American life, heralding the first time African-Americans were taken seriously as poets, novelists, painters, composers, and intellectuals by a broad white audience. David Levering Lewis is maybe too close to the figures he talks about to do them justice. Reading his book is like being at a crowded cocktail party with a friend who seems to know everyone and only has time for brief introductions before moving on to the next guest. You get just a glimpse of Renaissance luminaries like Claude McKay, Countee Cullen, Langston Hughes, Zora Neale Hurston, Jean Toomer, Jessie Fauset, Wallace Thurman, and the imperious W.E.B. Du Bois before they disappear back into the swim of names.
On the upside, Lewis does a fine job of shedding light on the behind-the-scenes maneuvering of the African-American elites--the 'Talented Tenth'--who hoped to use the new vogue for all things black as a way of dissolving race prejudice. Insofar as the book has an argument, it's that Harlem grandees like Alain Locke, James Weldon Johnson, Charles S. Johnson, and W.E.B Du Bois who saw intellectual achievement as an antidote to racism learned a hard lesson with the onset of the Depression, where economic reality squashed their assimilationist dreams and a new generation of black intellectuals opted for Communism over poetry.
The book left me wanting to know more about the white supporters of the New Negro Movement--patrons like Carl Van Vechten, the Spingarns, Julius Roswenwald, and the redoubtable Charlotte Osgood Mason, "Godmother" to Langston Hughes and Zora Neale Hurston--who held the purse strings and much of the power in deciding which expressions of Harlem life made it to the mainstream. The louche world of jazz, nightclubs, liquor, rent parties, razor fights and skin-baring dancers that largely defined Harlem in the white imagination also goes pretty much unexplored in favor of Top Tenth aspirations to join the upper middle class. There's a disappointing reticence too about homosexuality among the era's leading lights. Still, it's a great book for piquing interest in some of the tensions and achievements that went into making Harlem the heart of the Roaring Twenties
9 of 11 people found the following review helpful.
A zesty account
By Mary E. Sibley
Claude McKay and Jean Toomer helped to launch the Harlem Renaissance and chose to live elsewhere. Sterling Brown denied that a Harlem Renaissance had ever existed. It began as a somewhat forced phenomenon.
DuBois believed the history of the world was the history of groups. War experiences spurred people to seek decisive change. Unfortunately a number of racial incidents took place directly after Word War I. The historian Carter Woodson was witness to a riot in Washington D.C.
Black Harlem ran from 130th to 145th Streets. Jazz and blues in Harlem were produced by persons from the Great Migration--Mamie Smith, Perry Bradford, and others. There were new stars in Harlem. Claude McKay and James Weldon Johnson became personal friends. MacKay's HARLEM SHADOWS appeared in 1922. Countee Cullen said that on the whole he liked CANE by Jean Toomer. Countee Cullen's only serious rival in Harlem was Langston Hughes.
Alain Locke and Charles Johnson, a sociologist, made contributions to the intellectual life of the Harlem leadership. Arna Bontemps and Zora Neale Thurston were also notable figures. Many motives animated the Lost Generation Caucasian supporters. The motives included guilt, Christianity, inherited abolitionism.
There were rent parties in Harlem and other evidence of stress and overcrowding. Nonetheless the twenties was a time of artistic triumph with such musical personalities James P. Johnson, Willie the Lion Smith, Fats Waller, and Duke Ellington seeking and finding engagements. There were success stories. Even in the Depression people were generally well-dressed and happy. Harlem was filled with strivers and professionals.
1925 was year one of the Harlem Renaissance. James Weldon Johnson's ancestors had been free, literate, and prosperous before the Civil War. He and his brother composed an opera. The mid twenties solidified the Harlem Renaissance. Harlem was Afro-America's Paris. LULU BELLE (1926) sent whites to Harlem in unprecedented numbers. Factually speaking, though, most of Harlem was sober and hardworking.
The Rosenwald Fund and the Harmon Fund were influential by promoting and rewarding African American artistic achievement. Alain Locke had been a sort of custodian of the Harlem Renaissance. Claude McKay's last novel appeared in 1933. Sugar Hill, Strivers' Row and the Dunbar were landmarks of the Renaissance. The last novel of the Renaissance was Zora Neale Thurston's JONAH'S GOURD VINE.
The book covers other topics interestingly, revealing many bits of information previously unknown to this reader. Photographs are included and an appendix of sources.
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