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This book examines reactions to the Russian Revolution by four little magazines of the teens and twenties ( The Liberator, The Messenger, The Little Review, and The Dial ) in order to analyze some of the ways modernist writers negotiate the competing demands of aesthetics, political commitment and race. Re-examining interconnections among such superficially disparate phenomena as the Harlem Renaissance, Greenwich Village bohemianism, modernism and Leftist politics, this book rightly emphasizes the vitality of little magazines and argues for their necessary place in the study of modernism.

In her 2015 novel, Jam on the Vine, LaShonda Katrice Barnett dramatizes the opposed but intertwined histories of African American modernity and US racial revanchism during the Jim Crow era. While the trajectory of her female protagonist, Ivoe Williams, can be understood as a progress narrative, Barnett explores the corrosive nature of deepening American segregation and the pervasiveness of anti-black racism through the plight of her black male characters, particularly Ivoe's father and brother. Through these men's experiences, we see the persistent exploitation of black male bodies, which has continued from slavery through Jim Crow and on to the twenty-first-century prison-industrial complex. This essay attends to Barnett's development of two inverse narrative arcs: first, Ivoe's growth, which embodies the rising consciousness and agency of the African American activists and journalists who challenged racial segregation domestically and internationally, and second, the African American male characters, who must endure the ever-increasing pressures of Jim Crow during the same period. Ultimately, Barnett connects these narrative arcs by drawing on two literary-historical forebears, Ida B. Wells and Ernest Hemingway, to create a protagonist who learns how to \"carry on\" and thrive during the seemingly unending era of legal inequality.

Irwin S. Cobb's contributions to The Saturday Evening Post exemplify George Horace Lorimer's efforts to register and recontain black modernity. Cobb created a reputation as Southern humorist who recycled racist caricatures, but in 1918, he established himself as a white authority on African Americans with “Young Black Joe,” which helped launch the reputation of the Harlem Hellfighters. Following on the success of this publication, Cobb published an abridged, serialized version of his first novel, J. Poindexter, Colored. This novel embodies many of the practices constituting Lorimer's efforts to deny black humanity, insist on innate black subservience, and promulgate white supremacy.

In the years following World War I, the Saturday Evening Post continued its longstanding practice of caricaturing and dehumanizing African Americans by portraying black servicemen as bumblers and buffoons. This politics of representation registers and recontains new historical developments in African American experience, but then folds those phenomena back into older, stereotypical forms of knowledge and racially stratified social norms and practices. Hugh Wiley's Wildcat stories, which were published regularly for more than a decade, exemplify the Post's practices. A significant response to the Post's treatment of African American veterans can be found in Edward Christopher Williams's The Letters of Davy Carr: A True Story of Colored Vanity Fair (republished in 2004 as When Washington Was in Vogue). This epistolary novel, which was published serially and anonymously in the Messenger, a radical little magazine of the Harlem Renaissance, challenges the racist stereotyping of black soldiers by demonstrating that African Americans would be full participants in US print culture and would not be registered and recontained by the phantasms of racism and minstrelsy.

'When should the centennial of the Harlem Renaissance properly be celebrated? And where shall we celebrate? Presumably, it's right around the corner-but which corner?' Michael Soto poses these provocative questions in his contribution to this special issue of Modernism/Modernity on the Harlem Renaissance. In doing so, he not so innocently gestures toward a central concern of the entire issue: the trouble with locating the Harlem Renaissance in both time and space. When exactly did the Harlem Renaissance begin, when did it end, and where did it happen? While Harlem in the 1920s remains its most celebrated spatiotemporal arena, the contributors to this issue, reflecting recent scholarly trends, call for a much broader historical and geographical framework for understanding the movement. Adapted from the source document.

Introduces a special issue of \"Modernism/Modernity\" on the Harlem Renaissance. The article notes that a central concern of the issue is the trouble with locating the Harlem Renaissance in both time and space. Reflecting recent scholarly trends, many contributors call for a much broader historical and geographical framework for understanding the movement. A questionnaire on current scholarship in this field received replies from 13 distinguished scholars, and are published in this issue.

[...]because the Crisis attracted contributors and readers from well beyond Harlem and routinely addressed issues of migration, international relations, and global politics, the term \"Harlem Renaissance\" still seems too narrow to encompass the magazine's transnational scope, as well as its long duration, which continues to the present day. [...]through her use of previously under-utilized statistical measures and transnational periodicals, Lara Putnam invites us to shiftour perspective beyond U.S. borders, thus redirecting our attention to the cosmopolitan Caribbean as one of the new vantage points for understanding the international exchanges and global reach of black cultural production in the early decades of the twentieth century.