Synopses & Reviews
"Heretofore scholars have not been willing--perhaps, even been unable for many reasons both academic and personal--to identify much of the Harlem Renaissance work as same-sex oriented.... An important book." --Jim Elledge
This groundbreaking study explores the Harlem Renaissance as a literary phenomenon fundamentally shaped by same-sex-interested men. Christa Schwarz focuses on Countée Cullen, Langston Hughes, Claude McKay, and Richard Bruce Nugent and explores these writers' sexually dissident or gay literary voices. The portrayals of men-loving men in these writers' works vary significantly. Schwarz locates in the poetry of Cullen, Hughes, and McKay the employment of contemporary gay code words, deriving from the Greek discourse of homosexuality and from Walt Whitman. By contrast, Nugent--the only "out" gay Harlem Renaissance artist--portrayed men-loving men without reference to racial concepts or Whitmanesque codes. Schwarz argues for contemporary readings attuned to the complex relation between race, gender, and sexual orientation in Harlem Renaissance writing.
Review
"Heretofore scholars have not been willing--perhaps, even been unable for many reasons both academic and personal--to identify much of the Harlem Renaissance work as same-sex oriented....An important book."
Synopsis
Includes bibliographical references (p. [187]-202) and index.
Synopsis
Heretofore scholars have not been willing -- perhaps, even beenunable for many reasons both academic and personal -- to identify much of the HarlemRenaissance work as same-sex oriented.... An important book. -- Jim Elledge
This groundbreaking study explores the Harlem Renaissance as aliterary phenomenon fundamentally shaped by same-sex-interested men. Christa Schwarzfocuses on Count?e Cullen, Langston Hughes, Claude McKay, and Richard Bruce Nugentand explores these writers' sexually dissident or gay literary voices. Theportrayals of men-loving men in these writers' works vary significantly. Schwarzlocates in the poetry of Cullen, Hughes, and McKay the employment of contemporarygay code words, deriving from the Greek discourse of homosexuality and from WaltWhitman. By contrast, Nugent -- the only out gay Harlem Renaissanceartist -- portrayed men-loving men without reference to racial concepts orWhitmanesque codes. Schwarz argues for contemporary readings attuned to the complexrelation between race, gender, and sexual orientation in Harlem Renaissancewriting.
About the Author
A. B. Christa Schwarz is an independent scholar and lives in Germany.
Table of Contents
Preliminary Table of Contents:
Acknowledgments
List of Abbreviations
Introduction
1. Gay Harlem and the Harlem Renaissance
2. Writing in the Harlem Renaissance: The Burden of Representation and Sexual Dissidence
3. Countée Cullen: "His Virtues Are Many; His Vices Unheard Of"
4. Langston Hughes: A "True 'People's Poet'"
5. Claude McKay: "Enfant Terrible of the Negro Renaissance"
6. Richard Bruce Nugent: The Quest for Beauty
Conclusion
Notes
Bibliography
Index