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Racial Blackness and the Discontinuity of Western Modernity$
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Lindon Barrett

Print publication date: 2013

Print ISBN-13: 9780252038006

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252038006.001.0001

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Modernism and the Affects of Racial Blackness

Modernism and the Affects of Racial Blackness

(p.157) Chapter 5 Modernism and the Affects of Racial Blackness
Racial Blackness and the Discontinuity of Western Modernity

Lindon Barrett

, Justin A. Joyce, Dwight A. Mcbride, John Carlos Rowe
University of Illinois Press

This chapter focuses on the dispute between two important figures of the Harlem Renaissance: George Schuyler and Langston Hughes. Schuyler's critique of the African American avant-garde in his essay “The Negro-Art Hokum” (1926) and Hughes's response in “The Negro Artist and the Racial Mountain” (1926) provide a focus point to understand how African American artists and intellectuals imagined their relationship both to Western modernization and avant-garde cultural modernism. This chapter stands as a separate essay from Barrett's surviving manuscript, as it appears to be intended for a different publication; its inclusion here is meant to supplement discussion from the previous chapters, although Schuyler and Hughes did not tackle the gender and sexuality aspects of Barrett's arguments so far posited in this book.

Keywords:   Harlem Renaissance, George Schuyler, Langston Hughes, African American avant-garde, The Negro-Art Hokum, African American artists, African American intellectuals, Western modernization, avant-garde, cultural modernism

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