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A groundbreaking book...Much of what happened in the black creative world dovetailed with what was happening in the white artistic world, and vice versa. It's difficult to separate the two, although it has been fashionable in recent years to single out artists in both camps and argue—unconvincingly...that certain black artists sold their souls to white hegemony...The brilliance of [this book] emerges from Hutchinson's reconstruction of an era, especially his painstaking examination of the early years of the movement. Hardly a scrap of information has been ignored, and the rewards are plentiful...One finishes reading The Harlem Renaissance in Black and White with a sense of invigoration and hope.
— Charles R. Larson
George Hutchinson's The Harlem Renaissance in Black and White is one of those historical works that utterly and meticulously overturns most previous understanding of its subject matter. Hutchinson places the Harlem Renaissance in a wider context than previous commentators have done. He shows how the pluralist ideas of the Harlemites were part of much broader cultural and intellectual developments that took in pragmatism, the new relativistic anthropology of Franz Boas and a turn toward regionalism in fiction...Hutchinson's enthusiasm for the pragmatist outlook gives the book an energy and urgency that takes it far beyond the bounds of its historical subject matter. It deserves to be read by all those interested not just in a crucial episode of American cultural history, but in the ideal and reality of multiculturalism.
— Adam Lively
The great service of George Hutchinson's comprehensive study is its unabashed willingness to acknowledge the many inconsistent philosophical and institutional influences on those who brought the Renaissance to life: all the 'pragmatist philosophers, Boasian anthropologists, socialist theorists, and new journalists' in the background...A landmark in the field.
— Carlin Romano
Authoritative and challenging, complex yet lucid, this volume is a welcome addition to recent studies of the Harlem Renaissance and of American cultural pluralism more generally. Hutchinson has produced an elaborate cultural history of the interactions between those writers, editors, and publishers who helped create and sustain the image of the New Negro during the 1920s.
— Martin Padget
The greatest strength of The Harlem Renaissance in Black and White lies in the author's portrayal of the discussions of concepts of nation and race that took place in the twenties in the United States. Hutchinson insightfully reminds us that contemporary controversies on multiculturalism, the canon and African American literature were initiated and anticipated by the Harlem Renaissance authors...The interdisciplinary qualities of this study make it highly recommendable to a wide academic readership, especially those engaged in cultural studies, American history and literature.
— Pilar Sánchez Calle
Hutchinson's study opens necessary and provocative new critical directions.
— S. Bryant
|1||Pragmatism and Americanism||33|
|2||The Americanization of "Race" and "Culture"||62|
|3||Cultural Pluralism and National Identity||78|
|4||Cultural Nationalism and the Lyrical Left||94|
|5||The Crisis and the Nation's Conscience||137|
|6||Toward a New Negro Aesthetic||170|
|7||Reading These United States: The Nation and The New Republic||209|
|8||The Native Arts of Radicalism and/or Race||250|
|9||V. F. Calverton, The Modern Quarterly, and an Anthology||278|
|10||Mediating Race and Nation: The Cultural Politics of The Messenger||289|
|11||"Superior Intellectual Vaudeville": American Mercury||313|
|12||Black Writing and Modernist American Publishing||342|
|13||Staging a Renaissance||389|
|14||The New Negro: An Interpretation||396|