An interpretative anthology that acted as a manifesto for the Harlem Renaissance defines the artistic and social goals of the New Negro Movement of the 1920s.
The Bible of the Harlem Renaissance
By A Customer - April 27, 2000
This anthology contains works by many of the most important contributers to the Harlem Renaissance. The best parts of the volume are the poetry selections by poets such as Hughes, Cullen, and McKay as well as the essays by Alain Locke. The works by Hurston and Toomer are also quite good. The essays by Locke (especially the New Negro) feature insight into many of the ideas and developments that took place in order to bring about this important historical and cultural movement. This book is a definite must read.
THE GREATEST SUMMARY OF WRITINGS FROM THE HARLEM RENAISSANCE
By Steven H. Propp - January 25, 2011
Alain LeRoy Locke (1885-1954) was an American writer, philosopher, educator, and patron of the arts. He is regarded as the "Father of the Harlem Renaissance."
Locke wrote in the Foreword to this 1995 book, "This volume aims to document the New Negro culturally and socially---to register the transformations of the inner and outer life of the Negro in America that have so significantly taken place in the last few years. There is ample evidence of a New Negro in the latest phases of social change and progress, but still more in the internal world of the Negro mind and spirit."
Here are some quotations from the book:
(Alain Locke) "As with the Jew, persecution is making the Negro international." (Pg. 14) (Jessie Fauset) "For years the Caucasian in America has persisted in dragging to the limelight merely one aspect of Negro characteristics, by which the whole race has been glimpsed, through which it has been judged." (Pg. 161) (J.A. Rogers) "The... read more
By negriti - September 20, 2011
My problem with this book is that it is wrongly titled by the reprint publisher (it was originally published in 1925) something that the current editor must have gone along with. The correct title is The New Negro: An Interpretation. This is important for two reasons. All sorts of sloppy readers are citing the book as The New Negro: Voices of the Harlem Renaissance (1925) when no such book exists. Second, the writer of the introduction criticizes the book for not covering a variety of aspects of the Harlem Renaissance when that was not the book's intent. It was "an interpretation!" It allows for other interpretations. Nevertheless, it remains one of the best interpretations because it covers more areas of literary and social interpretation of 1925 than any other. Unfortunately, the stunning color illustrations by Winold Reiss that made the book a hot seller in the 1920s are not reproduced in this slick money maker edition.