“This choice of ten essays makes a persuasive case for a black Atlantic literary renaissance and its effect on modernist reviews. The chapters stretch and problem present canonical configurations of modernism in methods: by means of contemplating the centrality of black artists, writers and intellectuals as key actors and center presences within the improvement of a modernist avant-garde; and by means of interrogating ‘blackness’ as a classy and political class at serious moments in the course of the 20th century. this can be the 1st book-length e-book to discover the time period ‘Afromodernisms’ and the 1st learn to handle jointly the cognate fields of modernism and the black Atlantic.”
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Extra info for Afromodernisms: Paris, Harlem, Haiti and the Avant-garde
46 As the song cited above makes clear, Parisian attitudes to the new music were complex and not always favourable. While many viewed jazz as exciting and liberating, others condemned it as savage, brutish and disgusting. 47 Some went further, making analogies between the new music and the awful mechanistic destruction of World War I itself. In November 1919 a group of Parisians went so far as to form a League against the Jazz Band: This league is composed of Parisians exasperated by the excesses of Negro music, in which one black is worth two whites [.
27. Ibid. pp. 14–15. 28. Ibid. pp. 16–17; Lewis, Biography, p. 564. 29. There is now a substantial historiographical literature on black Americans and US foreign affairs. See Brenda Gayle Plummer, Rising Wind: Black Americans and US foreign Affairs, 1935–1960 (Chapel Hill: University of North Carolina Press, 1996); Penny M. Von Eschen, Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War (Cambridge, MA: Harvard University Press, 2006); Kevin Gaines, African Americans in Ghana: Black Expatriates and the Civil Rights Era (Chapel Hill: University of North Carolina Press, 2006).
On the French and American modernity in general see Marjorie Beale, The Modernist Enterprise: French Elites and the Threat of Modernity, 1900– 1940 (Stanford: Stanford University Press, 1999). p. Lentz-Smith, Freedom Struggles; Louis Chevalier, Montmartre du plaisir et du crime (Paris: R. Laffont, 1980). On primitivism and modernity see Carole Sweeney, From Fetish to Subject: Race, Modernism, and Primitivism, 1919–1935 (Westport, CT: Praeger, 2004); Marianna Torgovnick, Gone Primitive: Savage Intellects, Modern Lives (Chicago: University of Chicago Press, 1990).
Afromodernisms: Paris, Harlem, Haiti and the Avant-garde