This roman clef centers on Niggeratti Manor, fashioned after the Harlem rooming house in which Wallace Thurman once lived with other black artists and writers. Thurman's second novel is one of the most potent satires of the Harlem Renaissance and a retort to the idealized vision of Harlem's artistic community between World War I and the Depression.
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This roman clef centers on Niggeratti Manor, fashioned after the Harlem rooming house in which Wallace Thurman once lived with other black artists and writers. Thurman's second novel is one of the most potent satires of the Harlem Renaissance and a retort to the idealized vision of Harlem's artistic community between World War I and the Depression.
It's 1920s Harlem, and man, the joint is jumpin'. Folks are coming and going and everything's copacetic as long as the gin keeps flowing. This is the scene Stephen Jorgenson dives into when he arrives from Canada for the first time. He is taken to "The Niggerati Manor, " an apartment building in Harlem inhabited by aspiring artists whose true talents lie in living, and where everything's black and white - with a lot of grayness in between. Counterbalancing Stephen's embrace of these folks is Raymond Taylor, a writer who is the only truly talented artist in the manor. Raymond's cynical take on the "new Negro artist" is the tightrope he walks between the love and hatred of himself and his people. Characters representing Langston Hughes, Zora Neale Hurston, and Alain Locke all appear, and part of the fun of this book is figuring out who's who.
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