Título: Infants of the Spring (The Black Heritage ...
Editorial: Beaufort Books
Año de publicación: 1932
Condición del libro: Used: Good
In this satire which shows the role of black writers and artists during the American Renaissance of the 1920s, Wallace Thurman proved himself to be a black writer who suffered no fools of any color, a modern satirist who, as republication here shows, was very much ahead of his time.
Thurman was a novelist, ghost writer, editor of two Harlem magazines, and a playwright. His satire, derived from close personal observation, was directed primarily at the Harlem or Negro Renaissance, which began in 1925. As John A. Williams points out in his Afterword to this new edition, Thurman and nearly everyone with artistic aspirations came to New York then, black and white; those were the merging days of the Harlem Renaissance, the Lost Generation, and the Jazz Age really one extended explosion of American literature, and there were influences passed between the groups.” The Renaissance flourished through 1929, then faded.
Thurman’s satire came too late 1932, after its main target, the Harlem Renaissance, lay shrouded in the Great Depression woe that obscured or proclaimed frivolous all but proletarian art. Yet Infants of the Spring, stillborn then, lives today. By re-creating the bohemian lives of black artists of the 1920s, Thurman corrects the assumption that one of America’s most creative decades owes its energy to whites alone.Review:
This little-known classic of the Harlem Renaissance--by the mysterious, Utah-born bisexual Wallace Thurman, who died in obscurity in 1934--is both timeless and timely. It centers on the larger-than-life denizens of a Harlem mansion called "Niggeratti Manor": Stephen Jorgensen, the recently arrived Canadian; Paul, the ambivalent, uptown social critic; Pelham, the struggling poet; and Eustace Savoy, an entertainer disdainful of his Afro-American musical heritage. In this volatile gumbo of complex characters--which also pokes fun at a few famous writers, including Zora Neale Hurston, Alain Locke, and Langston Hughes--Thurman weaves a hilarious story that critiques the paternalistic Negro author/white patron relationship, uncovers the social-class antagonisms in the Afro-American community, and foreshadows the sexual and social themes of James Baldwin and E. Lynn Harris. Thurman's elegant and elastic prose adds more illumination to this bright period in African American literature. --Eugene Holley Jr.
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