by Carla Kaplan
and Harlem, 111–14, 123–24, 141–47, 152–53
Husbands and Lovers, 150
influence of, xxx, 258
and interracial relations, 87–89, 90, 102, 145–46, 174, 277
The King of Africa (script), 150
The Last Born, or Rebel Lady, 150
and Lewis, Jack, 99–100
low profile maintained by, 138, 149, 154, 299
marriage to George, 84, 87–89, 91, 129–38, 142, 144–46, 160
meeting and dating George, 112–24
and Meyer, 172, 174, 179, 183, 184
and Negro anthology, 333–34
in New York, 109–12
“Now I Know the Truth” (as Tanne), 151
ostracism of, 90
patronage of, 43
“The Penalty of Love” (as Jannath), 150–51
pseudonyms, pen names of, 88, 108, 148, 150–52, 153–54, 299, 329, 390–91n151
personal traits of, 95, 102, 137
and Philippa, 90, 136, 147–48, 154–57, 161–62
Philippa: The Beautiful American, 162
and Pittsburgh Courier (as Jerome), 153–54
and politics, 104, 114, 123, 160, 161
public image of, xxix–xxx, 299
race ambivalence of, 84, 97–98, 99, 104–5, 120–21, 126, 127–28, 130, 299
racial ideology of, 122–23, 220
raw-food diet of, 103–4, 156, 384n103
rebelliousness of, 98, 99–100, 110, 149
in San Francisco, 100–102
as self-styled bohemian, 100–102, 104, 111–12, 336
Southwest, 150
“Taboo,” 137
“Temptation,” 124
“To a Dark Poem” (as Tanne), 151
as writer, 99, 101, 105, 107–8, 110, 116, 124, 125, 130–31, 136–37, 149–54, 258
Schuyler, Philippa, 83, 87, 90, 136
birth and childhood of, 147–48, 154–57, 160
death of, 162
musical talent of, 155, 156, 157, 161–62
Scott, Esther Fulks, 22
Scottsboro Boys, 55, 175, 281, 314
mothers of, 326
Scottsboro case, 55–56, 160, 272, 394n175
Bates recanting, 325–27, 326
and Communist Party, 55–56, 160, 284, 314–17, 325–26
and Cunard, 55, 175, 281, 284, 313–16, 318–20, 322, 323, 324, 325–27
and NAACP, 55–56, 315–16
Vorse essay on, 327
segregation:
in all aspects of life, 304
enforcement of, 8, 68, 196
idea of “pure” races, 8, 11–12, 141
Jim Crow, 43
and “nigger heaven,” 19–20
Seltzer, Margaret (Jones), 341
Sennett, Mack, 102–3
separate-sphere ideology, 208–9
Sexton, Will, “The New Negro,” 307
Seymour, Ann, Lawd Does You Undastahn, 187
Shaw, George Bernard, 291
Shaw, Robert Gould, 208, 405n208
Shockley, Ann Allen, 59, 61, 76
Show Boat (musical), 41, 71
Shuffle Along (musical), 21, 41, 368n41
Simpson, Wallis, 291
Sissle, Noble, 21
“slumming,” xx, 29, 32, 36, 113, 123, 142, 300
Small’s Paradise, Harlem, 20, 34, 113, 120
Smith, Clara, 41
Smith, T. R., 38
social identity, see identity politics; racial identity
socialism, 104, 105, 114, 119
Society for the Preservation of American Indian, 213
Solano, Solita, 294, 302, 304
South, Eddie, 302
southern education, 68–69
Southwest:
anthropologists in, 209–10
Pueblo cultures of, 208
tourist shops in, 210, 406n210
Spanish Civil War, 335
Spence, Eulalie, 22
Spingarn, Amy, xxii, 20, 42
“An Art Commentary on Lynching” (exhibit), 80, 377–78n80
low profile maintained by, xx, xxii, 222
Spingarn, Arthur, xviii, xxii, 42
Spingarn, Joel, xviii, xxii, 22
Spingarn Medal, 31
spiritualism; spiritualist(s), 204, 206–7, 237, 403–4n205
Sproul, Edith, 85
Stahl, John M., 272
Statue of Liberty, 176
Stearns, Almira H., 64–66, 70, 71, 80, 81
Stearns, Harold, 101
Stefansson, Vilhjalmur, 262, 265, 267
Stein, Gertrude, 17, 19, 89, 216
Stettheimer, Florine, 24
Stieglitz, Alfred, 109
stock market crash, xxix, 40, 236, 267
and Depression, see Great Depression
Stowe, Harriet Beecher, 80, 420n272
Streetman, Earl, 175, 325
Stribling, T. S., 276
Strivers’ Row, Harlem, 120
Suffrage League, 263
suffragists, xviii, 177, 263
Sugar Hill, Harlem, 143–44
suntanning, 318, 429n318
surrealists, 294
Talbert, Mary B., 75
Tanne, Laura see Schuyler, Josephine Cogdell, 152, 390n151, 390–91n151
“Now I Know the Truth,” 151
“To a Dark Poem,” 151
taxonomic fever, 3–13, 52, 207, 285
Taylor, Beatrice, 85
Terrell, Mary Church, 159
Tervuren museum, 215
theater:
authentic history in, 22, 245
black antilynching tradition in, 186–87
blackface performers in, 42, 44
double audience in, 43
and Great Depression, 176
in Harlem, 114, 272
Negroes breaking ground in, 21–22, 33, 89, 232
whites writing black, 179–83, 185, 187
Thompson, Louise, 221, 237, 317, 357–58nxviii
Threadgill, James, 319
Three Mountain Press, 293
Thurman, Wallace, xviii, 32, 36, 89, 317
Harlem, 221
Infants of the Spring, 24–25, 27, 34
Toomer, Jean, 12, 89, 221
Cane, 26
“Portrait in Georgia,” 26, 151, 181
Tree, Iris, 293
Trent, Lucia, 431–32n342
“A White Woman Speaks,” 342–43
Tribal Art, 407–8n216
Twain, Mark, 10, 80
twenties:
consumer culture in, 4
gender stereotypes in, 101, 136–38
Jim Crow in, 43
modernists in, 216, 294–95, 332, 336
racial norms in, 4, 7–8, 12, 86, 183, 301, 343
solutions sought in, 207
Tzara, Tristan, 294
Underhill, Ruth, 209
Underwood, Edna Worthley, xxv
Universal Negro Improvement Association (UNIA), 11, 12, 119
Urban League, xxiii, 31, 190, 263, 317
U.S. Post Office, 74
Van der Veer, Joanna, 201, 202
Van Doren, Dorothy, 159
Vanity Fair, 172
Vann, Robert, 142–43
Van Vechten, Carl, xviii, xxv, 22, 159, 186, 188, 195–98, 234, 246
correspondence of, 89–90
as “honorary Negro,” 89, 90, 196, 218, 226, 258, 321
and Hurst, 263, 271
influence of, 195–96
and Larsen, 195–96
and literary salon/parties, 31, 38, 39, 40, 42, 195, 196
and Marinoff, 25, 38, 40, 89
Nigger Heaven, xvii, 19–20, 44, 89, 114, 115, 196, 226–27, 273, 393n172
photograph of Josephine Schuyler by, 164
Vanzetti, Bartolomeo, 175
vaudeville, 21, 22, 42
Victor Records, 151
Viking Foundation, 31
Viking Press, 241
Voorhees, Lucretia, 202
Vorse, Mary Heaton, “H
ow Scottsboro Happened,” 327
Wald, Lillian, 101
Walker, A’Lelia (Bundles), 31, 33, 34, 35, 39, 42, 112, 113, 162
Walker, Madam C. J., 35
Walker, Rebecca, 341
Wall, Ann, 61
Washington, Booker T., 47–48, 185
Wasserman, Eddie, 39
Waters, Ethel, 21, 89, 125
Watson, John Broadus, 156
Watson, Steven, The Harlem Renaissance, xvii
Wells, Ida B., 54, 78
A Red Record, 1892–1894, 72
West, Rebecca, 24, 38
Wharton, Edith, 176
White, Walter, xviii, 13, 31, 89, 144, 219, 273, 316
and Communist Party, 315
and NAACP extravaganza, 40–41, 42, 44–45
as NAACP official, 182, 322
and Negro anthology, 329
and parties, 38, 39, 195
as voluntary Negro, 12, 18, 89
“White Girl’s Prayer, A” (Johnson), xv, xvi, xviii, 13, 17, 45, 49, 54, 105, 140, 150, 312, 324, 341, 343
whiteness:
arrogant assumptions of, 44
classification of, 11
codes of, xxvii
disadvantages of, 130
as negative concept, 150, 159
possessive investment in, 277
research studies on, xxviii
shame and, 342–43
as social privilege, xxvi, 277, 325
White Wives of Negro Men, 54
Whitney, Gertrude Vanderbilt, 34
Whittaker, James, 282
Wilkins, Roy, 144
Williams, Fess, 112, 116
Williams, Patricia, 196, 277
Williams, William Carlos, 329, 332, 336
Williamson, Joel, 68
Wilson, Edith, 150
Wilson, Frank, 21
white women:
education of, 63
and feminism, xxviii, 50, 63, 93, 94, 101, 135, 191, 207, 263, 312, 326
flappers, xviii
as hostesses, 40
independent, 102, 104, 263, 339
and lynching, 74–75, 78, 105, 181, 187, 396n181
New Woman activists, see New Woman
passing, and gender, 297–98
schoolma’ams/schoolmarms, 59, 62–64
“strange longing” to be black, 48–51
suffrage for, 208
as tourists in Harlem, xx-xxi, 54
traditional roles for, xxi, 66, 200, 201–2, 208–9, 297
trouble caused by, 26, 27, 54–55, 56, 72, 73, 86, 181, 299, 301, 314, 316, 366n26
vs. black, 54, 141–42, 181
writers, 23–24
Wood, Alma, 67–68, 79
Wood, Courtney and Rebecca, 67
Wood, Florence, 67, 68, 79
Wood, Lillian E., 43, 59–61, 66–80, 151
calling of, 68, 75
categorized as black, xxiii, xxix, 61, 79, 277, 324
comparisons to, 179, 185, 198, 277
death of, 80
influence of, xxx, 184
Let My People Go, xxx, 60–61, 66, 71–72, 75–78, 79–80, 181
and Morristown College, 59, 69–72, 76, 78–82, 81
as teacher, 67, 69, 208
Wood, William, 67
Woodson, Carter, 190
Woolf, Leonard, 294
Woolf, Virginia, 294
Works Progress Administration (WPA), 147, 189
World War I:
369th Regiment “Harlem Hellfighters” in, xxi, 179
postwar race riots, 8
Worthing, Helen Lee, 52–53, 52, 54
Wright, Richard, 26–27, 89
Native Son, 27, 151, 181, 366n26
Wylie, Elinor, 38
Yankee schoolmarm, see schoolma’am/schoolmarm
Yeats, W. B., 290
Yezierska, Anzia, 101
Young Negroes’ Cooperative League, 144, 147
Ziegfeld Follies, 52
Zora Neale Hurston: A Life in Letters (Kaplan), xvii-xviii
Zukofsky, Louis, 332
Photographic Insert A
“Hot-tentotsy,” 1920s primitivism.
Harlem nightclub.
Walter White.
Carl Van Vechten.
Close-up of Harlem tourist map encouraging stereotypes.
Libby Holman in blackface as a prostitute, with Clifton Webb, in “Moanin’ Low.”
Langston Hughes.
Zora Neale Hurston.
Alain Locke.
Studio portrait of Josephine Cogdell as a young woman.
Josephine Cogdell’s painting of her father in Texas.
John Garth’s painting of Adam and Eve, possibly using Josephine and George Schuyler as models.
Scrapbook images of Josephine and George Schuyler, 1931.
Photographic Insert B
As hostesses, muses, and models, white women made their mark. Fania Marinoff, modeling.
In black communities, the Yankee schoolmarm was often revered.
Annie Nathan Meyer as a young woman. Someone, Annie presumably, pasted “Listen, honestly, Get out” onto this portrait of proper womanhood.
Charlotte Osgood Mason ensconced with Cornelia Chapin (standing) and Katherine Chapin Biddle.
Such blatantly racist postcards were common, and some interracial friends, like Charlotte Osgood Mason and Langston Hughes, collected and exchanged them avidly. Hughes kept his collection until his death.
Mason wrote, “Happy Easter to our dear Langston. ‘G–’ [for Godmother].” Usually Mason’s correspondence was dictated to one of the Chapin sisters, but this brief greeting is in her own hand.
Nancy Cunard with her African bangles, by Man Ray.
Cover for Henry Music; Nancy’s bangled arms cross Henry Crowder’s shoulders.
By mid-decade the suntanning craze had swept across the globe.
About the Author
CARLA KAPLAN is an award-winning professor and writer who holds the Stanton W. and Elisabeth K. Davis Distinguished Professorship in American Literature at Northeastern University, and she has also taught at the University of Southern California and Yale University. Kaplan is the author of The Erotics of Talk and Zora Neale Hurston: A Life in Letters, as well as the editor of Dark Symphony and Other Works by Elizabeth Laura Adams, Every Tongue Got to Confess by Zora Neale Hurston, and Passing by Nella Larsen. A recipient of a Guggenheim and many other fellowships, Kaplan has been a fellow in residence at the Cullman Center for Scholars and Writers, the Schomburg Center for Research in Black Culture, and the W. E. B. Du Bois Institute, among other research centers.
Visit www.AuthorTracker.com for exclusive information on your favorite HarperCollins authors.
Also by Carla Kaplan
Zora Neale Hurston: A Life in Letters
The Erotics of Talk: Women’s Writing and Feminist Paradigms
Dark Symphony and Other Works
by Elizabeth Laura Adams (editor)
Every Tongue Got to Confess: Negro Folk-Tales from the Gulf States
by Zora Neale Hurston (editor)
Passing by Nella Larsen (editor)
Credits
Cover design by Jarrod Taylor
Cover photograph: “Dickie Wells, Harlem.” Photograph by Russell Aikins. Originally published in Fortune, March 1936.
Frontispiece: Etta Duryea, circa 1910. Photograph by Elmer Chickering. Courtesy of the Boston Public Library, Print Division.
Grateful acknowledgment is made for permission to reprint the following:
Insert A
Life magazine cover, July 15, 1926. “Everything is Hot-tentotsy now”: Illustrated by L. T. Holton. Courtesy of the Granger Collection, New York.
Photograph of a Harlem nightclub: “Dickie Wells, Harlem.” Photograph by Russell Aikins. Originally published in Fortune, March 1936.
Walter White, June 1942: Photograph by Gordon Parks. Library of Congress, Prints and Photographs Division, Farm Security Administration/Office of War Information Collect
ion.
Carl Van Vechten, self-portrait, 1934: Courtesy of the Van Vechten Trust and the James Weldon Johnson Collection, Beinecke Rare Book and Manuscript Library, Yale University.
Detail from a tourist map of Harlem: “Manhattan, first city in America.” Published by S. M. Stanley Co., 1933. Courtesy of the Map Division, New York Public Library, Astor, Lenox and Tilden Foundations.
Libby Holman in “Moanin’ Low”: Publicity still, Libby Holman and Clifton Webb, singing “Moanin’ Low” from The Little Show, circa 1929. From the Libby Holman Collection, Howard Gotlieb Archival Research Center, Boston University.
Langston Hughes: Schomburg Center for Research in Black Culture, Photographs and Prints Division, Portrait Collection, New York Public Library, Astor, Lenox and Tilden Foundations.
Zora Neale Hurston: Photographer unknown. Library of Congress, Prints and Photographs Division.
Alain Locke: Photographer unknown. Courtesy of Moorland-Spingarn Research Center, Manuscript Division, Howard University.
Josephine Cogdell Schuyler as a young woman: Schomburg Center for Research in Black Culture, Manuscripts, Archives, and Rare Books Division, Philippa Schuyler Papers, New York Public Library, Astor, Lenox and Tilden Foundations.
Josephine Cogdell’s painting of her father: Courtesy of Walter Juliff. Painting in private collection.
John Garth, Adam and Eve: Painting courtesy of Lisa Illia, daughter of John Garth. Painting in private collection.
Excerpt from Josephine Cogdell Schuyler’s scrapbook. Courtesy of George S. Schuyler Papers, Special Collections Research Center, Syracuse University Library.
Insert B
Fania Marinoff: Photographer unknown. Courtesy of the Van Vechten Trust and the Carl Van Vechten Papers, James Weldon Johnson Collection, Beinecke Rare Book and Manuscript Library, Yale University.
Yankee Schoolmarm: “Primary school for Freedmen, in charge of Mrs. Green, at Vicksburg, Mississippi.” Wood engraving. Originally printed in Harper’s Weekly, June 23, 1886, p.d.
Annie Nathan Meyer as a young woman: Courtesy of Barnard College Archives.
Studio portrait of Charlotte Osgood Mason with Cornelia Chapin and Katherine Chapin Biddle: Collection of Mrs. Edmund Randolph Biddle and Stephen G. Biddle, Quakertown, Pennsylvania. Courtesy of Mrs. Edmund Randolph Biddle and Stephen G. Biddle.
