The Nadir and the Zenith is a study of temperance and melodramatic excess in African American fiction before the Harlem Renaissance. Anna Pochmara combines formal analysis with attention to the historical context, which, in addition to postbellum race relations in the United States, includes white and black temperance movements and their discourses. Despite its proliferation and popularity at the time, African American fiction between Reconstruction and World War I has not attracted nearly as much scholarly attention as the Harlem Renaissance. Pochmara provocatively suggests that the historical moment when black people’s “status in American society” reached its lowest point— what historian Rayford Logan called the “Nadir”—coincides with the zenith of black novelistic productivity before World War II. Pochmara examines authors such as William Wells Brown, Charles W. Chesnutt, Paul Laurence Dunbar, Frances Ellen Watkins Harper, Pauline Elizabeth Hopkins, and Amelia E. Johnson. Together, these six writers published no fewer than seventeen novels in the years of the Nadir (1877–1901), surpassing the creativity of all New Negro prose writers and the number of novels they published during the height of the Harlem Renaissance in the 1920s.
The Making of the New Negro examines black masculinity in the period of the New Negro/Harlem Renaissance, which for many decades did not attract a lot of scholarly attention, until, in the 1990s, many scholars discovered how complex, significant, and fascinating it was. Using African American published texts, American archives and unpublished writings, and contemporaneous European discourses, this book focuses both on the canonical figures of the New Negro Movement and African American culture, such as W.E.B. Du Bois, Booker T. Washington, Alain Locke, and Richard Wright, and on writers who have not received as much scholarly attention despite their significance for the movement, such as Wallace Thurman. Its perspective combines gender, sexuality, and race studies with a thorough literary analysis and historicist investigation, an approach that has not been extensively applied to analyze the New Negro Renaissance.
The Making of the New Negro examines black masculinity in the period of the New Negro/Harlem Renaissance, which for many decades did not attract a lot of scholarly attention, until, in the 1990s, many scholars discovered how complex, significant, and fascinating it was. Using African American published texts, American archives and unpublished writings, and contemporaneous European discourses, this book focuses both on the canonical figures of the New Negro Movement and African American culture, such as W.E.B. Du Bois, Booker T. Washington, Alain Locke, and Richard Wright, and on writers who have not received as much scholarly attention despite their significance for the movement, such as Wallace Thurman. Its perspective combines gender, sexuality, and race studies with a thorough literary analysis and historicist investigation, an approach that has not been extensively applied to analyze the New Negro Renaissance.
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