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“This choice of ten essays makes a persuasive case for a black Atlantic literary renaissance and its influence on modernist experiences. The chapters stretch and problem present canonical configurations of modernism in methods: through 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 way 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 examine to deal with jointly the cognate fields of modernism and the black Atlantic.”

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Many of these attacks occurred in Montmartre, right at the time it was becoming the centre of jazz in Paris. Typically, white Americans would see black men with white women and react violently. Their victims usually fought back energetically, often aided by French women and men. indd 32 15/01/2013 13:51 Black Modernism and the Making of the Twentieth Century 33 outraged protests from black members of the French National Assembly. 49 In general, jazz seemed to belong to those who embraced the idea of a new world after the Great War, rather than those hoping to restore the old.

59. Claude McKay, A Long Way from Home (New York: L. Furman, 1937), p. 230. 60. Cited in Vincent, Keep Cool, p. 107. 61. Lloyd, Eugene Bullard, pp. 105–6. 62. Ibid. pp. 80–5. 63. On Josephine Baker’s stewardship of her own career, see Bennetta JulesRosette, Josephine Baker in Art and Life: The Icon and the Image (Urbana: University of Illinois Press, 2007). 64. Stovall, Paris Noir, p. 88. 65. Langston Hughes, The Big Sea (New York: Hill and Wang, 1979), p. 162. indd 42 15/01/2013 13:51 Chapter 2 Futurist Responses to African American Culture Przemysław Stroz˙ek At the beginning of the twentieth century the first signs of African American culture in the form of dances – ragtime, the cakewalk, jazz, the Charleston – appeared in Europe as a new, original form of entertainment, and music craze, notably in the Parisian salons.

Archives de la prefecture de police, carton BA 861, Revue ‘Bonsoir’, 15 March 1919. On the vogue for blackness in interwar France see Jody Blake, Le Tumulte Noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930 (University Park: Pennsylvania State University Press, 1999); Petrine Archer-Straw, Negrophilia: Avant-Garde Paris and Black Culture in the 1920s (New York: Thames and Hudson, 2000); Elizabeth Ezra, The Colonial Unconscious: Race and Culture in Interwar France (Ithaca, NY: Cornell University Press, 2000); Brett Berliner, Ambivalent Desire: The Exotic Black Other in Jazz-Age France (Amherst: University of Massachusetts Press, 2002).

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