Women of the Harlem Renaissance

by Cheryl A. Wall

"Wall's writing is lively and exuberant. She passes her enthusiasm for these writers' works on to the reader. She captures the mood of the times and follows through with the writers' evolution―sometimes to success, other times to isolation. . . . Women of the Harlem Renaissance is a rare blend of thorough academic research with writing that anyone can appreciate." ―Jason Zappe, Copley News Service

"By connecting the women to one another, to the cultural movement in which they worked, and to other early 20th-century women writers, Wall deftly defines their place in American literature. Her biographical and literary analysis surpasses others by following up on diverse careers that often ended far past the end of the movement. Highly recommended . . . " ―Library Journal

"Wall offers a wealth of information and insight on their work, lives and interaction with other writers. . . strong critiques . . . " ―Publishers Weekly

The lives and works of women artists in the Harlem Renaissance―Jessie Redmon Fauset, Nella Larsen, Zora Neale Hurston, Bessie Smith, and others. Their achievements reflect the struggle of a generation of literary women to depict the lives of Black people, especially Black women, honestly and artfully.

Genres: History, Nonfiction, Classics

272 pages, Paperback

First published September 1, 1995

About the author

Cheryl A. Wall was a Professor of English at Rutgers University, specializing in African-American women's writing of the Harlem Renaissance.

Reviews

[Karen · Rating 3 out of 5]

Aside from concentrating on the three main literary figures, Wall did a commendable job incorporating women musicians and other artistic performers into her story, such as Bessie Smith, Josephine Baker, and Ann Spencer whose inclusion fleshes out the context of the work. Crucially, Wall also illuminated the movement to incorporate folk literature and song into the Harlem Renaissance, which Wintz ignored entirely. While she concentrated her discussion of the folk music and literature in the chapter dedicated to Zora Neale Hurston since Hurston worked to collect much of the material, she wove in snippets of folk works throughout the book giving readers a sense of the themes and flavor.
The most compelling aspect of Wall’s narrative was how she pulled out an aspect from each of the three female writers’ works and lives to illustrate how African American had to overcome racism, sexism, and the enduring stereotypes from slavery, especially of Jezabelle and Mammy. All three women had to navigate blockades from the white society in order to complete their educations, but sometimes as Wall demonstrated through Jessie Redmon Fauset’s experience with DuBois, the black intellectual male leaders could be just as constraining and prejudicial as white men, and actively attempted to downplay the accomplishments of African American women and block their pathways to further accomplishments. Nella Larson, thought it necessary to write under a false male name to avoid unwanted harassment and to gain acceptance for her works on their merits alone and not have them judged by her identity. Walls used Larson’s story and writings to discuss a painful topic of passing in the African American community – to deny one’s black heritage and embrace the idea of being considered white in order to gain the rights available to that group. While Larson decided that passing was not an option for her (she was too dark), her novel Quicksand dissected the minutia of how painful the life could be for the many African Africans who decided to do so, despite having access to what most people would consider a better lifestyle. Hurston’s story illustrates the particular difficulties encountered by how to continue using their education. In Hurston’s case, in order for her to work in her field, she had to sponsored by a white, female philanthropist who wanted complete ownership of Hurston’s findings and control how she used them, which raised the greater question of who can or should own culture. For historians, perhaps the least useful portion of Wall’s work is her critiques of the women’s books. Wall’s critiques at times seem quite harsh, especially in regard to Fauset’s works, which she calls “among the least respected.” (pg.36)

[Electric Dreams · Rating 4 out of 5]

"Women of the Harlem Renaissance," edited by Marissa Constantinou, is an anthology that delves into a pivotal yet often overlooked aspect of the Harlem Renaissance: the contributions of women of color. This collection brings to light the extraordinary works of these female creatives, whose voices have been historically marginalized in the narrative of this significant cultural movement.

The Harlem Renaissance, known for its explosion of Black art, music, and writing, has often been viewed through the lens of its male contributors. Constantinou's anthology corrects this imbalance by focusing on the women who played a crucial role in this era. The collection encompasses a diverse range of themes, including love, loss, motherhood, jazz, passing, and the complexities of navigating the Jim Crow laws, all of which were integral to the experiences of these women during this period​​​​​​.

What stands out in this anthology is the breadth of its content and the depth of its exploration into the varied experiences of women during the Harlem Renaissance. The inclusion of both poems and stories offers a multifaceted view of the era, showcasing the richness and diversity of the literary contributions of these women. This approach not only highlights their artistic talents but also sheds light on their perspectives on a range of social and personal issues.

Moreover, the anthology is a part of the Macmillan Collector’s Library, a series known for its beautifully crafted editions. The aesthetic appeal of this collection, with its clothbound cover, gold foiled edges, and ribbon markers, adds a tangible sense of reverence and value to the works contained within​​. This physical presentation underscores the significance of these works, not just as historical documents but as timeless pieces of literature that continue to resonate today.

In summary, "Women of the Harlem Renaissance" is more than just an anthology; it's a reclamation and celebration of the voices of women who contributed significantly to one of the most important cultural movements of the 20th century. Edited by Marissa Constantinou and introduced by Professor Kate Dossett, this collection not only enriches our understanding of the Harlem Renaissance but also serves as a vital reminder of the need to recognize and honor the diverse voices that shape our cultural history.

[ReneeAlesia · Rating 5 out of 5]

Wall’s text primarily examines the lives and work of Jessie Redmon Fauset, Nella Larsen, and Zora Neale Hurston. There are several books about the Harlem Renaissance and most (if not all) do not engage these women and their contributions seriously.

Wall’s book corrects that and offers valuable information about the Fauset, Larsen, Hurston.

[Cara Byrne · Rating 4 out of 5]

Wall's work - part history/part critical analysis/part biography - is a fantastic introduction to lesser-heard voices of the Harlem Renaissance. Her chapters are filled with lots of biographical and historical information and are very readable and interesting, as she honors women whose names are often not as well-recognized as some of the male writers of the time, including W.E.B. Du Bois, Langston Hughes, and Richard Wright. She also notes that since other collections examining the period limit the authors considered due to when their works were published, many great women writers have been wrongfully excluded (10). Many of the women writers she writes about, including Jessie Fauset, Nella Larsen, Zora Neale Hurston, Gwendolyn Bennett, Georgia Douglas Johnson, and Anne Spencer, died without their written works being tied to their names and after having deserted writing to take up careers as mothers, nurses or teachers instead. She ends stating: "But if these literary foremothers were sometimes unable to live their dreams and convictions, they left a legacy in their art. Their literary legatees critique, revise, and extend the themes, forms, and metaphors that they employed in their poetry and fiction [...] The lives and work of the women of the Harlem Renaissance constitute a chapter in a literary history that is in the process of being written and made" (204).