| Book Review | The American Historical Review, 112.3

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| Book Review | The American Historical Review, 112.3 | The History Cooperative

Book Review

Canada and the United States

Jeffrey B. Ferguson. The Sage of Sugar Hill: George S. Schuyler and the Harlem Renaissance. New Haven, Conn.: Yale University Press. 2005. Pp. xv, 303. $40.00.

Literary historians most often recall George S. Schuyler (1895–1977) as the losing party in one of the defining manifesto wars of the Harlem Renaissance. In a 1926 debate brokered by the Nation, Schuyler's essay "The Negro-Art Hokum," a hilariously presumptuous assault on both the New Negro vogue and the very possibility of a racial culture, bumped heads with Langston Hughes's jazzed-up clarion call "The Negro Artist and the Racial Mountain," the Harlem movement's signature declaration that "younger Negro artists" aimed "to express [their] individual dark-skinned selves without fear or shame" (p. 188). In the immediate judgment of the Nation's progressive readership, Schuyler's tart anti-racialism carried the day. Yet in the estimation of the younger Negro artists themselves, as well as in the long run of modern black cultural politics, Hughes's case for the proud distinction of African American artistic forms prevailed decisively, energizing a multigenerational hunt for a purified racial aesthetic.

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