The poet William Waring Cuney (1906-1976) hails from an illustrious Afro-Texan family whose members include the charismatic politician Norris Wright Cuney (1846-1898) and his daughter, Maud Cuney Hare (1874-1936),the concert pianist and writer. Waring Cuney's maternal line, after whom he was named, was equally eminent. Cuney was born and raised in Washington D.C., just a few blocks from Howard University where three generations of his family studied. Despite his privileged upbringing among the city's Black elite, Cuney embraced his family's passionate commitment to racial uplift and civil rights; in exploring the relationship between African Americans and their environment, he was thus able to transmute into two books of poetry a broad cross section of African American life; his poems and songs explore the lives of jazz musicians, athletes, domestic and railway workers, women and children, blues singers, prisoners, sharecroppers, and soldiers. In addition, Cuney published in all the major Harlem Renaissance journals and anthologies alongside the luminaries of the period, many of whom were good friends. Through 100 of his best poems, many never collected or published, and a detailed biographical monograph, Images in the River: The Life and Work of Waring Cuney introduces readers to a newly recovered Harlem Renaissance poet, and to the history of a remarkable American family.

Zora Neale Hurston (1891-1960), the most prominent of the Harlem Renaissance women writers, was unique because her social and professional connections were not limited to literature but encompassed theatre, dance, film, anthropology, folklore, music, politics, high society, academia, and artistic bohemia. Hurston published four novels, three books of nonfiction, and dozens of short stories, plays, and essays. In addition, she won a long list of fellowships and prizes, including a Guggenheim and a Rosenwald. Yet by the 1950s, Hurston, like most of her Harlem Renaissance peers, had faded into oblivion. An essay by Alice Walker in the 1970s, however, spurred the revival of Hurston's literary reputation, and her works, including her 1937 novel Their Eyes Were Watching God, have enjoyed an enduring popularity. Zora Neale Hurston: An Annotated Bibliography of Works and Criticism consists of reviews of critical interpretations of Hurston's work. In addition to publication information, each selection is carefully crafted to capture the author's thesis in a short, pithy, analytical framework. Also included are original essays by eminent Hurston scholars that contextualize the bibliographic entries. Meticulously researched but accessible, these essays focus on gaps in Hurston criticism and outline new directions for Hurston scholarship in the twenty-first century. Comprehensive and up-to-date, this volume contains analytical summaries of the most important critical writings on Zora Neale Hurston from the 1970s to the present. In addition, entries from difficult-to-locate sources, such as small academic presses or international journals, can be found here. Although intended as a bibliographic resource for graduate and undergraduate students, this volume is also aimed toward general readers interested in women's literature, African American literature, American history, and popular culture. The book will also appeal to scholars and teachers studying twentieth-century American literature, as well as those specializing in anthropology, modernism, and African American studies, with a special focus on the women of the Harlem Renaissance.

"Recovers Coleman's life and literary legacy"

One of the most distinctive and prolific writers of the Harlem Renaissance, Anita Scott Coleman (1890-1960) found popular and critical success in the flourishing African American press of the early twentieth century. Yet unlike many of her New York-based contemporaries, Coleman lived her life in the American West, first in New Mexico and later in California. Her work thus offers a rare view of African American life in that region.

Broader in scope than any previous anthology of Coleman's writings, this volume collects the author's finest stories, essays, and poems, including many not published since they first appeared in African American newspapers during the 1920s, '30s, and '40's. Editors Cynthia Davis and Verner D. Mitchell introduce these writings with an in-depth biographical essay that places Coleman in the context of the Harlem Renaissance movement.

The volume also features vintage family photographs, a detailed chronology, and a genealogical tree covering five generations of the Coleman family. Based on extensive research and written with the full cooperation of the Coleman family, "Western Echoes of the Harlem Renaissance" gives readers new understanding of this overlooked writer's life and literary accomplishments.

Despite her strong associations with Massachusetts - her upbringing in Roxbury, her lifelong connection with Martha's Vineyard, and two novels documenting the Great Migration and the rise and decline of Boston's African American community - Dorothy West (1907-1998) is perhaps best known as a member of the Harlem Renaissance. Between 1927 and 1947, West and her cousin, the poet Helen Johnson, lived in New York City, where West attended Columbia University, worked as a welfare investigator, wrote for the WPA, traveled to Russia, and established a literary magazine for young black writers. During these years, West and Johnson knew virtually everyone in New York's artistic, intellectual, and political circles. Their friends included Langston Hughes, Zora Neale Hurston, Carl Van Vechten, Richard Wright, Arna Bontemps, Claude McKay, and many others. West moved easily between the bohemian milieu of her artistic soul mates and the respectable bourgeois soirees of prominent social and political figures. In this book, Professors Mitchell and Davis provide a carefully researched profile of West and her circle that serves as an introduction to a well edited, representative collection of her out of print, little known, or unpublished writings, supplemented by many family photographs. The editors document West's ""womanist"" upbringing and her relationships with her mother, Rachel Benson West, and other strong-minded women, including her longtime companion, Marian Minus. The volume includes examples of West's probing social criticism in the form of WPA essays and stories, as well as her interviews with southern migrants. A centerpiece of the book is her unpublished novella, Where the Wild Grape Grows, which explores with grace and gentle irony the complex relationship of three retired women living on Martha's Vineyard. Several of West's exquisitely observed nature pieces, published over a span of twenty years in the Vineyard Gazette, are also reprinted.

The Black Arts Movement (BAM) encompassed a group of artists, musicians, novelists, and playwrights, whose work combined innovative approaches to literature, film, music, visual arts and theatre. With a heightened consciousness of black agency and autonomy-along with the radical politics of the Civil Rights Movement, the Black Muslims and the Black Panthers-these figures represented a collective effort to defy the status quo of American life and culture. Between the late 1950s and the end of the 1970s, the movement produced some of America's most original and controversial artists and intellectuals. In The Encyclopedia of the Blacks Arts Movement, Verner D. Mitchell and Cynthia Davis have collected essays on the key figures of the movement including Maya Angelou, James Baldwin, Amiri Baraka, Nikki Giovanni, Larry Neal, Sun Ra, Sonia Sanchez, Ntozake Shange, and Archie Shepp. Additional essays focus on Black Theatre magazine, the Negro Ensemble Company, and lesser known individuals-including Kathleen Collins, Tom Dent, Bill Gunn, June Jordan, and Barbara Ann Teer-and groups, such as AfriCOBRA and the New York Umbra Poetry Workshop. Featuring essays by contemporary scholars and rare photographs of BAM artists, The Encyclopedia of the Blacks Arts Movement is an essential reference for students and scholars of twentieth century American literature and African-American cultural studies.

This volume brings together much of the poetry and a selection of correspondence by an enormously talented but underappreciated poet of the Harlem Renaissance. Cousin of novelist Dorothy West and friend of Zora Neale Hurston, Helene Johnson (1905-1995) first gained literary prominence when James Weldon Johnson and Robert Frost selected three of her poems for prizes in a 1926 competition. During the late 1920s and early 1930s, her poetry appeared in various small magazines. In 1933, she married, and two years later her last published poem appeared in ""Challenge"", the journal West had founded to revive the spirit of the Harlem Renaissance.