From the music of Louis Armstrong to the portraits by Beauford Delaney, the writings of Langston Hughes to the debut of the musical Show Boat, the Harlem Renaissance is one of the most significant developments in African-American history in the twentieth century. The Encyclopedia of the Harlem Renaissance, in two-volumes and over 635 entries, is the first comprehensive compilation of information on all aspects of this creative, dynamic period.
For a full list of entries, contributors, and more, visit the Encyclopedia of Harlem Renaissance website.
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Cary Wintz is a professor at Texas Southern University, and her past publications include African-AmericanPolitical Thought, 1890-1930: Washington, DuBois, Garvey,and Randolph. Paul Finkelman is a professor at the University of Tulsa School of Law. His past publications include Slavery and the Founders: Race and Liberty in theAge of Jefferson.
*Starred Review* The Harlem Renaissance continues to attract academic interest across disciplines, and this set reflects that interest as well as the diversity in scholarship devoted to the topic. Debate still rages among critics about the origins, scope, and legacy of the Harlem Renaissance. In 639 entries, this encyclopedia not only covers these and other expected aesthetic issues--literature, art, and music--but also the historical, political, and socioeconomic environment in which the movement took place.
Almost half of the entries are biographical, encompassing actors, politicians, musicians, writers, patrons, and more. Other entries cover specific literary or theatrical works or productions; places (Apollo Theater, 135th Street Library); organizations (Black Star Line, Harlem Globetrotters, Negro Art Theater); and periodicals (Chicago Defender, The Nation). Also discussed are topics such as Blues, Federal Writer's Project, and White patronage. The series of entries headed Harlem Renaissance in the United States deals with the movement in Boston, California, and Chicago, among other places. The encyclopedia's more than 250 contributors range from academics to artists. Entries are alphabetically arranged and individually authored, and each one is followed by a list of "Further Reading." Many also contain see also references, and for artists, a list of major works (books, movies, recordings, etc.). Most entries are less than a page long, though substantive essays of about three to five pages are provided on some of the more influential artists, performers, or works. Other longer entries include topics like Art criticism and the Harlem Renaissance, Civil rights and law, Europe and the Harlem Renaissance (with subentries on Berlin, London, Paris, and the Soviet Union), and riots. There are even entries devoted to artists or works inspired by the Harlem Renaissance movement (for example, Sherwood Anderson's novel Dark Laughter). The entries are well written and cogent, particularly on sensitive or emotional topics like lynching and passing.
The volumes also include 180 black-and-white photographs and a street map of Harlem, 1913-1930. This map highlights landmarks like the Apollo Theater and the Cotton Club as well as the residences of famous denizens like Langston Hughes and Marcus Garvey. There is also a very helpful thematic list of entries, with headings like "Nightlife," "Publishers," "Singers," and "Theater Companies."
Overall, this is a significant and useful addition to reference works on the Harlem Renaissance, appealing to users seeking general outlines and summaries as well as to those needing specifics and references. It is accessible to readers on multiple levels and recommended for high-school, college, and public libraries. Michael Tosko
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