Chapter 1 focuses on the career of Harlem writer Aubrey Bowser, who began his career editing the uplift literary journal The Rainbow, the official organ of Reverend Frederick A. Cullen’s Salem Methodist Episcopal Church, and who then re-edited some of that material, which, in turn, appeared in the New York Amsterdam News, Norfolk Journal and Guide, and in the Baltimore Afro-American. The printscape of Bowser’s work reveals the pressures that Jazz Age Black journalism placed on writers committed to racial uplift, as well as how Black newspapers bridged tensions between religious, dry, daytime tenets and wet, nighttime indulgence. As the Black press advertised, reported on, and editorialized “uplift” events concurrently with Harlem nightlife, it encouraged readers to mitigate at least some of the ideological divisions by offering a cosmopolitan vision of the New Negro. Within this context, the cultural work of Bowser’s fiction, especially after 1925 when most Black newspapers shifted their stance and saw Prohibition as a failure, assuaged readers that “knowing” wet Harlem did not mean abandoning the church and that attending church did not mean condemning the cabaret.

The Harlem Renaissance Weekly asks that we consider the largely overlooked newspaper serial fiction of the 1920s in relation to, and sometimes in direct response to, events of daily interest to Black people, and especially Black women, who likely constituted its primary readers. By recentering Black newspapers and by reading them as part of a reader-generated weekly montage, I show how this broad-based popular form helped readers renegotiate the cultural work of New Negroes, refiguring civil rights protest as they navigated the pleasures and dangers of the Jazz Age. At the same time, I demonstrate how the twenties New Negro Woman featured in the Pittsburgh Courier increasingly dominated racial representation and contested patriarchal Black leadership. If the New Negro Man led the race on the editorial page, the New Negro Woman represented the race on the front page. It was not Alain Locke’s implicitly male New Negro who defined the Harlem Renaissance week to week, but rather the New Negro Woman, who, almost invariably in the context of a heterosexual love plot, propelled narratives, spurred sales, and defined a distinctly modern Black sociopolitical consciousness.

Jazz is a music that did not merely inspire works of literature; in many cases it aspired toward the literary. Drawing from Ralph Ellison’s impulse to praise the jazz rhythms of T. S. Eliot’s The Waste Land (1922) as containing a “range of allusion [that] was as mixed and varied as that of Louis Armstrong,” this chapter offers an overview of the aesthetic, thematic, and political motivations of jazz and modernist literature from blues and ragtime to the emergence of bebop. In exploring jazz as one of the “forms” of American modernism, I attend to the experimental formal variations in the poetry and prose of a wide range of authors, including Sterling Brown, T. S. Eliot, F. Scott Fitzgerald, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer, William Carlos Williams, and others, but also to the radical form of the blues by Louis Armstrong, W. C. Handy, and Bessie Smith.