By Brent Hayes Edwards
A pathbreaking paintings of scholarship that would reshape our knowing of the Harlem Renaissance, The perform of Diaspora revisits black transnational tradition within the Nineteen Twenties and Nineteen Thirties, paying specific realization to hyperlinks among intellectuals in big apple and their Francophone opposite numbers in Paris. Brent Edwards means that diaspora is much less a ancient situation than a suite of practices: the claims, correspondences, and collaborations in which black intellectuals pursue various overseas alliances.
Edwards elucidates the workings of diaspora by means of monitoring the wealth of black transnational print tradition among the area wars, exploring the connections and exchanges between New York–based courses (such as Opportunity, The Negro World, and The Crisis) and newspapers in Paris (such as Les Continents, La Voix des Nègres, and L'Etudiant noir). In examining a remarkably diversified archive--the works of writers and editors from Langston Hughes, René Maran, and Claude McKay to Paulette Nardal, Alain Locke, W. E. B. Du Bois, George Padmore, and Tiemoko Garan Kouyaté--The perform of Diaspora takes account of the hugely divergent methods of imagining race past the obstacles of country and language. In doing so, it finds the significance of translation, arguing that the politics of diaspora are legible in particular in efforts at negotiating distinction between populations of African descent through the world.
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