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Author: Charles Henry Baker Publisher: Ravenio Books ISBN: Category : Cooking Languages : en Pages :
Book Description
ONE COMFORTABLE fact gleaned from travel in far countries was that regardless of race, creed or inner metabolisms, mankind has always created varying forms of stimulant liquid—each after his own kind. Prohibitions and nations and kings depart, but origin of such pleasant fluid finds constant source. Fermentation and the art of distilling liquors over heat became good form about the time our hairy forefathers began sketching mastodon and sabretooth tiger on their cave foyers. Elixir of fruit juice, crushed root and golden honey date back to the dawn of time and far beyond the written word, to when the old gods were young and stalked abroad upon business with goddesses, when Pan piped the dark forest aisles and Centaurs pawed belly deep in fern. The Phoenicians, the Pharaohs, the first agrarian Chinese, all ancient races on earth buried jars of wine or spirits with their dead alongside the money and food and weapons and wives, so the departed might find reasonable comfort and happiness in the hereafter. Go to Africa and the poorest Kaffir cheers life with—and for all of us he can have it—warm millet beer. We just returned from Mexico and can affirm that our Yucatecan most certainly ripped the bud out of his Agave Americana and drank the fermented pulque—a fluid which tastes faintly like mildewed donkeys—centuries before Montezuma’s parents journeyed southward to the Valley of Cortez. We found additional evidence after three voyages to Zamboanga in Philippine Mindanao—where the monkeys have no tails—that the more agile Moro shinnied up his cocopalm and slashed the flower bud with his bolo; caught the saccharine drip—and an astounding menagerie of assorted squirt-ants—in a fermentation joint of bamboo, long before the Spanish Inquisition or Admiral Dewey steamed into Manila Bay. In Samoa the loveliest tribal virgin chews the kava root for the ceremonial bowl when your yacht sails into her lagoon, and the resultant fluid furnishes a sure ticket to amiable paralysis of the lower limbs. China and Japan have for centuries had their rice wine and saki. The Russian made his vodka from cereals, the blond Saxon his honey mead, the Hawaiian his okolehao from roots or fruits. We’ve been often to the Holy Land and have flown across to Transjordania and the rose-red city of Petra, and can bear witness that those grapes Moses the Lawgiver found in the Promised Land weren’t all of a type suitable for raisins. To any reasonable mind this past and present testimony of mankind through the ages would indicate that some sort of fluid routine will continue for many centuries to come. With adventurers like Marco Polo, Columbus, Tavernier and Magellan, there was a vast national introduction and interchange of beverages. For better or worse both conquistador and native sampled, discarded or adapted an incredible addition of liquid blends and formulae. Through rigour or amiability of climate, through physical, racial and psychological characteristics of the individuals themselves, from the cocoon of this pristine field work there emerged an equally incredible list of drinks—mixed or otherwise—which for one reason or another have stood the test of time and taste and gradually have become set in form. They have become traditional, accepted in ethical social intercourse. And it is with the more civilized family of these that we are concerned in this volume; not the pulques and warm mealie beer or fermented Thibetan yak milk.
Author: Wallace Thurman Publisher: Courier Corporation ISBN: 0486316211 Category : Fiction Languages : en Pages : 178
Book Description
Minor classic of the Harlem Renaissance centers on the larger-than-life inhabitants of an uptown apartment building. The rollicking satire's characters include stand-ins for Langston Hughes, Zora Neale Hurston, and Alain Locke.
Author: Bruce Nugent Publisher: Duke University Press ISBN: 9780822329138 Category : Biography & Autobiography Languages : en Pages : 332
Book Description
DIVA collection of writings and artwork by Richard Bruce Nugent, an important yet heretofore obscure figure of the Harlem Renaissance./div
Author: Eleonore van Notten Publisher: BRILL ISBN: 9004483756 Category : Literary Criticism Languages : en Pages : 363
Book Description
Wallace Thurman (1902-1934) played a pivotal role in creating and defining the Harlem Renaissance. Thurman's complicated life as a black writer is described here for the first time: from his birth in Salt Lake City, Utah; through his quixotic and spotty education; to his arrival and residence in New York City at the height of the New Negro Movement in Harlem. Seen as it often is through the life of Langston Hughes, the Harlem Renaissance is celebrated as a highly successful Afro-centrist achievement. Seen from Thurman's perspective, as set against the historical and cultural background of the Jazz Age, the accomplishments of the Harlem Renaissance appear more qualified and more equivocal. In Thurman's view the Harlem Renaissance's failure to live up to its initial promise resulted from an ideological underpinning which was overwhelmingly concerned with race. He felt that the movement's self-consciousness and faddism compromised the aesthetic standards of many of its writers and artists, including his own.
Author: Joshua M. Murray Publisher: Liverpool University Press ISBN: 1949979563 Category : Literary Criticism Languages : en Pages : 312
Book Description
In his introduction to the foundational 1925 text The New Negro, Alain Locke described the “Old Negro” as “a creature of moral debate and historical controversy,” necessitating a metamorphosis into a literary art that embraced modernism and left sentimentalism behind. This was the underlying theoretical background that contributed to the flowering of African American culture and art that would come to be called the Harlem Renaissance. While the popular period has received much scholarly attention, the significance of editors and editing in the Harlem Renaissance remains woefully understudied. Editing the Harlem Renaissance foregrounds an in-depth, exhaustive approach to relevant editing and editorial issues, exploring not only those figures of the Harlem Renaissance who edited in professional capacities, but also those authors who employed editorial practices during the writing process and those texts that have been discovered and/or edited by others in the decades following the Harlem Renaissance. Editing the Harlem Renaissance considers developmental editing, textual self-fashioning, textual editing, documentary editing, and bibliography. Chapters utilize methodologies of authorial intention, copy-text, manuscript transcription, critical edition building, and anthology creation. Together, these chapters provide readers with a new way of viewing the artistic production of one of the United States’ most important literary movements.
Author: Richard Bruce Nugent Publisher: Duke University Press ISBN: 0822383616 Category : Literary Collections Languages : en Pages : 327
Book Description
Richard Bruce Nugent (1906–1987) was a writer, painter, illustrator, and popular bohemian personality who lived at the center of the Harlem Renaissance. Protégé of Alain Locke, roommate of Wallace Thurman, and friend of Langston Hughes and Zora Neale Hurston, the precocious Nugent stood for many years as the only African-American writer willing to clearly pronounce his homosexuality in print. His contribution to the landmark publication FIRE!!, “Smoke, Lilies and Jade,” was unprecedented in its celebration of same-sex desire. A resident of the notorious “Niggeratti Manor,” Nugent also appeared on Broadway in Porgy (the 1927 play) and Run, Little Chillun (1933) Thomas H. Wirth, a close friend of Nugent’s during the last years of the artist’s life, has assembled a selection of Nugent’s most important writings, paintings, and drawings—works mostly unpublished or scattered in rare and obscure publications and collected here for the first time. Wirth has written an introduction providing biographical information about Nugent’s life and situating his art in relation to the visual and literary currents which influenced him. A foreword by Henry Louis Gates Jr. emphasizes the importance of Nugent for African American history and culture.
Author: Darryl Dickson-Carr Publisher: Univ of South Carolina Press ISBN: 1611174937 Category : Literary Criticism Languages : en Pages : 172
Book Description
Spoofing the Modern is the first book devoted solely to studying the role satire played in the movement known as the “New Negro,” or Harlem, Renaissance from 1919 to 1940. As the first era in which African American writers and artists enjoyed frequent access to and publicity from major New York–based presses, the Harlem Renaissance helped the talents, concerns, and criticisms of African Americans to reach a wider audience in the 1920s and 1930s. These writers and artists joined a growing chorus of modernity that frequently resonated in the caustic timbre of biting satire and parody. The Harlem Renaissance was simultaneously the first major African American literary movement of the twentieth century and the first major blooming of satire by African Americans. Such authors as folklorist and anthropologist Zora Neale Hurston, poet Langston Hughes, journalist George S. Schuyler, writer-editor-poet Wallace Thurman, physician Rudolph Fisher, and artist Richard Bruce Nugent found satire an attractive means to criticize not only American racism, but also the trials of American culture careening toward modernity. Frequently, they directed their satiric barbs toward each other, lampooning the painful processes through which African American artists struggled with modernity, often defined by fads and superficial understandings of culture. Dickson-Carr argues that these satirists provided the Harlem Renaissance with much of its most incisive cultural criticism. The book opens by analyzing the historical, political, and cultural circumstances that allowed for the “New Negro” in general and African American satire in particular to flourish in the 1920s. Each subsequent chapter then introduces the major satirists within the larger movement by placing each author’s career in a broader cultural context, including those authors who shared similar views. Spoofing the Modern concludes with an overview that demonstrates how Harlem Renaissance authors influenced later cultural and literary movements.
Author: RICHARD BRUCE. NUGENT
Author: RICHARD BRUCE. NUGENT
Author: Bruce Nugent
Author: Charles Henry Baker
Author: Wallace Thurman
Author: Bruce Nugent
Author: Eleonore van Notten
Author: Charles H. Baker (Jr.)
Author: Joshua M. Murray
Author: Richard Bruce Nugent
Author: Darryl Dickson-Carr