Black No More
Regular price
€18.99
A01=George S. Schuyler
A32=Mint Editions
African American author
Age Group_Uncategorized
Age Group_Uncategorized
Author_George S. Schuyler
automatic-update
Black Empire
black people change to white people
black skin to white skin
Category1=Fiction
Category=FA
Category=FBC
Category=FC
Category=FL
Category=FU
Category=FUP
changing race
COP=United States
Delivery_Delivery within 10-20 working days
eq_bestseller
eq_classics
eq_fiction
eq_isMigrated=2
eq_nobargain
eq_science-fiction
Harlem Renaissance
humorous
Language_English
PA=Available
Price_€10 to €20
PS=Active
race relations
racism
satire
satirical science fiction
scifi
Slaves Today
softlaunch
speculative
Product details
- ISBN 9781513138596
- Dimensions: 127 x 203mm
- Publication Date: 29 Sep 2022
- Publisher: West Margin Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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What would happen if science gave Black Americans the choice to become white? Mirroring Wallace Thurman’s The Blacker the Berry: A Novel of Negro Life, Black No More: Being an Account of the Strange and Wonderful Workings of Science in the Land of the Free, AD 1933-1940, is one of the first Afrofuturistic novels ever published.On New Year's Eve, Max Disher’s romantic advances are rejected on the basis that he is a Black man. Come New Year’s Day, the answers for his frustration appear in the form of an announcement about a new scientific procedure called, “Black-No-More.” Believing that his life will have much more fortune in white skin he goes through with the treatment—changing his name to “Matthew Fisher,” the newly-made white Max has to decide what it means to live and breathe on the other side of the color line.Professionally typeset with a beautifully designed cover, this edition of Black No More: Being an Account of the Strange and Wonderful Workings of Science in the Land of the Free, AD 1933-1940 is a reimagining of a Harlem Renaissance staple for the modern reader.
George S. Schuyler (1895 - 1977) was an author, journalist, social commentator and somewhat controversial figure. Born in Providence, Rhode Island, Schuyler’s formative years were shaped by his time in the U.S. military. Enlisting at age 17, Schuyler rose to the title of First Lieutenant before going AWOL due to a racist encounter with a Greek immigrant. Sentenced to five years for the abandonment, Schulyer was released after less than a year for being a model prisoner. In the aftermath of his release, he lived at the Phillis Wheatley Hotel in New York City, coming to learn the teachings of Black nationalist, Marcus Garvey. Not fully convinced of Garvey’s teachings, Schuyler would separate himself from both Garveyism and socialism, contributing articles to the American Mercury and embracing capitalism. Embarking on a career in journalism, Schuyler would find success and acknowledgement for his editorial skills as he took on the role of Chief Editorial Writer at the Courier in 1926. That same year he would pen a controversial piece, “The Negro-Art Hokum" for The Nation which—combined with his advocacy for capitalism—further alienated himself from his contemporaries. The article, which argued that art should not be segregated by race and that Black artist had no true style of their own, would inspire Langston Hughes’ famous, “The Negro and The Racial Mountain.” Five years after this, Schuyler would try his hand at a long fiction form, producing notable novels such as Slaves Today (1931), Black No More (1931), and Black Empire (1936 - 1938); and while Schuyler would continue to produce work up until the point of his death, it was his public and expilicit conservatism and opposition to the Civil Rights Movement of the 1960s-70s that would push both he and his literary work into obscurity. At the time of his death, his legacy and talent as a writer were so overshadowed by his politics that no one within Black circles wanted to interact with his work at all. Despite this, Schuyler produced some of the first satires by a Black writer and addressed intra-community issues at a time when most Black authors appealed solely to the middle-class.
