In his new book, ‘Flamboyants: The Queer Harlem Renaissance I Wish I’d Known’, George M. Johnson highlights the significant contributions of Black queer artists during the 1920s, aiming to empower and educate modern audiences.
Author George M. Johnson has released a new book, “Flamboyants: The Queer Harlem Renaissance I Wish I’d Known,” which shines a spotlight on the often overlooked contributions of Black queer artists, writers, and activists during the 1920s Harlem Renaissance. This transformative period of Black history, known for its explosion of creativity and intellectualism, is re-examined through a modern lens to highlight its relevance and impact today.
“Flamboyants” comprises 14 essays that explore how American culture has been fundamentally shaped by individuals who were both Black and queer. George M. Johnson, whose memoir “All Boys Aren’t Blue” gained critical acclaim and has been notably one of the most banned books in the United States, continues to make waves in contemporary cultural discourse. In this latest work, Johnson seeks to create space for historically marginalised voices and stories, an endeavour that remains crucial in our current societal context.
In conversation with Native Son, Johnson discussed the origins of “Flamboyants” and its ties to the Harlem Renaissance. Initially envisioned as a television or film project in collaboration with Twiggy Pucci Garçon through their production company No Shade, the concept evolved into a literary work enriched with illustrations and poetry during the pandemic.
The Harlem Renaissance was a period of significant Black empowerment and creativity, despite concurrent societal adversities such as the Great Depression. It was characterised by the flourishing of arts, literature, and political thought among Black Americans. Johnson’s fascination with this era stems from its resilience and expansive nature, where figures like Zora Neale Hurston and Josephine Baker made indelible marks on cultural landscapes, transcending geographical boundaries.
Johnson pointed out the contemporaneous elements that make “Flamboyants” pertinent today. Drawing parallels to Alaine Locke’s “The New Negro,” often referred to as the ‘African American Bible,’ Johnson emphasised the cyclical nature of history and the ongoing need to elevate Black queer voices. Locke fortuitously inspired Johnson to reintroduce these influential figures to a modern audience, nearly a century after the original Renaissance.
One underlying theme of Johnson’s work is to educate and empower young LGBTQ individuals by normalising their experiences through historical context. Johnson highlighted the importance of recognising that people with similar identities and struggles have existed and thrived throughout history.
Regarding personal inspirations from the Harlem Renaissance, Johnson holds a deep admiration for both Langston Hughes and Countee Cullen. Hughes, known for his prolific writing and vast network, is perceived as a figure who would have fit seamlessly into modern social commentary. Conversely, Cullen, a prominent poet and thinker, is particularly intriguing due to his navigation of identity complexities and his prominent social stature, demonstrated by his widely attended marriage to W.E.B. Du Bois’s daughter.
“Flamboyants: The Queer Harlem Renaissance I Wish I’d Known” is positioned not just as a historical recount but as an educational and inspirational text meant to honour and remember the layered experiences of Black queer individuals.
Source: Noah Wire Services