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Rediscovering Jessie Redmon Fauset in “Harlem Rhapsody”
The latest novel that captivated my book club is “Harlem Rhapsody” by Victoria Christopher Murray. From the very first sentence, it drew me into the vibrant Jazz Age of 1920s Harlem, a feat impressive enough given my often fleeting attention span. The narrative’s structure, which includes dates marking each chapter, kept me engaged as I eagerly anticipated which Jazz legend the protagonist would meet next. I completed this intriguing read in just a couple of days, a significant achievement considering my busy reading schedule for both work and personal interests.
Harlem Rhapsody follows the life of Jessie Redmon Fauset, a remarkable figure whose contributions to literature have often been overlooked. Fauset relocated to Harlem in 1919, making history as the first Black woman to serve as Literary Editor for The Crisis, a prominent magazine founded by W.E.B. Du Bois and a vital platform for Black American voices.
Fauset’s role went beyond mere title; she was pivotal in fostering the literary landscape during the Harlem Renaissance. As Literary Editor, she not only selected content for The Crisis but also discovered and nurtured emerging talents, including renowned figures like Langston Hughes, Countee Cullen, and Jean Toomer. Her efforts significantly contributed to the magazine’s success and established her as a foundational figure in this cultural awakening, earning the nickname “the Mid-Wife of the Harlem Renaissance.”
Despite her significant contributions, Fauset’s legacy seems to have faded over time, a reality often attributed to the gender biases she faced. Being a woman in a male-dominated field of the early 20th century likely contributed to her diminished recognition. Intriguingly, she is notably absent from the NAACP’s official history page about The Crisis, highlighting the ongoing struggle for women’s acknowledgment in historical narratives.
Furthermore, Fauset’s long-term relationship with W.E.B. Du Bois, who was not only her mentor but also married, likely complicated her public perception. Their affair, which reportedly began before she took on her editorial role, has been a source of speculation and may have overshadowed her accomplishments during and after her tenure at the magazine.
One critique I have regarding the novel is its emphasis on Fauset’s relationship with Du Bois. While the portrayal of love and personal struggles is a valid aspect of her story, the focus on this affair sometimes overshadows her professional achievements and the broader feminist themes that the book seeks to present. Fauset’s legacy as a writer and mentor deserves more attention, especially considering her significant influence on literary icons.
Nevertheless, for those passionate about Harlem, the Harlem Renaissance, and Jazz, “Harlem Rhapsody” is a beautiful exploration that I believe will be celebrated in year-end literary discussions. It’s an essential reminder of the nuanced lives of women who played critical roles in shaping culture yet often remain unsung.
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