Flamboyants: The Queer Harlem Renaissance I Wish I’d Known. George M. Johnson. 2024. Farrar, Straus and Giroux. 127 pages. [Source: Public library.]
The Harlem Renaissance was a remarkable period in American history, but was pivotal within Black America. The “New Negro Movement” launched the careers of countless scholars, photographers, musicians, and dancers and ushered in a rebirth of racial pride and solidarity, in addition to leaving a treasure trove of art reflecting this new attitude. While many of the central figures’ names are easily recalled, the fullness of their identities is not always centered in conversations about their impact. Indeed, the fact that many of these artists were queer was often ignored or outright hidden while they navigated the social mores of the time. It is only more recently that some of these figures have shifted from being symbols only in relation to the Harlem Renaissance to being recognized also members of the LGBTQ/queer community.
With Flamboyants, George M. Johnson shines a light on twelve prominent — and queer — figures within the Harlem Renaissance and explores their lives and legacies in a series of essays. The majority of those featured are well-known for their association with the movement, regardless of their role. However, Johnson highlights the unique ways in which their queerness affected their contribution to the movement and life overall. From childhood rejection of their queerness to downplaying their queerness in order to have successful social or career lives, these figures represent a range of people who found ways to be authentic to themselves in spite of existing in spaces that didn’t always reflect the inclusion people strive for to this day.
I love that Flamboyants intentionally gives the spotlight to queer members of such a pivotal era. Each essay demonstrates how one’s queerness could never be fully divorced from other dimensions of identity. And while the figures were flawed in their own ways, Johnson really humanizes them within their context. As someone who has studied the Harlem Renaissance, many of these figures and their personal lives and career highlights were familiar. However, the deeper dive into their private lives demonstrated the challenges of negotiating such a wide-ranging political, social, and artistic movement that for all its touting of a “new Negro,” didn’t always leave room for people to show up fully as their true selves.
Flamboyants provides a snapshot of these figures; it clocks in under 150 pages, so it’s not a deep dive. I would characterize the essays as abstracts that work well to introduce the notable achievements of each with relevant biographical details, particularly those related to the development of their queer identity, family, and intimate relationships. Johnson offers their own reflections and insights into the experiences of these figures, including how they were impactful for Johnson in their own development as a person and writer.
While the book is solid, I especially enjoyed the audiobook. Narrated by Johnson, it’s a full on production complete with period music to set the vibe for the book. Hearing Johnson highlight the impact and influence the renaissance-era artists had in their own voice provides more depth and feeling to the essays. They really bring it to live and the listening experience is quite enjoyable.
A book like Flamboyants is long overdue in creating space for cultural forebears to be recognized in the fullness of who they were. Johnson’s work is accessible while not being overly simplistic, and I would recommend it for readers from teen through adult. Whether one has only heard of the Harlem Renaissance in passing or has their own favorite artists and works, there’s something new in Flamboyants that makes it well worth a read.
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