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“The rosy enthusiasms and hopes of 1925," Alain Locke said ten years later, "were. . . cruelly
deceptive mirages." The ghetto was revealed in the thirties as "a nasty, sordid corner into which
black folk are herded—a Harlem that the social worker knew all along but had not been able to
dramatize. . .
There is no cure or saving magic in poetry and art
for. . . precarious marginal
employment, high mortality rates, civic neglect," Locke concluded. It was this Harlem, the
neighborhood not visible "from the raucous interior of a smokefilled, jazzdrunken cabaret," the
Harlem hidden by the "bright surface. . . of. . . night clubs, cabaret tours and. . . arty magazines,"
that was devastated by the Depression.”
―
deceptive mirages." The ghetto was revealed in the thirties as "a nasty, sordid corner into which
black folk are herded—a Harlem that the social worker knew all along but had not been able to
dramatize. . .
There is no cure or saving magic in poetry and art
for. . . precarious marginal
employment, high mortality rates, civic neglect," Locke concluded. It was this Harlem, the
neighborhood not visible "from the raucous interior of a smokefilled, jazzdrunken cabaret," the
Harlem hidden by the "bright surface. . . of. . . night clubs, cabaret tours and. . . arty magazines,"
that was devastated by the Depression.”
―
