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Voices of the Harlem Renaissance, edited by Nathan Irvin Huggins. Oxford University Press, 1995. © 1995 by Brenda Smith Huggins. Reproduced by permission. and animalistic. Locke also wanted to provide a balance to what he saw as the rather straitlaced properness of the middle and upper classes of African American society—the world represented in the person and work of Jessie Fauset. He was more interested in what he termed “realism,” meaning that black artists should portray ordinary black people authentically, showing how they actually lived and spoke.

Walker (1867–1919), who had made her fortune selling hair and skin care products for African Americans. By the beginning of the 1920s, Harlem had indeed become a center of African American life, where black people—some from areas outside the United States, including parts of the Caribbean, South America, and Africa— lived, worked, and played together. Lenox Avenue in Harlem c. 1927. (© Underwood & Underwood/CORBIS. ) 12 Harlem Renaissance: Almanac Artists and intellectuals are drawn to Harlem Among those who were attracted to the material advantages, community spirit, and exciting atmosphere of Harlem were African American intellectuals, writers, musicians, and artists.

In addition, a small number of Northerners known as “carpetbaggers” (because of the satchels they often brought with them), most of them officials of the Freedmen’s Bureaus or the army, got involved in Southern politics. Some of them were honest, but others were corrupt and got involved strictly for their own gain. Many white Southerners resented the presence of the carpetbaggers, but they were even more hostile toward the free blacks. The Old South had been destroyed, and the whites would have to rebuild their lives without the unpaid labor of slaves.

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