Joshua M. Murray is assistant professor of English and the pre-law and paralegal studies coordinator at Fayetteville State University. He specializes in African American literature with emphasis on the Harlem Renaissance, transnationalism, and autobiography & life writing. His work has been published in MidAmerica, Teaching Hemingway and Race, Critical Insights: Harlem Renaissance, and Gale Researcher. He has forthcoming articles on Claude McKay’s previously unpublished manuscript Romance in Marseille and Langston Hughes’s use of the oceanic as critical idiom for African diasporic kinship. He is currently developing a book manuscript that underscores the historical and literary significance of transnational liminality in the Harlem Renaissance. Ross K. Tangedal is assistant professor of English and director of the Cornerstone Press at the University of Wisconsin–Stevens Point. He specializes in American print culture and publishing studies, textual editing, and book history, with emphasis in Ernest Hemingway, F. Scott Fitzgerald, and midwestern literature. His work has been published in South Atlantic Review, The Hemingway Review, The F. Scott Fitzgerald Review, Authorship, and others. He is a contributing editor for the NEH-funded Hemingway Letters Project (Cambridge UP) as well as associate editor for Volume 6 (forthcoming 2021). In 2018, Hastings College Press published Tangedal’s edition of John Herrmann’s Foreign Born, a lost novel of the American home front during World War I.

Reviews'Editing the Harlem Renaissance is an outstanding and impressive text. This invaluable collection demonstrates the relevance of the Harlem Renaissance to African American literature and will result in generating productive and constructive discussion among scholars about editors and Harlem Renaissance texts.'Sharon L. Jones, author of Rereading the Harlem Renaissance

• Introduction“Editing the Harlem Renaissance”Joshua M. MurrayRoss K. TangedalChaptersPart I Editing an Era1. “The Renaissance Happened in (Some of) the Magazines”John K. Young2. “The Pawn’s Gambit: Black Writers, White Patrons, and the Harlem Renaissance”Adam Nemmers3. “Forgetting the Blues: Editing, Selective Memory, and Race Identity in The New Negro”Dean Casale4. “Clad in the Beautiful Dress One Expects: Harlem Renaissance Texts and the Boundaries of Editing”Ross K. TangedalPart II Writers, Editors, Readers5. “The Two Gentlemen of Harlem: Infants of the Spring, Gentleman Jigger, and Intellectual Property”Darryl Dickson-Carr6. “Editorial Collaboration and Creative Conflict in Outline for the Study of the Poetry of American Negroes”Shawn Anthony Christian7. “Jessie Fauset and Her Readership: The Social Role of The Brownies’ Book”Jayne Marek8. “Pure Essence without Pulp: Editing the Life of Langston Hughes”Joshua M. MurrayPart III Editorial Frameworks 9. “Desegregating the Digital Turn in American Literary History”Korey Garibaldi10. “(Re-)Framing Black Women’s Liberation: Nella Larsen, Zora Neale Hurston, and Twenty-First Century Editorial Frameworks”Emanuela Kucik11. “Editing Edward Christopher Williams: From ‘The Letters of Davy Carr’ to When Washington Was in Vogue”Adam McKible12. “Editing Claude McKay’s Romance in Marseilles: A Groundbreaking Harlem Renaissance Novel Emerges from the Archive”Gary HolcombCodaBrigitte Fielder Jonathan Senchyne

Joshua M. Murray is assistant professor of English and the pre-law and paralegal studies coordinator at Fayetteville State University. He specializes in African American literature with emphasis on the Harlem Renaissance, transnationalism, and autobiography & life writing. His work has been published in MidAmerica, Teaching Hemingway and Race, Critical Insights: Harlem Renaissance, and Gale Researcher. He has forthcoming articles on Claude McKay’s previously unpublished manuscript Romance in Marseille and Langston Hughes’s use of the oceanic as critical idiom for African diasporic kinship. He is currently developing a book manuscript that underscores the historical and literary significance of transnational liminality in the Harlem Renaissance. Ross K. Tangedal is assistant professor of English and director of the Cornerstone Press at the University of Wisconsin–Stevens Point. He specializes in American print culture and publishing studies, textual editing, and book history, with emphasis in Ernest Hemingway, F. Scott Fitzgerald, and midwestern literature. His work has been published in South Atlantic Review, The Hemingway Review, The F. Scott Fitzgerald Review, Authorship, and others. He is a contributing editor for the NEH-funded Hemingway Letters Project (Cambridge UP) as well as associate editor for Volume 6 (forthcoming 2021). In 2018, Hastings College Press published Tangedal’s edition of John Herrmann’s Foreign Born, a lost novel of the American home front during World War I.

Reviews'Editing the Harlem Renaissance is an outstanding and impressive text. This invaluable collection demonstrates the relevance of the Harlem Renaissance to African American literature and will result in generating productive and constructive discussion among scholars about editors and Harlem Renaissance texts.'Sharon L. Jones, author of Rereading the Harlem Renaissance

• Introduction“Editing the Harlem Renaissance”Joshua M. MurrayRoss K. TangedalChaptersPart I Editing an Era1. “The Renaissance Happened in (Some of) the Magazines”John K. Young2. “The Pawn’s Gambit: Black Writers, White Patrons, and the Harlem Renaissance”Adam Nemmers3. “Forgetting the Blues: Editing, Selective Memory, and Race Identity in The New Negro”Dean Casale4. “Clad in the Beautiful Dress One Expects: Harlem Renaissance Texts and the Boundaries of Editing”Ross K. TangedalPart II Writers, Editors, Readers5. “The Two Gentlemen of Harlem: Infants of the Spring, Gentleman Jigger, and Intellectual Property”Darryl Dickson-Carr6. “Editorial Collaboration and Creative Conflict in Outline for the Study of the Poetry of American Negroes”Shawn Anthony Christian7. “Jessie Fauset and Her Readership: The Social Role of The Brownies’ Book”Jayne Marek8. “Pure Essence without Pulp: Editing the Life of Langston Hughes”Joshua M. MurrayPart III Editorial Frameworks 9. “Desegregating the Digital Turn in American Literary History”Korey Garibaldi10. “(Re-)Framing Black Women’s Liberation: Nella Larsen, Zora Neale Hurston, and Twenty-First Century Editorial Frameworks”Emanuela Kucik11. “Editing Edward Christopher Williams: From ‘The Letters of Davy Carr’ to When Washington Was in Vogue”Adam McKible12. “Editing Claude McKay’s Romance in Marseilles: A Groundbreaking Harlem Renaissance Novel Emerges from the Archive”Gary HolcombCodaBrigitte Fielder Jonathan Senchyne

Joshua M. Murray is assistant professor of English and the pre-law and paralegal studies coordinator at Fayetteville State University. He specializes in African American literature with emphasis on the Harlem Renaissance, transnationalism, and autobiography & life writing. His work has been published in MidAmerica, Teaching Hemingway and Race, Critical Insights: Harlem Renaissance, and Gale Researcher. He has forthcoming articles on Claude McKay’s previously unpublished manuscript Romance in Marseille and Langston Hughes’s use of the oceanic as critical idiom for African diasporic kinship. He is currently developing a book manuscript that underscores the historical and literary significance of transnational liminality in the Harlem Renaissance. Ross K. Tangedal is assistant professor of English and director of the Cornerstone Press at the University of Wisconsin–Stevens Point. He specializes in American print culture and publishing studies, textual editing, and book history, with emphasis in Ernest Hemingway, F. Scott Fitzgerald, and midwestern literature. His work has been published in South Atlantic Review, The Hemingway Review, The F. Scott Fitzgerald Review, Authorship, and others. He is a contributing editor for the NEH-funded Hemingway Letters Project (Cambridge UP) as well as associate editor for Volume 6 (forthcoming 2021). In 2018, Hastings College Press published Tangedal’s edition of John Herrmann’s Foreign Born, a lost novel of the American home front during World War I.

Reviews'Editing the Harlem Renaissance is an outstanding and impressive text. This invaluable collection demonstrates the relevance of the Harlem Renaissance to African American literature and will result in generating productive and constructive discussion among scholars about editors and Harlem Renaissance texts.'Sharon L. Jones, author of Rereading the Harlem Renaissance

• Introduction“Editing the Harlem Renaissance”Joshua M. MurrayRoss K. TangedalChaptersPart I Editing an Era1. “The Renaissance Happened in (Some of) the Magazines”John K. Young2. “The Pawn’s Gambit: Black Writers, White Patrons, and the Harlem Renaissance”Adam Nemmers3. “Forgetting the Blues: Editing, Selective Memory, and Race Identity in The New Negro”Dean Casale4. “Clad in the Beautiful Dress One Expects: Harlem Renaissance Texts and the Boundaries of Editing”Ross K. TangedalPart II Writers, Editors, Readers5. “The Two Gentlemen of Harlem: Infants of the Spring, Gentleman Jigger, and Intellectual Property”Darryl Dickson-Carr6. “Editorial Collaboration and Creative Conflict in Outline for the Study of the Poetry of American Negroes”Shawn Anthony Christian7. “Jessie Fauset and Her Readership: The Social Role of The Brownies’ Book”Jayne Marek8. “Pure Essence without Pulp: Editing the Life of Langston Hughes”Joshua M. MurrayPart III Editorial Frameworks 9. “Desegregating the Digital Turn in American Literary History”Korey Garibaldi10. “(Re-)Framing Black Women’s Liberation: Nella Larsen, Zora Neale Hurston, and Twenty-First Century Editorial Frameworks”Emanuela Kucik11. “Editing Edward Christopher Williams: From ‘The Letters of Davy Carr’ to When Washington Was in Vogue”Adam McKible12. “Editing Claude McKay’s Romance in Marseilles: A Groundbreaking Harlem Renaissance Novel Emerges from the Archive”Gary HolcombCodaBrigitte Fielder Jonathan Senchyne