What kind of world does the black interwar artist, writer and intellectual see? How do black artists, writers and intellectuals configure this world? A contemporary example of the ways in which one intellectual imagined the interrelated geographies of black experience is useful perhaps. In May of 1932, Eslanda Goode Robeson, then resident in London, wrote to George Horace Lorimer, editor of Philadelphia's Sunday Evening Post, of her plans ‘to write a series of articles on the Negro’. Signalling her intention ‘to approach the subject from an entirely new angle’, Goode claimed that she knew ‘personally nearly every Negro of interest and importance both at home and abroad’, and that she had always enjoyed ‘such access as perhaps would never be gained by any other person, white or black’. Her idea, she explained, was to undertake ‘a leisurely world tour, stopping for an indefinite period in various Negro centers, collecting interesting general and intimate information, absorbing local color and interviewing the most important and significant personalities, and collecting photographs, – writing articles as I go’.