Young’s “African American Magazine Modernism” argues that it is important to recognize the extent to which African American writers and artists appeared in a wide range of magazines in the 1920s. This chapter examines moments of cross-cultural interaction, including such examples as the pieces of Jean Toomer’s Cane distributed across race-conscious, avant-garde, and regional magazines (1922-23); Zora Neale Hurston’s “How It Feels to Be Colored Me” in the pacifist-socialist journal The World Tomorrow (1928); and the infamous case of Nella Larsen’s “Sanctuary” in Century Magazine (1930). Reading African American modernism across these disparate bibliographical environments yields not an easily coherent picture but what John Bryant terms the “muddy materiality” of textual history.