Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-26T07:26:49.143Z Has data issue: false hasContentIssue false

Taking Wilde to Sri Lanka and Beardsley to Harlem: Decadent Practice, Race, and Orientalism

Published online by Cambridge University Press:  09 December 2021

Abstract

This article examines the reworking of decadence by writers of color in the early twentieth century, focusing on the uses to which the Harlem Renaissance writer Richard Bruce Nugent and the Sri Lankan writer Lionel de Fonseka put decadent style while engaging in anticolonial critique and contesting rigid categories of power and identity. I read the implementation of decadent aesthetics by Nugent and de Fonseka as a form of criticism that teases out the troubles and potentialities of thinking race and empire through the lens of decadence.

Type
Research Article
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Alexander, Lewis. “Streets.” Fire!! A Quarterly Devoted to the Younger Negro Artists 1, no. 1 (November 1926): 23.Google Scholar
Bauer, J. Edgar. “On the Transgressiveness of Ambiguity: Richard Bruce Nugent and the Flow of Sexuality and Race.” Journal of Homosexuality 62, no. 8 (2015): 1021–57.CrossRefGoogle Scholar
Boehmer, Elleke. Indian Arrivals: Networks of British Empire. New York: Oxford University Press, 2015.Google Scholar
“Briefer Mention.” The Dial 56 (March 1, 1914): 193.Google Scholar
Dayal, Har. “Obstacles to Cosmopolitanism.” Oxford Cosmopolitan 1, no. 2 (November 1908): 2735.Google Scholar
De Fonseka, Lionel. On the Truth of Decorative Art: A Dialogue between an Oriental and an Occidental. New York: Henry Holt, 1913.Google Scholar
Ellmann, Richard. Oscar Wilde. London: Penguin, 1988.Google Scholar
Fletcher, Ian Christopher. “The Soul of Man under Imperialism: Oscar Wilde, Race, and Empire.” Journal of Victorian Culture 5, no. 2 (2000): 334–41.CrossRefGoogle Scholar
Freeman, Nick. “‘The Harem of Words’: Attenuation and Excess in Decadent Poetry.” In Decadent Poetics: Literature and Form at the British Fin de Siècle, edited by Hall, Jason David and Murray, Alex, 8399. New York: Palgrave Macmillan, 2013.CrossRefGoogle Scholar
Gagnier, Regenia. “The Global Circulation of the Literatures of Decadence.” Literature Compass 10, no. 1 (2013): 7081.CrossRefGoogle Scholar
Gandhi, Leela. Affective Communities: Anticolonial Thought, Fin-de-Siècle Radicalism, and the Politics of Friendship. Durham: Duke University Press, 2006.Google Scholar
Glick, Elisa F. “Harlem's Queer Dandy: African-American Modernism and the Artifice of Blackness.” Modern Fiction Studies 49, no. 3 (2003): 414–42.CrossRefGoogle Scholar
Goeser, Caroline. “The Case of Ebony and Topaz: Racial and Sexual Hybridity in Harlem Renaissance Illustrations.” American Periodicals 15, no. 1 (2005): 86111.CrossRefGoogle Scholar
Harris, Leonard. “‘Outing’ Alain L. Locke: Empowering the Silenced.” In Sexual Identities, Queer Politics, edited by Blasius, Mark, 321–41. Princeton: Princeton University Press, 2001.Google Scholar
Hatch, James V.An Interview with Bruce Nugent.” In Artists and Influences, edited by Billops, Camille and Hatch, James V., 81104. New York: Hatch-Billops Collection, 1982.Google Scholar
Locke, Alain. “Epilogue.” Oxford Cosmopolitan 1, no. 1 (June 1908): 1516.Google Scholar
Maltz, Diana. British Aestheticism and the Urban Working Classes, 1870–1900: Beauty for the People. New York: Palgrave Macmillan, 2006.CrossRefGoogle Scholar
McBreen, Ellen. “Biblical Gender Bending in Harlem: The Queer Performance of Nugent's Salome.” Art Journal 57, no. 3 (1998): 2328.CrossRefGoogle Scholar
Mendelssohn, Michèle. “A Decadent Dream Deferred: Bruce Nugent and the Harlem Renaissance's Queer Modernity.” In Decadence in the Age of Modernism, edited by Hext, Kate and Murray, Alex, 251275. Baltimore: Johns Hopkins University Press, 2019.Google Scholar
Mendelssohn, Michèle. Making Oscar Wilde. New York: Oxford University Press, 2018.Google Scholar
Miller, Nina. Making Love Modern: The Intimate Public Worlds of New York's Literary Women. New York: Oxford University Press, 1999.Google Scholar
Ngô, Fiona I. B. Imperial Blues: Geographies of Race and Sex in Jazz Age New York. Durham: Duke University Press, 2014.CrossRefGoogle Scholar
Nugent, Richard Bruce. “Geisha Man” (excerpt). In Gay Rebel of the Harlem Renaissance, edited by Wirth, Thomas H., 90111. Durham: Duke University Press, 2002.Google Scholar
Nugent, Richard Bruce. “Smoke, Lilies and Jade.” Fire!! A Quarterly Devoted to the Younger Negro Artists 1, no. 1 (November 1926): 3339.Google Scholar
Review of On the Truth of Decorative Art, by Lionel de Fonseka. New Statesman 1, no. 13 (July 5, 1913): 413.Google Scholar
Schmidt, Tyler. “‘In the Glad Flesh of My Fear’: Corporeal Inscriptions in Richard Bruce Nugent's ‘Geisha Man.’African American Review 40, no. 1 (2006): 161–73.Google Scholar
Spillers, Hortense. “‘The Permanent Obliquity of an In(pha)llibly Straight’: In the Time of the Daughters and the Fathers.” In Black, White, and in Color: Essays on American Literature and Culture, 230–50. Chicago: University of Chicago Press, 2003.Google Scholar
Stewart, Jeffrey C. “A Black Aesthete at Oxford.” Massachusetts Review 34, no. 3 (1993): 411–28.Google Scholar
Stewart, Jeffrey C. The New Negro: The Life of Alain Locke. New York: Oxford University Press, 2018.Google Scholar
Stilling, Robert. Beginning at the End: Decadence, Modernism, and Postcolonial Poetry. Cambridge, Mass.: Harvard University Press, 2018.CrossRefGoogle Scholar
Symons, Arthur. “A Note on George Meredith.” In Studies in Prose and Verse, 143–51. London: J. M. Dent, 1904.Google Scholar
Symons, Arthur. “Stella Maris.” In London Nights, 4041. London: Leonard Smithers, 1896.Google Scholar
“To Our Readers.” Oxford Cosmopolitan 1, no. 1 (June 1908): 1–2.Google Scholar
Vitale, Christopher. “The Untimely Richard Bruce Nugent.” PhD diss., New York University, 2004.Google Scholar
Wilde, Oscar. “The Decay of Lying.” In Intentions, 3–45. Leipzig: Heinemann & Balestier, 1891.Google Scholar
Wilde, Oscar. The Picture of Dorian Gray. London: Ward, Lock, & Co., 1891.Google Scholar
Wirth, Thomas H, ed. “Introduction.” In Gay Rebel of the Harlem Renaissance, 161. Durham: Duke University Press, 2002.Google Scholar
Zatlin, Linda. Beardsley, Japonisme, and the Perversion of the Victorian Ideal. New York: Cambridge University Press, 1997.Google Scholar