Artistic Ambassadors: Literary and International Representation of the New Negro Era by Brian Russell Roberts (review)

“The ambassadorial tradition in African American writing has remained uninterrogated in relation to one of the New Negro era’s major arenas of political culture. This political culture operated on the planetary scale of official internationalism, and it became co-constitutive with the cultural politics of New Negro artistic ambassadorship” (14). American studies, and African American and black diasporan literature and culture scholar Brian Roberts probes U.S. international diplomacy of the late nineteenth and early twentieth centuries to illuminate the “strong and weak, formal and informal, connections between official internationalism and African American culture” (10). His work “offers critical access to previously unrecognized black internationalists tradition produced as African American and U.S. imperial cultures have met and shaped one another” (8). Roberts arranges dialogues among the fields of anti-imperialist critique, African American literary studies, and studies in black transnationalism to demonstrate how the literary and diplomatic performances of African American writers functioned rhetorically to, at some moments, undercut U.S. diplomatic intentions yet, at other moments, operated as a means of promoting the imperial sway of the United States.

Arranged in three parts, Artistic Ambassadors outlines the interlocking dimensions of race, aesthetic, and international representation, and “outlines the ways in which black work in diplomacy played previously unsuspected roles in shaping major African American representational concerns, including the capacity of New Negro race men to speak for the nation’s black masses, the methods of race representation under dispute in the Booker T. Washington/W. E. B. Du Bois debate, and the signifying status of women and the black diaspora within domestic and international African American cultures” (6). Roberts examines the aesthetic and political representations of famous figures such as Frederick Douglass, James Weldon Johnson, Richard Wright, and others and brings them into dialogue with the work of lesser-known black official and unofficial writer-diplomats of the New Negro era.

Part one articulated the struggles faced by luminaries such as Frederick Douglass and lesser known African American diplomats in creating a narrative for the New Negro to supplant the myth of the Old Negro—ranging from Jim Crow to Zip Coon, Rastus to Sambo, Uncle Tom to Aunt Jemima—created by white Americans. Part two described a politics of immanence in which race becomes incidental to New Negro internationalism. Insider status becomes paramount though performances of immanence were inevitably imperfect and incomplete. Part three examined the “integration of hip knowingness of black vernacular culture into official diplomacy’s traditionally staid approach to internationalism” (118). It would have been informative if this work examined how the antecedent rhetoric of the Old Negro contained in U.S. cultural exports, predating and contemporary with the deployment of African American diplomats, weighed on the effectiveness of the representatives.

Robert’s debut book is a challenging and enlightening interrogation of the international and literary projects of New Negro era figures. In addition to African American and American Studies scholars, this text is of interest to political science and international studies scholars, and literary critics.