Harlem Nights Quotes

We've searched our database for all the quotes and captions related to Harlem Nights. Here they are! All 40 of them:

Walking through Harlem first thing in the morning was like being a single drop of blood inside an enormous body that was waking up. Brick and mortar, elevated train tracks, and miles of underground pipe, this city lived; day and night it thrived.
Victor LaValle (The Ballad of Black Tom)
Robbing the Hotel Theresa was like taking a piss on the Statue of Liberty. It was like slipping Jackie Robinson a Mickey the night before the World Series.
Colson Whitehead (Harlem Shuffle (Ray Carney, #1))
From the night into his high-walled room there came, persistently, that evanescent and dissolving sound - something the city was tossing up and calling back again, like a child playing with a ball. In Harlem, the Bronx, Gramercy Park, and along the water-fronts, in little parlors or on pebble-strewn, moon-flooded roofs, a thousand lovers were making this sound, crying little fragments of it into the air. All the city was playing with this sound out there in the blue summer dark, throwing it up and calling it back, promising that, in a little while, life would be beautiful as a story, promising happiness - and by that promise giving it. It gave love hope in its own survival. It could do no more.
F. Scott Fitzgerald (The Beautiful and Damned)
Go to any police-and-community meeting in Brooklyn, the Bronx, or Harlem, and you will hear pleas such as the following: Teens are congregating on my stoop; can you please arrest them? SUVs are driving down the street at night with their stereos blaring; can’t you do something? People have been barbecuing on the pedestrian islands of Broadway; that’s illegal! The targets of these complaints may be black and Hispanic, but the people making the complaints, themselves black and Hispanic, don’t care. They just want orderly streets.
Heather Mac Donald (The War on Cops: How the New Attack on Law and Order Makes Everyone Less Safe)
His cousin Freddy brought him in on the heist one hot night in early June. It was such a pretty block and on certain nights when it was cool and quiet it was as if you didn’t live in the city at all.
Colson Whitehead (Harlem Shuffle (Ray Carney, #1))
You bring the list to me at midnight. I’ll be waiting down by the Harlem River underneath the subway extension to the Polo Grounds in my cah, and I’ll pay you right then and there. It will be dark and deserted at that time of night and nobody’ll see you.” Barry
Chester Himes (Cotton Comes to Harlem (Harlem Detectives Book 7))
One night Freddie said the stars made him feel small. The boys’ constellation knowledge stalled after the Dippers and the Belt, but you didn’t have to know what something was called to know how it made you feel, and looking at the stars didn’t make Carney feel small or insignificant, the stars made him feel recognized. They had their place and he had his. We all have our station in life—people, stars, cities—and even if no one looked after Carney and no one suspected him capable of much at all, he was going to make himself into something.
Colson Whitehead (Harlem Shuffle (Ray Carney, #1))
Gould is a night wanderer, and he has put down descriptions of dreadful things he has seen on dark New York streets – descriptions, for example, of the herds of big gray rats that come out in the hours before dawn in some neighborhoods of the lower East Side and Harlem and unconcernedly walk the sidewalks. ‘I sometimes believe that these rats are not rats at all,’ he says, ‘but the damned and aching souls of tenement landlords.
Joseph Mitchell (Up in the Old Hotel (Vintage Classics))
had been different in 1959 when Maeve went to Barnard. Girls and their dates still got dressed up to go to the Apollo for amateur night, but by 1968 pretty much every representation of hope in the country had been put up against a wall and shot. Boys at Columbia went to class and boys in Harlem went to war, a reality not suspended for a friendly Saturday pick-up game.
Ann Patchett (The Dutch House)
unsolicited advice to adolescent girls with crooked teeth and pink hair When your mother hits you, do not strike back. When the boys call asking your cup size, say A, hang up. When he says you gave him blue balls, say you’re welcome. When a girl with thick black curls who smells like bubble gum stops you in a stairwell to ask if you’re a boy, explain that you keep your hair short so she won’t have anything to grab when you head-butt her. Then head-butt her. When a guidance counselor teases you for handed-down jeans, do not turn red. When you have sex for the second time and there is no condom, do not convince yourself that screwing between layers of underwear will soak up the semen. When your geometry teacher posts a banner reading: “Learn math or go home and learn how to be a Momma,” do not take your first feminist stand by leaving the classroom. When the boy you have a crush on is sent to detention, go home. When your mother hits you, do not strike back. When the boy with the blue mohawk swallows your heart and opens his wrists, hide the knives, bleach the bathtub, pour out the vodka. Every time. When the skinhead girls jump you in a bathroom stall, swing, curse, kick, do not turn red. When a boy you think you love delivers the first black eye, use a screw driver, a beer bottle, your two good hands. When your father locks the door, break the window. When a college professor writes you poetry and whispers about your tight little ass, do not take it as a compliment, do not wait, call the Dean, call his wife. When a boy with good manners and a thirst for Budweiser proposes, say no. When your mother hits you, do not strike back. When the boys tell you how good you smell, do not doubt them, do not turn red. When your brother tells you he is gay, pretend you already know. When the girl on the subway curses you because your tee shirt reads: “I fucked your boyfriend,” assure her that it is not true. When your dog pees the rug, kiss her, apologize for being late. When he refuses to stay the night because you live in Jersey City, do not move. When he refuses to stay the night because you live in Harlem, do not move. When he refuses to stay the night because your air conditioner is broken, leave him. When he refuses to keep a toothbrush at your apartment, leave him. When you find the toothbrush you keep at his apartment hidden in the closet, leave him. Do not regret this. Do not turn red. When your mother hits you, do not strike back.
Jeanann Verlee
During the Depression, the record companies went out in the field and made amazing authentic recordings—Lead Belly, Charley Patton, Tommy Johnson. I was working with an afterschool program in Harlem, and I’d come home every night and play those records, and it was like being carried straight into the South in the twenties. There was so much pain in those old voices. It helped me understand the pain I was dealing with in Harlem. Because that’s what the blues are really about. That’s what went missing when the white bands started aping the style. I can’t hear any pain at all in the new music.
Jonathan Franzen (Crossroads)
It is axiomatic that the Negro is religious, which is to say that he stands in fear of the God our ancestors gave us and before whom we all tremble yet. There are probably more churches in Harlem than in any other ghetto in this city and they are going full blast every night and some of them are filled with praying people every day. This, supposedly, exemplifies the Negro’s essential simplicity and good-will; but it is actually a fairly desperate emotional business.
James Baldwin (Notes of a Native Son)
A blue haze descended at night and, with it, strings of fairy lights on the broad avenues.… What a city! What a world! … The first danger I recognized … was that Harlem would be too wonderful for words. Unless I was careful, I would be thrilled into silence. — THE POET ARNA BONTEMPS UPON FIRST ARRIVING IN HARLEM, 1924
Isabel Wilkerson (The Warmth of Other Suns: The Epic Story of America's Great Migration)
Spring time in Florida is not a matter of peeping violets or bursting buds merely. It is a riot of color, in nature—glistening green leaves, pink, blue, purple, yellow blossoms that fairly stagger the visitor from the north. The miles of hyacinths are like an undulating carpet on the surface of the river and divide reluctantly when the slow-moving alligators push their way log-like across. The nights are white nights as the moon shines with dazzling splendor, or in the absence of that goddess, the soft darkness creeps down laden with innumerable scents. The heavy fragrance of magnolias mingled with the delicate sweetness of jasmine and wild roses.
Zora Neale Hurston (Hitting a Straight Lick with a Crooked Stick: Stories from the Harlem Renaissance)
Spring time in Florida is not a matter of peeping violets or bursting buds merely. It is a riot of color, in nature--glistening green leaves, pink, blue, purple, yellow blossoms that fairly stagger the visitor from the north. The miles of hyacinths are like an undulating carpet on the surface of the river and divide reluctantly when the slow-moving alligators push their way log-like across. The nights are white nights as the moon shines with dazzling splendor, or in the absence of that goddess, the soft darkness creeps down laden with innumerable scents. The heavy fragrance of magnolias mingled with the delicate sweetness of jasmine and wild roses.
Zora Neale Hurston (Hitting a Straight Lick with a Crooked Stick: Stories from the Harlem Renaissance)
It was 2 a.m. in Harlem and it was hot. Even if you couldn’t feel it, you could tell it by the movement of the people. Everybody was limbered up, glands lubricated, brains ticking over like a Singer sewing-machine. Everybody was ahead of the play. There wasn’t but one square in sight. He was a white man. He stood well back in the recessed doorway of the United Tobacco store at the northwest corner of 125th Street and Seventh Avenue, watching the sissies frolic about the lunch counter in the Theresa building on the opposite corner. The glass doors had been folded back and the counter was open to the sidewalk. The white man was excited by the sissies. They were colored and mostly young. They all had straightened hair, conked like silk, waving like the sea; long false eyelashes fringing eyes ringed in mascara; and big cushiony lips painted tan. Their eyes looked naked, brazen, debased, unashamed; they had the greedy look of a sick gourmet. They wore tight-bottomed pastel pants and short-sleeved sport shirts revealing naked brown arms. Some sat to the counter on the high stools, others leaned on their shoulders. Their voices trilled, their bodies moved, their eyes rolled, they twisted their hips suggestively. Their white teeth flashed in brown sweaty faces, their naked eyes steamed in black cups of mascara. They touched one another lightly with their fingertips, compulsively, exclaiming in breathless falsetto, “Girl.…” Their motions were wanton, indecent, suggestive of an orgy taking place in their minds. The hot Harlem night had brought down their love.
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
We can't go back can we?" She stopped walking and touched his arm. She looked more serious than she had all night, like she was only just considering that he was a real person and not someone she had dreamed up when he found her asleep. "We can't go back to something we ain't never been to in the first place. It ain't ours anymore. This is." She swept her hand in front of her, as though she were trying to catch all of Harlem in it, all of New York, all of America.
Yaa Gyasi (Homegoing)
The Word says that we ought to commit our plans to the Lord and He will cause them to succeed.  So I pray on every single thing in my life.  Nothing is too small or too big for God.  He cares about our quick conversations, just like He cares about life-altering endeavors.  He’ll even care about my finding a parking space in Harlem late at night if I ask Him to.” Paulo smiled with the tenderness of a man admiring his Dad.  “I can go to my God about anything and He’ll answer if it pleases Him.
Vacirca Vaughn (The Makeover)
The news of [James Baldwin's] death reached me in Trinidad around midnight. I was lecturing in the country about African-American literature and liberation, longevity and love, commitment and courage. I could not sleep. I got up and walked out of my hotel room into a night filled with stars. And I sat down in the park and talked to him. About the world. About his work. How grateful we all are that he walked on the earth, that he breathed, that he preached, that he came toward us baptizing us with his holy words. And some of us were saved because of him. Harlem man. Genius. Piercing us with his eyes and his pen. How to write of this beautiful big-eyed man who took on the country with his words? How to make anyone understand his beauty in a country that hates Blacks?
Sonia Sanchez (Shake Loose My Skin: New and Selected Poems)
Rusty had two kids he was less eager to lock up, and the nocturnal stakeouts had made for a long week. On Tuesday, out of riot-night boredom, Carney gave him a new title: associate sales manager. Knowing his boss wouldn’t get around to it, Rusty went ahead and ordered the name tag. While he awaited its arrival, he taped an interim version onto a Pan Am Junior Captain pin he’d obtained somewhere. “What do you think?” It looked okay. “It looks great,” Carney said. Business was slow anyway. Elizabeth had bought some books for Rusty’s little ones and Carney handed them over. “What’d you, loot these?” Carney had asked when she pulled them out of the shopping bag. That would be a sight: Elizabeth climbing into the window display, stepping over broken glass to grab some shit. Wouldn’t put it past her,
Colson Whitehead (Harlem Shuffle (Ray Carney, #1))
He thought about his mother and what she must have thought about at night in Harlem, not looking out the window to see the few stars shining in the sky, sitting in front of the TV or washing dishes in the kitchen with laughter coming from the TV, black people and white people laughing, telling jokes that she might have thought were funny, although probably she didn’t even pay much attention to what was being said, busy washing the dishes she had just used and the pot she had just used and the fork and spoon she had just used, peaceful in a way that seemed to go beyond simple peacefulness, thought Fate, or maybe not, maybe her peacefulness was just peacefulness and a hint of weariness, peacefulness and banked embers, peacefulness and tranquillity and sleepiness, which is ultimately (sleepiness, that is) the wellspring and also the last refuge of peacefulness. But then peacefulness isn’t just peacefulness, thought Fate. Or what we think of as peacefulness is wrong and peacefulness or the realms of peacefulness are really no more than a gauge of movement, an accelerator or a brake, depending.
Roberto Bolaño (2666)
The photographer was taking pictures with a small pocket camera but the sergeant sent him back to the car for his big Bertillon camera. Grave Digger and Coffin Ed left the cellar to look around. The apartment was only one room wide but four storeys high. The front was flush with the sidewalk, and the front entrance elevated by two recessed steps. The alleyway at the side slanted down from the sidewalk sufficiently to drop the level of the door six feet below the ground-floor level. The cellar, which could only be entered by the door at the side, was directly below the ground-floor rooms. There were no apartments. Each of the four floors had three bedrooms opening on to the public hall, and to the rear was a kitchen and a bath and a separate toilet to serve each floor. There were three tenants on each floor, their doors secured by hasps and staples to be padlocked when they were absent, bolts and chains and floor locks and angle bars to protect them from intruders when they were present. The doors were pitted and scarred either because of lost keys or attempted burglary, indicating a continuous warfare between the residents and enemies from without, rapists, robbers, homicidal husbands and lovers, or the landlord after his rent. The walls were covered with obscene graffiti, mammoth sexual organs, vulgar limericks, opened legs, telephone numbers, outright boasting, insidious suggestions, and impertinent or pertinent comments about various tenants’ love habits, their mothers and fathers, the legitimacy of their children. “And people live here,” Grave Digger said, his eyes sad. “That’s what it was made for.” “Like maggots in rotten meat.” “It’s rotten enough.” Twelve mailboxes were nailed to the wall in the front hall. Narrow stairs climbed to the top floor. The ground-floor hallway ran through a small back courtyard where four overflowing garbage cans leaned against the wall. “Anybody can come in here day or night,” Grave Digger said. “Good for the whores but hard on the children.” “I wouldn’t want to live here if I had any enemies,” Coffin Ed said. “I’d be scared to go to the john.” “Yeah, but you’d have central heating.” “Personally, I’d rather live in the cellar. It’s private with its own private entrance and I could control the heat.” “But you’d have to put out the garbage cans,” Grave Digger said. “Whoever occupied that whore’s crib ain’t been putting out any garbage cans.” “Well, let’s wake up the brothers on the ground floor.” “If they ain’t already awake.
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
The speaker standing on an upturned barrel at the intersection of 135th Street and Seventh Avenue was shouting monotonously: “BLACK POWER! BLACK POWER! Is you is? Or is you ain’t? We gonna march this night! March! March! March! Oh, when the saints — yeah, baby! We gonna march this night!” Spit flew from his looselipped mouth. His flabby jowls flopped up and down. His rough brown skin was greasy with sweat. His dull red eyes looked tired. “Mistah Charley been scared of BLACK POWER since the day one. That’s why Noah shuffled us off to Africa the time of the flood. And all this time we been laughing to keep from whaling.” He mopped his sweating face with a red bandanna handkerchief. He belched and swallowed. His eyes looked vacant. His mouth hung open as though searching for words. “Can’t keep this up,” he said under his breath. No one heard him. No one noticed his behavior. No one cared. He swallowed loudly and screamed. “TONIGHT’S THE NIGHT! We launch our whale boats. Iss the night of the great white whale. You dig me, baby?” He was a big man and flabby all over like his jowls. Night had fallen but the black night air was as hot as the bright day air, only there was less of it. His white short-sleeved shirt was sopping wet. A ring of sweat had formed about the waist of his black alpaca pants as though the top of his potbelly had begun to melt. “You want a good house? You got to whale! You want a good car? You got to whale! You want a good job? You got to whale! You dig me?” His conked hair was dripping sweat. For a big flabby middle-aged man who would have looked more at home in a stud poker game, he was unbelievably hysterical. He waved his arms like an erratic windmill. He cut a dance step. He shuffled like a prizefighter. He shadowed with clenched fists. He shouted. Spit flew. “Whale! Whale! WHALE, WHITEY! WE GOT THE POWER! WE IS BLACK! WE IS PURE!” A crowd of Harlem citizens dressed in holiday garb had assembled to listen. They crowded across the sidewalks, into the street, blocking traffic. They were clad in the chaotic colors of a South American jungle. They could have been flowers growing on the banks of the Amazon, wild orchids of all colors. Except for their voices. “What’s he talking ’bout?” a high-yellow chick with bright red hair wearing a bright green dress that came down just below her buttocks asked the tall slim black man with smooth carved features and etched hair. “Hush yo’ mouth an’ lissen,” he replied harshly, giving her a furious look from the corners of muddy, almond-shaped eyes. “He tellin’ us what black power mean!
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
The panel delivery truck drew up before the front of the “Amsterdam Apartments” on 126th Street between Madison and Fifth Avenues. Words on its sides, barely discernible in the dim street light, read: LUNATIC LYNDON … I DELIVER AND INSTALL TELEVISION SETS ANY TIME OF DAY OR NIGHT ANY PLACE. Two uniformed delivery men alighted and stood on the sidewalk to examine an address book in the light of a torch. Dark faces were highlighted for a moment like masks on display and went out with the light. They looked up and down the street. No one was in sight. Houses were vague geometrical patterns of black against the lighter blackness of the sky. Crosstown streets were always dark. Above them, in the black squares of windows, crescent-shaped whites of eyes and quarter moons of yellow teeth bloomed like Halloween pumpkins. Suddenly voices bubbled in the night. “Lookin’ for somebody?” The driver looked up. “Amsterdam Apartments.” “These is they.” Without replying, the driver and his helper began unloading a wooden box. Stenciled on its side were the words: Acme Television “Satellite” A.406. “What that number?” someone asked. “Fo-o-six,” Sharp-eyes replied. “I’m gonna play it in the night house if I ain’t too late.” “What ya’ll got there, baby?” “Television set,” the driver replied shortly. “Who dat getting a television this time of night?” The delivery man didn’t reply. A man’s voice ventured, “Maybe it’s that bird liver on the third storey got all them mens.” A woman said scornfully, “Bird liver! If she bird liver I’se fish and eggs and I got a daughter old enough to has mens.” “… or not!” a male voice boomed. “What she got ’ill get television sets when you jealous old hags is fighting over mops and pails.” “Listen to the loverboy! When yo’ love come down last?” “Bet loverboy ain’t got none, bird liver or what.” “Ain’t gonna get none either. She don’t burn no coal.” “Not in dis life, next life maybe.” “You people make me sick,” a woman said from a group on the sidewalk that had just arrived. “We looking for the dead man and you talking ’bout tricks.” The two delivery men were silently struggling with the big television box but the new arrivals got in their way. “Will you ladies kindly move your asses and look for dead men sommers else,” the driver said. His voice sounded mean. “ ’Scuse me,” the lady said. “You ain’t got him, is you?” “Does I look like I’m carrying a dead man ’round in my pocket?” “Dead man! What dead man? What you folks playing?” a man called down interestedly. “Skin?” “Georgia skin? Where?” “Ain’t nobody playing no skin,” the lady said with disgust. “He’s one of us.” “Who?” “The dead man, that’s who.” “One of usses? Where he at?” “Where he at? He dead, that’s where he at.” “Let me get some green down on dead man’s row.” “Ain’t you the mother’s gonna play fo-o-six?” “Thass all you niggers thinks about,” the disgusted lady said. “Womens and hits!” “What else is they?” “Where yo’ pride? The white cops done killed one of usses and thass all you can think about.” “Killed ’im where?” “We don’t know where. Why you think we’s looking?” “You sho’ is a one-tracked woman. I help you look, just don’t call me nigger is all.
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
The trail wasn’t hard to follow. It had a pattern. An irregular patch of scattered spots that looked like spots of tar in the artificial light was interspersed every fourth or fifth step by a dark gleaming splash where blood had spurted from the wound. Now that all the soul people had been removed from the street, the five detectives moved swiftly. But they could still feel the presence of teeming people behind the dilapidated stone façades of the old reconverted buildings. Here and there the white gleams of eyes showed from darkened windows, but the silence was eerie. The trail turned from the sidewalk into an unlighted alleyway between the house beyond the rooming house, which described itself by a sign in a front window reading: Kitchenette Apts. All conveniences, and the weather-streaked red-brick apartment beyond that. The alleyway was so narrow they had to go in single file. The sergeant had taken the power light from his driver, Joe, and was leading the way himself. The pavement slanted down sharply beneath his feet and he almost lost his step. Midway down the blank side of the building he came to a green wooden door. Before touching it, he flashed his light along the sides of the flanking buildings. There were windows in the kitchenette apartments, but all from the top to the bottom floor had folding iron grilles which were closed and locked at that time of night, and dark shades were drawn on all but three. The apartment house had a vertical row of small black openings one above the other at the rear. They might have been bathroom windows but no light showed in any of them and the glass was so dirty it didn’t shine. The blood trail ended at the green door. “Come out of there,” the sergeant said. No one answered. He turned the knob and pushed the door and it opened inward so silently and easily he almost fell into the opening before he could train his light. Inside was a black dark void. Grave Digger and Coffin Ed flattened themselves against the walls on each side of the alley and their big long-barreled .38 revolvers came glinting into their hands. “What the hell!” the sergeant exclaimed, startled. His assistants ducked. “This is Harlem,” Coffin Ed grated and Grave Digger elaborated: “We don’t trust doors that open.” Ignoring them, the sergeant shone his light into the opening. Crumbling brick stairs went down sharply to a green iron grille. “Just a boiler room,” the sergeant said and put his shoulders through the doorway. “Hey, anybody down there?” he called. Silence greeted him. “You go down, Joe, I’ll light your way,” the sergeant said. “Why me?” Joe protested. “Me and Digger’ll go,” Coffin Ed said. “Ain’t nobody there who’s alive.
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
The British landed troops in Brooklyn on August 22, and the subsequent Battle of Brooklyn was a major defeat for the Americans. Washington pulled off a daring escape across the East River to Manhattan on the night of August 29, but only managed to hold New York for another two weeks before retreating up to Harlem. Hamilton’s company at Bayard’s Mount barely made it out. It was only because Aaron Burr knew a way through enemy lines did they make it to safety.
James Nevius (Footprints in New York: Tracing the Lives of Four Centuries of New Yorkers)
Motorists coming west on 125th Street from the Triborough Bridge saw a speaker standing in the tonneau of an old muddy battered US Army command car, parked in the amber night light at the corner of Second Avenue, in front of a sign which read: CHICKEN AUTO INSURANCE, Seymour Rosenblum. None had the time or interest to investigate further. The white motorists thought that the Negro speaker was selling “chicken auto insurance” for Seymour Rosenblum. They could well believe it. “Chicken” had to do with the expression, “Don’t be chicken!” and that was the way people drove in Harlem. But actually the “chicken” sign was left over from a restaurant that had gone bankrupt and closed months previously, and the sign advertising auto insurance had been placed across the front of the closed shop afterwards.
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
Then one night at Buttercup’s he met this Swedish woman, Birgit, who was famous for her glass. She had dropped in to look over the brothers. She and Marcus found their affinity immediately. Both of them were serious, both were seeking, both were extraordinarily stupid. But she taught him brotherly love. She was hipped on brotherly love. Although it didn’t mean the same thing to her as it did to him. She had had a number of brothers as lovers and in time she had become enthusiastic about brotherly love. But Marcus had the vision of Brotherhood.
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
Bork, along with economists like F. A. Hayek, Milton Friedman, and James Buchanan—figures whose work I had never studied or even read until after that night in Harlem—advocated not the conservation of traditional structures but the abolition of them; they wished to eliminate all real checks on private enterprise; and they believed, in contradiction not only to all common sense but also to Gödel’s theorem, that the Market could be depended on to regulate its own aberrations and idiosyncrasies. In other words, however much Bork and others like him may have inveighed against personal liberties in the public sphere, they were positively gaga over individualism’s most wanton, unfettered forms in the private sector. Indeed, I’ve come to think that the central political paradox of our time is that the so-called conservatives of the past half century have sought to conserve almost nothing of the societies they inherited but instead have worked to remake them with a vigor reminiscent of the leftist revolutionaries they despise.
Ayad Akhtar (Homeland Elegies)
I'm just as aware of the injustices done to the black man as anyone," the Dipper would explain years after. "I just don't believe that you help things by running around, saying how evil Whitey is. I figure I done my share - the restaurants I integrated in Kansas, the busloads of black kids I used to take to summer camp from Harlem, the contributions I make, in my name and money, to various black causes and programs. Just because I don't call a press conference every time I do something like that doesn't mean I am insensitive to the black man's plight.
Gary M. Pomerantz (Wilt, 1962: The Night of 100 Points and the Dawn of a New Era)
You know a good-looking girl like you shouldn’t have to worry about money,’ he said softly. She didn’t say anything and he continued, ‘In fact, if you and me can get together a coupla nights a week in Harlem, those lessons won’t cost you a cent. No sir, not a cent.’ Yes, she thought, if you were born black and not too ugly, this is what you get, this is what you find. It was a pity he hadn’t lived back in the days of slavery, so he could have raided the slave quarters for a likely wench any hour of the day or night. This is the superior race, she said to herself, take a good long look at him: black, oily hair; slack, gross body; grease spots on his vest; wrinkled shirt collar; cigar ashes on his suit; small pig eyes engulfed in the fat of his face.
Ann Petry (The Street)
New Yorkers and people visiting New York from the world over go to the night-clubs of Harlem and dance to such jazz music as can be heard nowhere else; and they get an exhilaration impossible to duplicate.
James Weldon Johnson (Black Manhattan)
To many, especially among coloured people, a Harlem night-club is a den of iniquity, where the Devil holds high revel. The fact is that the average night-club is as orderly as many a Sunday-school picnic has been.
James Weldon Johnson (Black Manhattan)
God knew how hard and well he’d fought, The noble deeds his hands had wrought; God heard the deep sighs of his breast, He heard—and gave the warrior rest. And shall we weep and say ’tis night, When he has found eternal light?
Nikki Grimes (One Last Word: Wisdom from the Harlem Renaissance)
The leaders, drummer Carleton Coon and pianist Joe Sanders, had met in a music store and formed their group in 1918. They sang duets through megaphones: hot, roaring numbers, and Sanders’s bubbly greeting—“Howdja do, howdja do, you big ole raddio pooblic”—gave further evidence of the unstilting of America. The nation charged into the new era with music that had never been heard outside small bistros and smoky Harlem speakeasies. Radio was bringing these locations into thousands of homes, making such obscure regional groups as the Coon-Sanders Nighthawks national celebrities. Listeners with crystal sets were picking up WDAF from afar, and interest in the band spread well beyond the Midwest. Coon-Sanders took on road engagements: they were among the first bands to do one-night stands, engagements that were soon engrained in big band life.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
The rosy enthusiasms and hopes of 1925," Alain Locke said ten years later, "were. . . cruelly deceptive mirages." The ghetto was revealed in the thirties as "a nasty, sordid corner into which black folk are herded—a Harlem that the social worker knew all along but had not been able to dramatize. . . There is no cure or saving magic in poetry and art for. . . precarious marginal employment, high mortality rates, civic neglect," Locke concluded. It was this Harlem, the neighborhood not visible "from the raucous interior of a smokefilled, jazzdrunken cabaret," the Harlem hidden by the "bright surface. . . of. . . night clubs, cabaret tours and. . . arty magazines," that was devastated by the Depression.
Gilbert Osofsky
Yo mama is so stupid… she thought Dunkin’ Donuts was a basketball team! Yo mama is so stupid… she tripped over a wireless phone! Yo mama is so stupid… she failed a survey! Yo mama is so stupid… she got locked in a grocery store and starved to death! Yo mama is so stupid… when they said that it is chilly outside, she went outside with a bowl and a spoon. Yo mama is so stupid… she tried to drown a fish! Yo mama is so stupid… she tried to throw a bird off a cliff! Yo mama is so stupid… she took a knife to a drive-by! Yo mama is so stupid… she thought Boyz II Men was a daycare center! Yo mama is so stupid… she bought a ticket to Xbox Live! Yo mama is so stupid… she thought she couldn’t buy a Gameboy because she is a girl! Yo mama is so stupid… she thought a scholarship was a ship full of students! Yo mama is so stupid… she threw a clock out the window to see time fly! Yo mama is so stupid… she went to the ocean to surf the Internet! Yo mama is so stupid… you can hear the ocean in her head! Yo mama is so stupid… she thought Hamburger Helper came with a friend! Yo mama is so stupid… she got locked in Furniture World and slept on the floor. Yo mama is so stupid… she sits on the floor and watches the couch. Yo mama is so stupid… she stayed up all night trying to catch up on her sleep! Yo mama is so stupid… she got her hand stuck in a website! Yo mama is so stupid… she thought Christmas wrap was Snoop Dogg’s new song! Yo mama is so stupid… she can't pass a blood test. Yo mama is so stupid… she thought the Harlem Shake was a drink! Yo mama is so stupid… she ordered a cheeseburger without the cheese. Yo mama is so stupid… she tried to climb Mountain Dew! Yo mama is so stupid… that she burned down the house with a CD burner. Yo mama is so stupid… she went to PetSmart to take an IQ test! Yo mama is so stupid… she went to the library to find Facebook! Yo mama is so stupid… she stole free bread. Yo mama is so stupid… she sold her car for gas money. Yo mama is so stupid… she stopped at a stop sign and waited for it to turn green. Yo mama is so stupid… when she asked me what kind of jeans I am wearing I said, “Guess”, and she said, “Levis”. Yo mama is so stupid… she called me to ask me for my phone number! Yo mama is so stupid… she worked at an M&M factory and threw out all the W's. Yo mama is so stupid… she tried to commit suicide by jumping out the basement window. Yo mama is so stupid… she got lost in a telephone booth. Yo mama is so stupid… she stuck a phone in her butt to make a booty call! Yo mama is so stupid… I said that drinks were on the house and she went to get a ladder! Yo mama is so stupid… she went to a dentist to fix her Bluetooth! Yo mama is so stupid… she put lipstick on her forehead to make up her mind. Yo mama is so stupid… it took her two hours to watch 60 seconds.
Johnny B. Laughing (Yo Mama Jokes Bible: 350+ Funny & Hilarious Yo Mama Jokes)
Activists from all over the world--the known & the unknown--would find their way to the Kochiyamas' Fri & Sat night open houses. 'People were everywhere, eating, talking, laughing, spilling out into the hallway [outside their apt]. People were even int he bathroom. You couldn't close the front door bc there were so many people inside,' recalled Herman Ferguson. The Kochiyamas' apt also became a central meeting place for the Movement.
Diane C. Fujino (Heartbeat of Struggle: The Revolutionary Life of Yuri Kochiyama (Critical American Studies))
At the same time there seemed to be more white people on the streets of Harlem than at any time in the past twenty years. Many of them appeared to be on the most intimate terms with the Negroes, laughing, talking, dining and dancing in a most un-Caucasian way. This sort of association had always gone on at night but seldom in the daylight.
George S. Schuyler (Black No More)
long, pleasure-infused groan vibrated
Lily Harlem (Cold Nights, Hot Bodies)