BLACK NO MORE (3)
By:
June 16, 2025
George S. Schuyler’s Black No More: Being an Account of the Strange and Wonderful Workings of Science in the Land of the Free, A.D. 1933-1940 (1931) is a satire featuring the Invention of a transformative cosmetic treatment. HiLoBooks is pleased to serialize an excerpt for HILOBROW’s readers.
ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5.
They dined and they danced. Then they went to a cabaret, where, amid smoke, noise and body smells, they drank what was purported to be whiskey and watched a semi-nude chorus do its stuff. Despite his happiness Max found it pretty dull. There was something lacking in these ofay places of amusement or else there was something present that one didn’t find in the black-and-tan resorts in Harlem. The joy and abandon here was obviously forced. Patrons went to extremes to show each other they were having a wonderful time. It was all so strained and quite unlike anything to which he had been accustomed. The Negroes, it seemed to him, were much gayer, enjoyed themselves more deeply and yet they were more restrained, actually more refined. Even their dancing was different. They followed the rhythm accurately, effortlessly and with easy grace; these lumbering couples, out of step half the time and working as strenuously as stevedores emptying the bowels of a freighter, were noisy, awkward, inelegant. At their best they were gymnastic where the Negroes were sensuous. He felt a momentary pang of mingled disgust, disillusionment and nostalgia. But it was only momentary. He looked across at the comely Sybil and then around at the other white women, many of whom were very pretty and expensively gowned, and the sight temporarily drove from his mind the thoughts that had been occupying him.
*
They parted at three o’clock, after she had given him her telephone number. She pecked him lightly on the cheek in payment, doubtless, for a pleasant evening’s entertainment. Somewhat disappointed because she had failed to show any interest in his expressed curiosity about the interior of her apartment, he directed the chauffeur to drive him to Harlem. After all, he argued to himself in defense of his action, he had to get his things.
As the cab turned out of Central Park at 110th Street he felt, curiously enough, a feeling of peace. There were all the old familiar sights: the all-night speakeasies, the frankfurter stands, the loiterers, the late pedestrians, the chop suey joints, the careening taxicabs, the bawdy laughter.
He couldn’t resist the temptation to get out at 133rd Street and go down to Boogie’s place, the hangout of his gang. He tapped, an eye peered through a hole, appraised him critically, then disappeared and the hole was closed. There was silence.
Max frowned. What was the matter with old Bob? Why didn’t he open that door? The cold January breeze swept down into the little court where he stood and made him shiver. He knocked a little louder, more insistently. The eye appeared again.
“Who’s ’at?” growled the doorkeeper.
“It’s me, Max Disher,” replied the ex-Negro.
“Go ’way f’m here, white man. Dis heah place is closed.”
“Is Bunny Brown in there?” asked Max in desperation.
“Yeh, he’s heah. Does yuh know him? Well, Ah’ll call ’im out heah and see if he knows you.”
Max waited in the cold for about two or three minutes and then the door suddenly opened and Bunny Brown, a little unsteady, came out. He peered at Max in the light from the electric bulb over the door.
“Hello Bunny,” Max greeted him. “Don’t know me do you? It’s me, Max Disher. You recognize my voice, don’t you?”
Bunny looked again, rubbed his eyes and shook his head. Yes, the voice was Max Disher’s, but this man was white. Still, when he smiled his eyes revealed the same sardonic twinkle—so characteristic of his friend.
“Max,” he blurted out, “is that you, sure enough? Well, for cryin’ out loud! Damned ’f you ain’t been up there to Crookman’s and got fixed up. Well, hush my mouth! Bob, open that door. This is old Max Disher. Done gone up there to Crookman’s and got all white on my hands. He’s just too tight, with his blond hair, ’n everything.”
Bob opened the door, the two friends entered, sat down at one of the small round tables in the narrow, smoke-filled cellar and were soon surrounded with cronies. They gazed raptly at his colorless skin, commented on the veins showing blue through the epidermis, stroked his ash-blond hair and listened with mouths open to his remarkable story.
“Whatcha gonna do now, Max?” asked Boogie, the rangy, black, bullet-headed proprietor.
“I know just what that joker’s gonna do,” said Bunny. “He’s goin’ back to Atlanta. Am I right, Big Boy?”
“You ain’t wrong,” Max agreed. “I’m goin’ right on down there, brother, and make up for lost time.”
“Whadayah mean?” asked Boogie.
“Boy, it would take me until tomorrow night to tell you and then you wouldn’t understand.”
RADIUM AGE PROTO-SF: “Radium Age” is Josh Glenn’s name for the nascent sf genre’s c. 1900–1935 era, a period which saw the discovery of radioactivity, i.e., the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. More info here.
SERIALIZED BY HILOBOOKS: James Parker’s Cocky the Fox | Annalee Newitz’s “The Great Oxygen Race” | Matthew Battles’s “Imago” | & many more original and reissued novels and stories.