Think about the Harlem demimonde, the clubs and diners and gambling joints that constitute one aspect of social life in postwar Harlem, the capital of African America.
Chester Himes’s novel, we can say, springs from and contributes to Black urban modernity. His characters, locales, and action dramatize a loud, brassy version of Negritude, that cultural-philosophical movement which reaches from West Africa to the Caribbean to France and North America.
Next week in particular we’ll explore the critical method of soundtracking in order to crack open A Rage in Harlem. Soundtracking resembles the way a movie camera tracks an actor or a moving object. The social field (society) includes diegetic sounds and score.
I was in my bed a’sleepin’, oh-boy, what a dream
I was in my bed sleepin’, oh-boy, what a dream
I was dreamin’ ’bout my TV Mama, the one with the big, wide screen
She got great big eyes and little bitty feet and in the waist, she’s so nice and neat
She’s my TV Mama, one with the big, wide screen
Every time she loves me, man, she makes me scream
She just taste like candy, boys, I really go for sweets
I love her from her head down to her little bitty feet
Yeah, she’s my TV Mama, one with the big, wide screen
Every time she loves me, oh yes, I’m bound to scream
I’m just kind-a rollin’, tumblin’, talkin’ all out of my head
Well just I’m rollin’ and tumblin’, man, I’m talkin’ all out of my head
And when my baby shook me, man, I fell right out of bed