If the Harlem Renaissance was—according to Henry Louis Gates Jr.—“surely as gay as it was black,” it was also disabled. Steeped in a nascent Black disability culture characterized by rejecting eugenics, medical segregation, and ableist politics of racial respectability, writers
If the Harlem Renaissance was—according to Henry Louis Gates Jr.—“surely as gay as it was black,” it was also disabled. Steeped in a nascent Black disability culture characterized by rejecting eugenics, medical segregation, and ableist politics of racial respectability, writers
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