“Yet, the New Negro must be seen in the perspective of a New World, and especially of a New America.”

“Negro life is not only establishing new contacts and founding new centers, it is finding a new soul”

These two lines from Alain Locke’s forward capture eloquently the impact the Harlem Renaissance had on the Black community and the World. As highlighted by James Weldon Johnson in “Harlem: The Culture Capital”, Harlem was the epicenter for this change in “perspective” and perception of the Negro, particularly as an artist. Bruce Nugent’s piece, “Sahdji” demonstrates a claim and celebration of the Negro heritage which of course contributes to that “new soul” mentioned by Locke.

Nugent begins Sahdji’s tale by focusing on her image which represents a powerful visual of the narrative. Sahdji’s figure is distinct and framed by geometric patterns characteristic of African art. This visual piece distinguishes one of the means through which the “New Negro” establishes “new centers” and finds a “new soul” because not only is Nugent celebrating an image characteristic of the African heritage but he also teaches the reader how to admire it through his piece. He highlights her “beautiful dark body” and her position as a “favorite wife” to denote her importance and instructing us on recognizing said importance in the image. Nugent’s combination of visual and verbal signals a transformation happening occurring within the literary community to best showcase art.

The writing of the narrative also evokes the idea of a “New Negro” in a “New World”. Nugent’s use of ellipses to punctuate and emphasize the narrative shows the experimentation, typical of the modernist time, and makes it harder for the reader to grasp. In addition to giving the writing modern qualities, the punctuation humanizes the narrator since each gap acts like a pause in thought. The blend of a modernist writer and one who celebrates the Negro culture/figure embodies Locke’s “New Negro”.