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Throughout the 180-page paperback, incisive articles on topics ranging from an account of Harvard-trained journalist W. Monroe Trotter's trip to the Paris Peace Conference of 1919 to an account of 1920s Black-power activist Marcus Garvey's visit to Harvard create a vivid history of Harvard through the eyes of its Black graduates...

Author: NO WRITER ATTRIBUTED | Title: PLANNING A NEW WORLD | 1/7/1987 | See Source »

Alain Locke, who received a Harvard Ph.D. in 1918, did not become a major political spokesman like Dubois or Washington--instead he directed his energies toward developing a Black cultural and artistic identity. Regarded as an important figure in the Harlem Renaissance of the 1920s. Locke felt that Black art, music and literature were evidence that "Negro thoughts now wear the uniform...

Author: NO WRITER ATTRIBUTED | Title: PLANNING A NEW WORLD | 1/7/1987 | See Source »

Harvard's relatively enlightened tradition was blemished during the dormitory crisis of the early 1920s, when President Lowell brought the issue of racism to a head by refusing to allow a Black student to live in the freshman dormitories...

Author: NO WRITER ATTRIBUTED | Title: PLANNING A NEW WORLD | 1/7/1987 | See Source »

Although the 1920s and 1930s are remembered as a golden age for mysteries, that era's exemplar, Agatha Christie, and most of her contemporaries had no gift for taking readers on a journey into another culture or milieu. The fun lay chiefly in guessing, if one cared, who killed Roger Ackroyd. Nowadays, Christie's kind of puzzle, based on clues larded into the text, has largely given way to a more novelistic brand of mystery, in which the solution may not matter that much to either the writer or the reader. The motive for a crime is more likely...

Author: /time Magazine | Title: Books: Time to Murder and Create | 12/22/1986 | See Source »

Eisenstaedt's technique was adopted from the pioneering candid camera work of Erich Salomon. In the late 1920s, Salomon electrified photojournalism with his available-light pictures of European diplomats in unposed situations -- stuffed shirts in unbuttoned moments. Eisenstaedt applied Salomon's methods to less official surroundings, in ballrooms, at the opera, or among strollers at St. Moritz. His strengths were the chief strengths of photography generally: not the ceremonial but the serendipitous, not oratory but anecdote. He was the kind of photographer who could become so entranced by the sideline * doings at a royal wedding that he would forget...

Author: /time Magazine | Title: You Must Remember This | 12/22/1986 | See Source »

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