Infants of the Spring: Analysis of Major Characters
"Infants of the Spring" explores the dynamic lives and struggles of a group of aspiring artists living together in "Niggeratti Manor," a Harlem brownstone during the "Negro Renaissance." The central character, Raymond Taylor, is a young black writer grappling with self-doubt in both his artistic abilities and his sexual identity. His journey is marked by a mix of hedonism and frustration as he seeks to contribute meaningfully to the literary world. Other key characters include Paul Arbian, a bold bisexual artist challenging traditional expectations, and Stephen Jorgenson, a Danish student whose fascination with black culture turns to disillusionment. Samuel Carter represents the misguided liberal seeking purpose through a superficial understanding of the struggles of the black community. Eustace Savoy, an aspiring classical singer, dismisses spirituals despite their popularity among patrons, while Pelham Gaylord serves as a mediocre artist, finding solace in a connection with a young girl. Lastly, Euphoria Blake, the manor's owner, embodies a rich past and the complexities of race and economics in art. This collective narrative provides insight into the challenges and aspirations of artists striving for authenticity and recognition during a pivotal cultural movement.
Infants of the Spring: Analysis of Major Characters
Author: Wallace Thurman
First published: 1932
Genre: Novel
Locale: Harlem, New York
Plot: Satire
Time: The mid-1920's
Raymond Taylor, the protagonist, a young black writer striving to create his first novel and make a major contribution to the “Negro Renaissance.” He is sensitive and a bit unsure of both his abilities as a writer and his sexual orientation. He is equally frustrated by his and others' inability to create anything of greatness. For most of his stay at “Niggeratti Manor,” the Harlem brownstone where many would-be artists live, he drinks and carouses with friends—some talented, others not—so that he rarely writes.
Paul Arbian, a writer and painter. He is one of the most daring characters in the novel. He openly acknowledges his bi-sexuality and his distaste for what the older generation of leaders of the “Negro Renaissance” expect the younger artists to produce. Like Raymond, he wants to be an artist in the most free and forward-looking definition of the term.
Stephen Jorgenson, for a short while a resident of the Manor and roommate to Raymond. He is first fascinated with Harlem's black people and then, later, appalled by them. Originally from Copenhagen, Denmark, he is in New York to pursue a Ph.D. at Columbia University, not because he has any real interest in scholarship but because his family will support him only if he is in school.
Samuel Carter, another white character, a liberal missionary type. He is not accepted by any of the many groups he joins, including communists and socialists, because to these groups he is a nonentity. When he “discovers” black people and concludes that he will be their savior, he begins to have meaning in his life. He does not understand, however, that most of the black residents of the Manor think he is an idiot.
Eustace Savoy, a would-be classical singer. He disavows all interest in spirituals, denouncing them as being peasant and folk music unworthy of his artistic talent. Unfortunately, white patrons, who provide the financial rewards for black creative production, are interested only in spirituals.
Pelham Gaylord (George Jones), a would-be portrait artist who functions at the Manor as host, server, and housekeeper. No one thinks he has any talent; he is a copier of the works of European artists. He finds acceptance with a teenage girl.
Euphoria Blake, the owner of the Manor and designer of it as a place for artists to live and mingle. She has a past that is as colorful as her residents. She has been a member of the Communist Party, practiced free love, had a white lover, been jailed, and learned that money is the one thing that equalizes the races.
Lucille, Raymond's confidant and sometimes girlfriend, a secretary who manages to attend many of the parties and discussions at the Manor. She and Raymond have a platonic relationship that becomes increasingly frustrating as she realizes it can never be more than that.