By Anita Reynolds, Visit Amazon's Howard M. Miller Page, search results, Learn about Author Central, Howard M. Miller, , George Hutchinson, Patricia Williams, Jean L. Krauklin
This is the rollicking, never-before-published memoir of a desirable lady with an uncanny knack for being within the correct position within the best occasions. Of racially combined history, Anita Reynolds was once proudly African American yet usually handed for Indian, Mexican, or Creole. Actress, dancer, version, literary critic, psychologist, yet chiefly free-spirited provocateur, she used to be, as her Parisian acquaintances nicknamed her, an "American cocktail."
one of many first black stars of the silent period, she seemed in Hollywood video clips with Rudolph Valentino, attended Charlie Chaplin's anarchist conferences, and studied dance with Ruth St. Denis. She moved to long island within the Nineteen Twenties and made a touch with either Harlem Renaissance elites and Greenwich Village bohemians. An émigré in Paris, she fell in with the Left financial institution avant garde, befriending Antonin Artaud, guy Ray, and Pablo Picasso. subsequent, she took up place of abode as a journalist in Barcelona throughout the Spanish Civil conflict and witnessed firsthand the starting to be threat of fascism. In 1940, because the Nazi panzers closed in on Paris, Reynolds spent the ultimate days ahead of the French capitulation as a purple go nurse, later on creating a mad sprint for Lisbon to flee at the final send departing Europe.
In prose that completely captures the globetrotting nonchalance of its writer, American Cocktail provides a stimulating, unforgettable self-portrait of a very impressive woman.
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Extra info for American Cocktail: A "Colored Girl" in the World
She managed the Virgin Islands Employment Ser vice from 1960– 1964 and then taught psychology at the College of the Virgin Islands until she turned sixty-five. On St. Croix, as in New York and Paris, she passed between the different communities—white and black, islanders and mainlanders—trying to “get people together” and help them to overcome their distrust of one another. In the 1960s, Reynolds reflected increasingly on her former life and occasionally wrote old friends like Ralph Bunche and Man Ray, inviting them to come stay in one of her and her husband’s properties for free.
As we listened to his speech, tears fi lled everyone’s Introduction 43 eyes. I glanced at Moysés, who had been our so lighthearted host at the Boeuf sur Le Toit for so many years, and his was the saddest face I could see. . Real tragedies were being enacted all along the coast as refugees ran toward the sea and even into the sea. Many of them drowned before the crowds that came after them could pull them out. Their desperation was far beyond ours. We stood looking at them through the windows, and after the Marseillaise was played the second time, we sat down to fi nish our lunch.
In Morocco, she stayed with Claude McKay a few weeks. They disagreed in their attitudes toward blackness. McKay “felt most strongly that anyone who had black blood should be Africanized. In Paris, for instance, anytime we went anywhere, he asked me to mat up my hair, which was about the only way I could have looked African. . ” Yet her impression was that, as much as McKay wanted her to “Africanize” herself, he spent all his time with white people. After meeting the white American journalist Donald Duff, a friend of Claude McKay and Countee Cullen who was well- Introduction 37 known in Harlem and was always ready to fight with other whites over the “race problem,” Anita wrote: “Still he is most sensible, says he agrees that there is no hope of the jigs ever doing more than grabbing monkey-fashion all that the others are leaving to them.