Modern Library Harlem Renaissance What would happen to the race problem in America if black people turned white? Would everybody be happy? These questions and more are answered hilariously in Black No More, George S. Schuyler's satiric romp. Black No More is the story of Max Disher, a dapper black rogue of an insurance man who, through a scientific transformation process, becomes Matthew Fisher, a white man. Matt dreams up a scam that allows him to become the leader of the Knights of Nordica, a white supremacist group, as well as to marry the white woman who rejected him when he was black. Black No More is a hysterical exploration of race and all its self-serving definitions. If you can't beat them, turn into them.         Ishmael Reed, one of today's top black satirists and the author of Mumbo Jumbo and Japanese by Spring, provides a spirited Introduction. The fertile artistic period now known as the Harlem Renaissance (1920- 1930) gave birth to many of the world-renowned masters of black literature and is the model for today's renaissance of black writers. This satirical Harlem Renaissance-era novel by black conservative intellectual George S. Schuyler (1895-1977), who wrote for the Pittsburgh Courier and contributed to the NAACP's influential Crisis magazine, is a hilariously insightful treatise on the absurdities of racial identity. Dr. Junius Crookman, a Harlem-based African American physician, mysteriously returns from Germany with a formula that can transform black people into whites. "It looked," Schuyler deadpans, "as though science was to succeed where the Civil War failed." One of the first to enlist Dr. Crookman's services is an insurance salesman named Max Disher, who as the white Matthew Fisher is now free to pursue the white women who once rejected him and otherwise bask in Euro-American social privilege (including a top position in a hate group called the Knights of Nordica). Schuyler unveils the futility of this electro-chemical form of "passing" through the emptiness the Disher/Fisher character encounters in the white cultural world, which doesn't measure up to the Harlem nightlife--revealing the poison behind the notion of wanting to be something you're not. --Eugene Holley Jr. 37575380.X99 Schuyler, George BLACK NO MORE First published in 1931, this scathing satire on race embodies all the controversial notions of its author, the grouchy journalist and essayist Schuyler, a kindred spirit of his mentor and fellow misanthrope, H.L. Mencken. Best know for his dissenting essay, The Negro-Art Hokum, Schuyler (1895-1977) mocked most of the more prominent representatives of the Harlem Renaissance, and asks in this rollicking bit of speculative fiction: What if black people could change themselves to white? Inspired by popular products for skin-lightening, Schuyler imagines the discovery of a process that transforms Negroes into white people, and then watches all hell break loose. When Dr. Junius Crookman promises a three-day makeover, Max Disher, a dapper insurance agent with a taste for yallah gals, thinks of one thingall the ofay girls he can now pursue, especially a snobby cracker who snubbed him in a Harlem night club. For fifty bucks, Max is one of Crookmans first patients and emerges from his Frankenstein-like office with his new pork-colored skin. But Maxs glorious new adventure turns ugly right away: his old friends reject him; his landlady accuses him of no race pride, and worsehe finds white people less courteous and less interesting. The country too grows increasingly hysterical: the South calls for congressional action, and the infrastructure of Negro philanthropy begins to crumble. Scuyler smartly postulates the response of official black leadership, and saves his most damning portraits for characters who represent Garvey, DuBois, and Booker T., all of whom ultimately give in to the new process. Maxs dilemma is simpler: he tries to figure out a way to capitalize off his new identity, and soon becomes the right hand man to the Rev. Givens, the grand poobah of the Knights of Nordica, and eventually marries his daughter, the very same girl from that night in Harlem. One problem remains, the whitening process doesnt pass to babies, so Max lives with the fear that his offspring will be his undoing. Not to worry, though, for events overwhelm all in this increasingly outrageous novel. As the hypocrisies mount, and the number of Negroes diminish, calls for racial purity increase. But the frantic researches into genealogy have an unintended resultand one that Schuyler himself constantly arguedthat most white people have dusky ancestors, or as the Rev. Givens so aptly puts it, I guess were all niggers now. Schuylers miscegenetic ideas on race fuel this well-written look at chromatic democracy, a novel that prefigures both Ray Bradbury and Ralph Ellison. This wild book is much more than an historical curiosity, and its resurrection is a revelation. -- Copyright ©1999, Kirkus Associate