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George Schuyler, around the time Black Empire was written, was a Pan-Africanist, especially concerned with the fate of Ethiopia after the Mussolini and the Italians invaded and with the emancipation of Liberia. However, he generally regarded Garvey’s philosophy as cynical because of his dislike of Garvey whose prestige and income he perceived as being dependent upon the continuance of the injustices he described


Marcus Garvey has a vision. He sees plainly that everywhere in the Western and Eastern hemispheres the Negro, regardless of his religion or nationality, is being crushed under the heel of white imperialism and exploitation. Rapidly the population of the world is being aligned in two rival camps white and black. The whites have arms, power, organization, wealth; the blacks have only their intelligence and their potential power. If they are to be saved, they must be organized so they can present united opposition to those who seek to continue their enslavement.


Schuyler criticizes the reader for enjoying stories based on the vision Garvey had because of the sort of dubious plan Garvey had of transporting a race back to Africa only to colonize the already occupied inhabitants in roughly the same manner of oppression that Garvey is trying to liberate blacks from in the first place. It is ironic though that part of what makes Black Empire so problematical is that it appears to glorify, without discernable irony, the most racially chauvinistic aspects of Garveys movement.


In Black Empire, Schuyler presents Belsidus as quite a monster, willing to use mass murder and near genocide to achieve his ends. In the ensuing chapters he realizes this vision, along the way utilizing such visionary technological wizardry as solar power, hydroponics and death rays, and such social measures as his own new religion, the Church of Love as a means of control and as a sign of progress. The story then reflects a double entendre (1) the triumph of blacks over racial oppression and () Schuylers’ pessimism about these so-called leaders and means that would be required to achieve these goals.


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Although the opening scenes of Black Empire are set in Harlem, its major characters have ambitions with global implications. In much the same way, the intellectual, social and political movement referred to as the Harlem Renaissance really was much broader than the Manhattan neighborhood for which it is named. Schuyler also plays on some of white America’s fetishized images of Harlem as a “black jungle.”





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