as Lucille Hegamin and Hannah Scott, and floor
shows such as Happy Rhone’s All Star Show.
Bibliography
Watson, Steven. The Harlem Renaissance: Hub of African-
American Culture, 1920–1930.New York: Pantheon
Books, 1995.
Harcourt & Brace (Harcourt, Brace &
Company)
Founded in 1919 by Alfred Harcourt and Donald
Brace, former employees of Henry Holt & Com-
pany, Harcourt & Brace published a number of
best-sellers. The first novel the company published
was SINCLAIRLEWIS’s Main Street,a work whose
sales eclipsed expected projections.
In 1922, at the urging of the firm’s cofounder
and literary adviser JOELSPINGARN, the company
published HARLEM SHADOWS, a collection of
poems by CLAUDEMCKAY. In 1934 McKay ap-
proached the press to see whether they would reis-
sue an expanded edition of Harlem Shadows.
Cofounder Donald Brace corresponded directly
with the poet. The edition never materialized, in
large part because McKay, who had no reliable lit-
erary agent working for him, did not want to deal
with the direct contract negotiations.
The press was one of the impressive New York
City–based publishing houses that solicited and
published works of Harlem Renaissance writers. Its
representatives were actively involved in the cele-
brations of authors’ accomplishments that the NA-
TIONALASSOCIATION FOR THEADVANCEMENT
OF COLORED PEOPLE and NATIONAL URBAN
LEAGUE, and their respective journals THECRISIS
and OPPORTUNITY,sponsored.
Hare, Maude Cuney(1874–1936)
A Texas-born musician, writer, teacher, and an-
thropologist who excelled as a pianist and music
professional. She was born in Galveston to Norris
Wright Cuney, a successful businessman and Texas
politician, and his wife, Adelina Bowie Cuney. She
married William Parker Hare in 1904. After her
February 1936 death from cancer, she was buried
next to her parents in the Lake View Cemetery in
Galveston.
After graduating from high school, Cuney
studied piano at the New England Conservatory in
BOSTON. Following her training, she taught music
at a number of institutions, including the Texas
Deaf, Dumb and Blind Institute for Colored Youths
and the State Normal and Industrial College in
Prairie View, Texas. She returned to Boston in the
early 1900s and began a career as a performer and
lecturer.
Hare published frequently in music journals
and general periodicals such as the Musical Quar-
terlyand the Christian Science Monitor.She con-
tributed regularly to THE CRISIS, the official
publication of the NATIONALASSOCIATION FOR
THEADVANCEMENT OFCOLOREDPEOPLE, and
served as music editor for the journal. The Crisis
Publishing Company published her 1913 biography
of her father, Norris Wright Cuney: A Tribune of the
Black People.
In the late 1920s, Hare established the Allied
Arts Center in Boston. There she displayed and
sold African-American artwork and supported the-
ater productions by African-American playwrights.
Before her death in 1936 she also established the
Musical Art Studio in Boston and sponsored addi-
tional black theater enterprises.
In 1918, Hare published The Message of Trees:
An Anthology of Leaves and Branches,a volume of
poems that included the work of only one poet of
color, Paul Laurence Dunbar. In 1930 Hare pub-
lished ANTAR OF ARABY, a four-act play that
chronicled the plight of a dark-skinned, enslaved
poet who loved the daughter of an Arab chief. The
play was performed in Boston some four years be-
fore its publication, and Hare supervised its pro-
duction. In 1936 Hare published Negro Musicians
and Their Music,an invaluable history of American
music history that reflected her expertise in music,
folklore, and history.
Her papers, located at Atlanta University, in-
clude unpublished musical arrangements and
manuscripts of songs and spirituals.Bibliography
Hales, Douglas. A Southern Family in White and Black:
The Cuneys of Texas.College Station: Texas A&M
University Press, 2003.
Maude Cuney Hare Papers, Atlanta University Center
Archives.212 Harcourt & Brace