When George Schuyler's Black No More appeared early in 1931, it entered a culture primed for its reception by more than three decades of apprehensive and contradictory public fulmination, posing as and often passing for reasoned debate, on the subject of racial essences and their relation to national character. In his spoof of Harlem's Talented Tenth; of the stock themes, incidents, and characters peopling their work;1 of W.E.B. Du Bois (Dr. Shakespeare Agamemnon Beard, later Dr. Karl von Beerde, editor of The Dilemma) and the NAACP (The National Social Equality League, later the Down-With-White-Prejudice-League); of the Virginia aristocracy (the Anglo-Saxon Association) and the Ku Klux Klan (The Knights of Nordica with their Grand Exalted Giraw); of Marcus Garvey (Santop Licorice) and Mme. C.J. Walker, hair goddess (the bankrupt Mme. Sisseretta Blandish reincarnated as Mrs. Sari Blandine, purveyor of Egyptienne Stain); of Protestant clergymen preaching the efficacy of lynching (Rev. McPhule) and ignorant statesmen from the rough and gentle classes (Senator Kretin and candidate Arthur Snobbcraft); of earnest anthropologists and scientists for the race-all those self-designated protectors of the national bloodlines and birthrates (Dr. Samuel Buggery); in short, in his spoof of all the gruesome, absurd, and tedious manifestations of American racism and racialist thinking to date, Schuyler, the black Mencken, suggested that there was, perhaps, enough of both to go around (Lewis 252). His plot is fairly simple, even obvious in the context of 1931, if ominous in the context of what would shortly follow in Europe. The story follows the ups and downs of picaro-cum-trickster Max Disher in profiting from the work of Dr. Junius Crookman, lately of Germany. Crookman's efforts have resulted in a treatment which lightens dark skin permanently-no bleaches or creams here; this process is glandular and electrical (Schuyler, Black 27)2--effectively