Jessie Redmon Fauset

Jessie Redmon Fauset

Jessie Redmon Fauset (April 27, 1882 – April 30, 1961) was an American editor, poet, essayist, and novelist who was deeply involved with the Harlem Renaissance literary movement. In fact, she was known as one of the “midwives” of the movement, as someone who encouraged and supported other talents.

Born in Camden County, New Jersey, and raised in Philadelphia, she was the daughter of a Methodist Episcopal minister. Her mother died when she was quite young.


Jessie Redmon Fauset biography highlights

  • A stellar student, Jessie Redmon Fauset experienced racial bias in her education, yet she did her undergraduate work at Cornell University and earned a Master’s degree in French from the University of Pennsylvania.
  • W.E.B. Du Bois convinced her to move to New York City in 1919 to serve as the literary editor of The Crisis, the NAACP’s highly influential magazine.
  • She proved to have a key eye for talent and helped launch the careers of some of the most notable authors and poets of the Harlem Renaissance movement.
  • Fauset was also a respected poet in her own right, and had four well-received novels published in the late 1920s and early 1930s. Her novels portrayed middle-class black professionals rather than stereotypical characters, which was quite revolutionary at the time.
  • After her last novel was published, Fauset returned to teaching. She taught French at DeWitt Clinton High School in the Bronx, remaining there until her retirement in 1944.


A stellar student

Bright and studious, Fauset was the first African-American to graduate from the Philadelphia High School for Girls. A stellar student, she wished to continue her studies at Bryn Mawr College, but the institution got around admitting a black student by securing a scholarship for her at Cornell University.

There she studied classical languages, and later earned a Master’s degree in French from the University of Pennsylvania. After graduating in 1905, she wanted to teach in Philadelphia, but found the schools once again unwelcoming to an African-American woman. She did, however, find opportunities to teach French in Baltimore and Washington, D.C. schools.

Literary editor of The Crisis

In 1912, Fauset began to submit poems, stories, and essays to the NAACP’s magazine, The Crisis. The magazine’s chief editor, the eminent scholar W.E.B. Du Bois, must have been impressed with her work, since he wasn’t easy to please. She was still teaching at the time, but he convinced her to move to New York City and work as the magazine’s literary editor. She accepted and began this new chapter in her life in 1919.

She quickly proved to have a keen eye for talent, introducing readers to Langston Hughes, Countee Cullen, Jean Toomer, Claude McKay, and other notable authors and poets of the era.

Fauset also oversaw the African-American children’s magazine Brownies’ Book, which was also under the auspices of the NAACP and Du Bois. Published monthly from 1920 to 1921, it aimed to instill pride in African-American children about their history and heritage.

She also contributed her own writings — editorials, poetry, short stories, translations from the French of writings by black authors from Europe and Africa, as well as accounts of her worldwide travels. Such was her influence that she has long been considered one of the “midwives” of the Harlem Renaissance literary movement.

Fauset’s first novel, There is Confusion, was published in 1924, coming in the midst of her years as literary editor of The Crisis. In general, it was critically praised, even as critics were amazed by her depiction of middle-class American black life, something that had yet to be done in a novel.

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jessie redmon fauset

You might also like: 6 Poems by Jessie Redmon Fauset

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A prolific poet

Some of the subject matter of her poetry was dark and rather grim, which can be sampled in 6 Poems by Jessie Redmon Fauset. “Oblivion” tells of a desire to lie in a deserted, neglected grave far from everyone and everything.

Others, like “Dead Fires” and “La Vie C’est la Vie” seem rather fatalistic. It can be argued that the poems were an outlet for the frustration that this talented and capable woman had to endure because of race, but they allude to thwarted love and loneliness as well.

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There is confusion ad - Jesse Redmon Fauset

See also: Jessie Redmon Fauset: Literary Midwife
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More novels and marriage

After leaving The Crisis in 1926, Fauset wanted to work in publishing. Despite her experience and expertise, she was unable to find work because she was black. She even offered to work from home, but that didn’t help.

She returned to teaching, and over the next several years wrote three more novels: Plum Bun (1928), The Chinaberry Tree (1931), and Comedy, American Style (1933).

Up until the early 1920s, African-Americans were portrayed in stereotypical fashion by white authors in fiction. This inspired Fauset to write novels portraying black Americans in a middle-class setting, doing normal, everyday things, which was quite revolutionary at the time.

Even so, the educated middle-class characters in Fauset’s novels experienced their share of prejudice, and like many works by black authors of the period, her novels and stories dealt with themes of identity and passing.

Her novels received mixed reviews from African-American critics and colleagues. Some praised her for depicting an aspect of black life that often didn’t see the light of print; others criticized her for an overly bourgeoise point of view. The Chinaberry Tree and Comedy: American Style were published in the depths of the Depression and weren’t as successful as her first two novels.

In 1929, Fauset married Herbert Harris, an insurance broker. She was 47 years old at the time of her marriage. The couple remained together until his death in 1958.

Leaving the literary life to resume teaching

After her last novel was published, Fauset’s writing output slowed considerably. And finally, she abandoned the literary life to return to teaching. Following her eight years at The Crisis, she taught French at DeWitt Clinton High School in the Bronx. She remained at the same school until her retirement in 1944.

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Jessie Fauset by Laura Wheeler Waring

Quotes by Jessie Redmon Fauset
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The legacy of Jessie Redmon Fauset

A 2017 article in The New Yorker, The Forgotten Work of Jessie Redmon Fauset, quotes Cheryl A. Wall, author of Women of the Harlem Renaissance as saying, “I think we lose a bit of our literary history if we do not acknowledge the contributions of Jessie Fauset.”

Further, the article quotes David Levering Lewis in When Harlem Was in Vogue: “There is no telling what she would have done had she been a man, given her first-rate mind and formidable efficiency at any task.” There’s ample evidence that Fauset herself felt the lack of appreciation for her endeavors. 

Though she dropped out of the literary scene in the early 1930s, Fauset should be appreciated for her eye for talent, and supporting emerging voices from the Harlem Renaissance, many of whom are still read today. Though she may not have become as well known as some of those she nurtured and supported, it’s indisputable that she was one of the most important figures of the Harlem Renaissance.

In her later years, Jessie Redmon Fauset moved back to Philadelphia, where she died at age 79 in 1961.

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Plum Bun by Jessie Redmon Fauset

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More about Jessie Redmon Fauset

On this site

Major works (novels)

  • There Is Confusion (1924)
  • Plum Bun: A Novel Without a Moral (1928)
  • The Chinaberry Tree (1931)
  • Comedy, American Style (1933)

Short stories, and essays (very select – her output of short works was enormous)

  • “Emmy” (1912):
  • “My House and a Glimpse of My Life Therein,” (1914)
  • “Double Trouble,” (1923)
  • “Impressions of the Second Pan-African Congress” (1921)
  • “What Europe Thought of the Pan-African Congress.” (1921)

More information

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