Chapter 9 reconstructs Ilf and Petrov’s adventures in Black New York, which they largely omitted from their published work. Soviet antiracism offered little guidance when it came to understanding or recounting the unsettling intersections of gender, sexuality, pleasure, and race the writers encountered at a Harlem nightclub or the unexpected meeting with a Russian-speaking African American singer in the cast of "Porgy and Bess." To the extent that Ilf and Petrov told the story of Black New York at all, they relied on a “romantic racialization” of African Americans as naturally spiritual and musical.

This essay begins from the premise that we can best locate Shakespeare’s historical relationship to racist and anti-racist projects not in speculation about authorial intention but in analysis of performances of his plays. I cover a selection of performances of Othello, The Tempest, and Antony and Cleopatra to argue that whatever progressive potential Shakespeare’s plays have arises at the nexus where stage tradition, audience expectation, local racial politics, directorial concept, and performers' choices coincide. There is nothing in the text of the plays – or even in newer casting traditions – that can guarantee that a performance will aid in the redistribution of the property, protection, and pleasure that have accrued to those who claim whiteness. There is, however, the potential that calculated violation of law or custom in performance can make Shakespeare do such redistributive work.

Paul Robeson, Negro sits uneasily alongside recent reconsiderations of the Harlem Renaissance as a localized if significant instance of wider afromodernist currents in play in the early decades of the twentieth century, and has received little attention in scholarship.