Claude McKay, a prominent African-American writer of the 20th century, one of the famous pioneers of black American literature, gives an accurate picture of how people of the African diaspora are dominated by white communists in Harlem in the 1930s. His fourth novel Amiable aux grands dents is a political and historical fiction. It deals with the efforts of the Harlem intelligentsia to form an organization to support the liberation of fascist-controlled Ethiopia. Maxim Tasan is the novel's antagonist, a white communist. Through the character of Tasan, McKay depicts the white communist popular front in the second half of the 1940s and 1950s of the Harlem Renaissance. The author focuses on international issues and shows how the renaissance continued dynamically during this era. It also highlights how members of the African diaspora in Harlem and Ethiopia are colonized, opposed and dominated by white communists. Simultaneously, McKay shows how black people feel proud of their black heritage and express their protest against white communists, dictatorship, and Mussolini's fascism. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essayKeywords: Political satire, fascism, Comintern, dictatorship and Popular Front. The miscreant of the novel, is presented as a confusing and despicable Comintern specialist of ambiguous Eastern European roots. Tasan has an African-American collaborator; the professor became a dissident in Newton Mansion. Fischer Mike in his review titled "Review: 'Amicable with Big Teeth,' by Claude McKay" states that the characters in his novel, helps to explain them, are attracted to Maxim Tasan, who is reminiscent of the satanic brother Jack in Invisible Man d 'Ellison. Maxim is a hungry, sharp-toothed wolf in sheep's clothing, as McKay's title suggests. In the New York Public Library's Claude McKay Manuscript Collection, the Schomburg Center for Research in Black Culture highlights McKay's speech to the Fourth Congress, which he mourned. for how racial prejudice among America's socialists and communists prevented them from confronting the black question. McKay wanted participants to understand the centrality and capacity of global socialist development for black people. Motivated by McKay's speech, the Comintern created a Negro Commission. However, McKay was not chosen to be part of it, even though the rally's hold on him was echoed by Russia's inclusive community. During his stay in Russia, which ended in 1923, he was hailed as an extraordinary author. During the 1930s, McKay's open analysis of international communism as a component of the spread of hostility to the strength of the Soviet Association led him to be viewed with doubt. . He separated himself from the gathering and never became a Communist Party individual. This was the era of the popular front when Soviet policy was to act in coalition with liberal organizations and democratic governments throughout the West to resist fascism. Gene Andrew Jarrett, in A Companion to African American Literature, explains African American artistic activity between the mid-1930s and mid-1950s of the Harlem Renaissance. Although many art forms emerged under the auspices of both movements, the literary incarnations of the Chicago Renaissance, including Wright, Gwendolyn Brooks, Margaret Walker, Frank Marshall Davis, Willard Motley, and William Attaway, were famous for their subject matter expertise. of social realism 2017): 23.