“A Purple Fluid, Carbon-Charged”
Jean Toomer worked as a soda jerk in high school over his grandmother’s objections and found inspiration in the soda fountain. Through it, he derived a metaphorical alternative to the one-drop rule, imagining instead essences that effervesced past the skin and colors that exceeded the monochromatic division of black and white. In Toomer’s masterpiece of experimental modernism, Cane (1923), the trope of liquid sugar provides a model for formal experimentation and fluid identities. Toomer follows this trope from cane syrup to soda pop, from copper boiling pots to Chero-Cola advertisements. In the last section of Cane, Toomer imagines a white man transformed into “a purple fluid, carbon-charged,” an image that he uses to rebuke the segregated culture of the urban North.