This chapter begins by claiming that in comparison to its British and French contemporaries, American modernism does not contain a lot of obviously queer texts. That is, American modernism does not represent homosexuality explicitly very often. There are exceptions, of course – Gertrude Stein’s Q.E.D., Richard Bruce Nugent’s “Smoke, Lilies, and Jade,” and Charles Henri Ford and Park Tyler’s The Young and the Evil offer three such examples, but same-sex relations are not central subjects in the way that they are in contemporaneous texts such as Marcel Proust’s Sodom and Gomorrah, André Gide’s Miracle of the Rose, or Radclyffe Hall’s The Well of Loneliness. This chapter aims to explain this peculiarity and thus to provide a theory of queer American modernism itself by examining two key sites of its production: namely, the Provincetown Theater and the Harlem Renaissance.