This chapter draws on recent developments in queer of color, queer diasporic, and postcolonial queer studies to reflect on the queerness and modernism of early twentieth-century diasporic cultural formations. On the one hand, the complex sexual stylings of diasporic writers like Langston Hughes and José Garcia Villa have received increased attention as part of efforts to queer diasporic literary canons. On the other hand, scholars have sought to account for the marginalization of queer (and) diasporic subjects in our archives of cultural production, by challenging assumptions about what counts as cultural production in the first place. Both approaches inform this chapter’s focus on the fictions of Black Jamaican writer Claude McKay as a theorist of queer diasporic life and literary modernism in their intersections and discontinuities. In Home to Harlem, Banjo, and Romance in Marseille, McKay gives literary expression to the queer forms of working-class diasporic sociality generated by histories of transoceanic and transcontinental labor migration, which he renarrates as histories of gender and sexual experimentation. As the chapter argues, however, McKay’s novels also point to their own classed and gendered limits as an archive, their modernism a prompt to look elsewhere for the traces of women’s practices of queer relation.