This article asserts the critical role of art and literature in the resistance against fascism by situating the aesthetic work of African Americans as central to the transnational phenomenon of the Spanish Civil War. This article highlights the prehistory to the African American support of the Spanish Civil War in 1936 when news of Benito Mussolini’s invasion of Ethiopia galvanized members of the Harlem Renaissance. These two conflicts triangulated the imaginaries of the United States, Spain, and Ethiopia, producing a distinct form of antifascist Black transnationalism that extends work by Brent Hayes Edwards, Robert F. Reid-Pharr, and Nadia Nurhussein. To manifest this argument, this article examines Paul Robeson’s speeches at rallies in London that he later reprinted in his autobiography Here I Stand (1958) and Claude McKay’s posthumously published novel Amiable with Big Teeth about 1936 Harlem. Using archival research, this article analyzes the collage aesthetic of the scrapbook that the activist Thyra J. Edwards compiled in 1937 to record the actions of the Negro People’s Committee to Aid Spain. In sum, this article demonstrates the integral role of African American visual culture and literature to the development of twentieth-century antifascist ideology within a transnational perspective.