Chapter XI: Part SIX: The Idylls of Africa (1)

XXVI

When a Negro Goes Native

In the Senegalese Bar in Marseilles I was figuring out the ways and means of a holiday somewhere in Africa. Said a Senegalese: "If I had money to go any place, I'd go straight to Paris, where one can amuse himself." I said I didn't feel attracted to Paris, but to Africa. As I wasn't big and white enough to go on a big game hunt, I might go on a little one-man search party.

A Martinique sailor, whose boat had just arrived from Casablanca, said that Africa was all right and Morocco was the best place. He said he had visited every big port in Africa, and he preferred Morocco. He lived there. He said: "If you're going to Africa, come to Morocco."

"What are the harems like?" I asked.

"I've got a harem; I'll show you when you come," he laughed. The Martiniquan spoke Arab and Senegalese, French, Spanish and some English words. He had been a sailor since he was fourteen and had sailed all the seas. He was settled in Casablanca, where, he said, he had two wives. He was illiterate, but full of all kinds of practical knowledge. He looked like a friendly gorilla.

However, instead of Morocco, I went to Barcelona with my friend the Senegalese boxer, who had a bout there. Barcelona took my sight and feelings so entirely that it was impossible for me to leave when the boxer was returning to Marseilles. The magnificent spectacle of the sporting spirit of the Spaniards captured my senses and made me an _aficionado_ of Spain. I had never been among any white people who gave such a splendid impression of sporting impartiality, and with such grand gestures. Whether it was boxing between a white and a black or a duel between man and beast in the arena, or a football match between a Spanish and a foreign team, the Spaniards' main interest lay in the technical excellencies of the sport and the best opponent winning. I pursued the Spanish sporting spirit into the popular theaters, where the _flamenco_ is seen and the Andalusian melodies are heard. In no other country have I seen a people's audience so exigent in demanding the best an artist can give, so ruthless in turning thumbs down on a bad artist, and so generous in applauding an excellent performance.

The three days I had intended to spend in Barcelona were increased to over three months in Spain. Then one night, when I was doing the amusement spots of the amazing Barrio Chino in company with a Moslem Negro who claimed to be a Prince of Zanzibar, I met the Martinique sailor again. His boat had brought a cargo from Morocco to Barcelona. He urged me to pay him that visit.

I had lingered long enough in Spain to become aware of the strong African streak in its character. Therefore the second invitation to Morocco was even more interesting. The Prince from Zanzibar wanted to explore more of Europe and Europeans, and so we parted company.

At last I arrived in Casablanca. On the afternoon when the Martiniquan took me to his house in a native quarter, some Guinea sorcerors (or Gueanoua, as they are called in Morocco) were performing a magic rite. The first shock I registered was the realization that they looked and acted exactly like certain peasants of Jamaica who give themselves up to the celebrating of a religious sing-dance orgy which is known as Myalism. The only difference was in their clothing.

The Gueanoua were exorcising a sick woman and they danced and whirled like devils. In the Moorish yard men and boys squatted in a wide circle around them, and women and girls covered up in white haiks sat looking down from the low flat roofs of the dilapidated cabins. The music was made by a single lute and a big bass drum and sounded like muffled thunder in the belly of the earth. I watched them dance a kind of primitive rhumba, beat their heads against posts, and throw off their clothing in their excitement. But I did not see the end, when the devils would be driven forth, because a dancing woman frightened me by throwing herself in a frenzy upon me. They said I was a strange spirit and a hindrance to the magic working. So I had to get out.

The members of the Gueanoua are all pure black. They are the only group of pure Negroes in Morocco. Men and women marry black, and it is the only religious order that has women members. If one is not a pure black he cannot belong to the Gueanoua. They say the strict keeping of this rule makes the Gueanoua magic powerful. The fetish rites are West African and are transmitted from generation to generation. They have a special place in the social life of Morocco. The wealthiest as well as the poorest families have them in to exorcise devils. Often they are protected by powerful sherifian families, and sultans have consulted them.

The harem of the Martiniquan was not such a hot spot, as I saw when I peeped behind the curtain. Just a long spacious room curtained in two, and two women, one old enough to be his mother and one young, brown and buxom. We all had tea together, because, said the Martiniquan, he did not believe in hiding his women from men. However, the male friends that he admitted into his harem were French West Indian soldiers and Senegalese, but not Moors. He was the only person in that quarter who could afford two women. This was because, as a French citizen, he was rated as a European worker and received between forty and fifty francs a day--about six times what the native doing the same work got. Thus the black sailor was really living "white" in Africa.

I enjoyed the Martiniquan Moroccan hospitality for awhile. Then, feeling the overwhelming European atmosphere of Casablanca, I departed for Rabat.

Rabat-Salé was delightfully different. Here the native life was the big tree with solid roots and spreading branches, and the European city was like an imported garden, lovely and carefully tended. At Shellah I visited the tomb of the Black Sultan, who, according to the native legend, was the greatest ruler of Morocco, having united all of North Africa under his rule, conquered Spain, built the great monuments of the Giralda at Seville, the Koutabia at Marrakesh, and the Hassan Tower at Rabat.

I stopped long enough in Rabat to finish _Banjo_. Some Moroccan students had said to me: "In Fez you will find the heart of Morocco. It is our capital city. You haven't seen Morocco until you see Fez."

Fez was indeed the heart of Morocco and even more to me. In Moscow they had published a cartoon of me sailing upon a magic carpet over the African jungles to see the miracle of the Soviet. In Fez I felt that I was walking all the time on a magic carpet. The maze of _souks_ and bazaars with unfamiliar patterns of wares was like an oriental fantasy. In Fez I got into the inside of Morocco. Hitherto I had been merely a spectator. But the Fassis literally took me in. There I had my first native meal of _cous-cous_ in a native house, and the first invitation was the prelude to many.

I was invited to princely marriage feasts, to eat _cous-cous_ from a common dish with stately old "turbans," to drink _thé à la menthe_ in cool gardens, to the intimate _flamenco_ dancing of fatmas in the _garçonnières_ of _fondouks_ and to the profane paradise of Moulay Abdallah.

Moulay Abdallah is the unique recreation quarter of the young Fassis. It is a separate little walled town with its own shops and police and musicians. Arrayed in richly flowered and loose robes held in place by enormously broad embroidered belts and squatting with the dignity of queens, the young females who take up residence there charmingly dispense mint tea and witty conversation to circles of eager young men. I thought that that antique African city was the unaware keeper of the cup of Eros containing a little of the perfume of the flower of the passion of ancient Greece.

I liked the Moroccan mosaic, which is beautiful and bright everywhere like a symbol of the prismatic native mind. And nowhere is it so lavish and arresting as in Fez. The Spanish mosaics were interesting, but they did not appear as warm and inevitable and illuminating as the Moroccan.

The mosaics of Morocco went to my head like rare wine. Excited and intoxicated and fascinated by the Fassis and their winning and welcome ways, I went completely native. I was initiated into the practice of living native and cheaply. I moved from my expensive hotel and parked my things in a cheaper one. But I hardly lived in it. For my days were fully occupied in sampling the treasures of the city and its environments; in picking up the trails of the peasants bringing their gifts to the town; following the Afro-Oriental bargaining; feeling the color of the accent of the story-tellers in the market places. And in the evening there was always _divertissement_: a marriage ceremony and feast, an invitation to a _fondouk_, where a young man would permit the pretty _fatmah_ of his profane love-making to dance; and Moulay Abdallah. And I was never tired of listening to the native musicians playing African variations of the oriental melodies in the Moroccan cafés.

For the first time in my life I felt myself singularly free of color-consciousness. I experienced a feeling that must be akin to the physical well-being of a dumb animal among kindred animals, who lives instinctively and by sensations only, without thinking. But suddenly I found myself right up against European intervention and proscription.

A _chaoush_ (native doorman and messenger) from the British Consulate had accosted me in a _souk_ one day and asked whether I was American. I said I was born in the West Indies and lived in the United States and that I was an American, even though I was a British subject, but I preferred to think of myself as an internationalist. The _chaoush_ said he didn't understand what was an internationalist. I laughed and said that an internationalist was a bad nationalist. He replied gravely: "All the Moors call you an American, and if you are British, you should come and register at the Consulate." I was amused at his gravity, reinforced by that African dignity which is so impressive in Morocco, especially as I had said I was an internationalist just by way of a joke without thinking of its radical implications. But I wasn't aware then of how everybody in Morocco (European and native) was looking for hidden meanings in the simplest phrases. The natives imagine (and rightly enough) that all Europeans are agents of their respective countries with designs upon their own, and the European colonists are suspicious and censorious of visitors who become too sympathetic and friendly with the natives. I saw a local French newspaper which had turned all the batteries of ridicule on a European when he started to wear a fez. I myself had gravitated instinctively to the native element because physically and psychically I felt more affinity with it. I did not go to register at the Consulate. I thought that it was enough that my passport was in perfect order. While scrupulously complying with official regulations regarding passports, identity cards and visas, etc., in all my traveling in strange places, I have always relied on my own personality as the best passport. Not that I was always such a circumspect and model traveler! I got into little difficulties all right. But without claiming special privileges or asking assistance as a foreigner, I submitted to the local authority and always came out on top.

For nearly a week I had not been in my hotel. One morning, after an all-night session of lute-playing and dancing with Andalusian melody makers in a native house, I went to my hotel for a change of clothes. There I found a French police inspector waiting for me. He had been there before. He asked me to show him my passport and other papers. I did. He looked through them and said I must accompany him to the British Consulate. I wondered what I could possibly have done. I had been passing such a jolly time, with no shadow of any trouble. The only thing I could think of was that I had obtained some wine for native friends, because they were not allowed openly to purchase. Then I thought of the _chaoush's_ warning and wondered if my failure to register had anything to do with it. I asked the French inspector if he had any charges against me. He said I would hear everything at the British Consulate.

So I went along to the lion's den. As I entered, the Consul greeted me with a triumphant, "I knew you were here!" As if I had been hiding from anything or anybody in Morocco. The charge against me was that I had left my hotel and was sleeping in native houses. I said I hadn't imagined that it was necessary to ask special permission to stay among people who had voluntarily invited me; that I thought it my right to sleep where I was inclined, since I was not a minor. And, standing there (he did not have even the formal courtesy to offer me a chair), I laughed over the Consul's repulsive pink bald head that was like a white buzzard's. His pink-streaked face turned red, and it was amusing also to watch the mean expression of irritation on the cat face of the little French official. He said: "Let us expel him." I said that I would willingly submit to expulsion on a specific charge, but that, since they said that it was a native affair, they should get a native to make the charge. The petty bureaucrats exchanged embarrassed glances. The Consul said that it was hinted that I was a radical propagandist. I said they could search my effects, and that no one could stand up and accuse me of making any verbal propaganda. The Consul said the colonial people were being actively propagandized by Bolshevik agents since the Russian Revolution. I said that I was not a Bolshevik agent. Finally I was permitted to leave.

The personal unpleasantness opened my eyes a little to the undercurrent of social unrest and the mistakes of mixed authority in Morocco. I'd been so absorbed in the picturesque and exotic side of the native life that I was unaware until authority stepped on my sore toe. I discovered that although the French have established a protectorate over Morocco, many of the natives are also protected by other European powers, mainly Great Britain, Spain and Italy. The British possess unique privileges under a system of capitulations. British subjects, whether they are born British, naturalized or protected, are not liable to local arrest and trial in the French and native courts. If a British subject has committed any offense he must be taken before a British consul.

The privilege of immunity is sometimes abused by morons, and obviously the French local authority is irritated by the idea of a divided authority. Therefore the local atmosphere is infested with petty intrigues.

The specially-protected natives have certain privileges that the subjects of the Sultan, who are protected by the French, cannot enjoy. For example, the specially-protected ones can buy and drink liquor with impunity. But because of a traditional law the subjects of the Sultan cannot. Therefore they drink surreptitiously, and contemptible European bootleggers secretly sell them the vilest stuff imaginable. The young Moroccans generally are afflicted with a pathetic _malaise_. They're always whining: "I wish I were American or specially protected." And when you ask why, they say: "So that we could have the freedom of men to drink in a bar like the Europeans and the Algerians." The _malaise_ is similar to the prohibition pestilence which plagued the spirit of the youth of America.

That incident spoiled my native holiday. I thought back to Europe, of that most miserable of years I spent in London. I remembered my difficulties, when I was studying at the British Museum, to get lodgings in that quarter. The signs were shouting: "Rooms for rent," but when I inquired I was invariably informed that all rooms were rented. Yet when I passed that way again the signs were still there. I became suspicious. I asked English friends from the International Club to make inquiries. They found that the rooms were for rent. But when they took me along and declared the rooms were for me, we were told that Negroes were not desired as guests. When I left my London hotel I found rooms with an Italian family, and later, a German. And the nearest I got to living quarters close to the British Museum was when I found lodgings with a French family in Great Portland Street.

I felt helpless and wobbly about that black boycott in London. For England is not like America, where one can take refuge from prejudice in a Black Belt. I had to realize that London is a cold white city where English culture is great and formidable like an iceberg. It is a city created for English needs, and admirable, no doubt, for the English people. It was not built to accommodate Negroes. I was very happy when I could get out of it to go back to the Negro pale of America.

And now even in Africa I was confronted by the specter, the white terror always pursuing the black. There was no escape anywhere from the white hound of Civilization.

When I finally left Fez I proceeded to Marrakesh in the far south, the hot city of the plains, vast and wild. The Senegalese in Marseilles often mentioned Marrakesh as the former great _caravansérai_ for the traders traveling between West Africa and North Africa, and so I had to see that monumental city, which was founded by a Senegalese conqueror. Marrakesh moved me. It was like a big West Indian picnic, with flags waving and a multitude of barefoot black children dancing to the flourish of drum, fiddle and fife.

When I was going to Morocco, some Europeans on the boat had remarked facetiously that Morocco was not a Negro country. Themselves divided into jealous cutthroat groups, the Europeans have used their science to make such fine distinctions among people that it is hard to ascertain what white is a true white and when a Negro is really a Negro. I found more than three-quarters of Marrakesh Negroid. There were unimaginably strange contrasts. The city is like an immense cradle of experiment in the marriage of civilized life and primitive life. Here the sun-baked ebony Sudanese and the rude brown Berbers of the Atlas meet and mingle with the refined, learned and skilled city Moors of the north. Marrakesh appeared to be the happiest city of the French Protectorate. The people seemed more contented than in Fez, although they were generally poorer. But poverty in a torrid climate is not anything like poverty in a cold climate. I might say, without poetic license, that in Marrakesh the sun, blazing without being murderous, seemed to consume a lot of the wretchedness and ugliness of poverty.

XXVII

The New Negro in Paris

I finished my native holiday in Marrakesh. In Casablanca I found a huge pile of mail awaiting me. The handsomest thing was a fat envelope from a New York bank containing a gold-lettered pocket book. The pocket book enclosed my first grand from the sale of _Home to Harlem_.

There were stacks of clippings with criticisms of my novel; praise from the white press, harsh censure from the colored press. And a lot of letters from new admirers and old friends and associates and loves. One letter in particular took my attention. It was from James Weldon Johnson, inviting me to return to America to participate in the Negro renaissance movement. He promised to do his part to facilitate my return if there were any difficulty. And he did.

The Johnson letter set me thinking hard about returning to Harlem. All the reports stressed the great changes that had occurred there since my exile, pictured a Harlem spreading west and south, with splendid new blocks of houses opened up for the colored people. The reports described the bohemian interest in and patronage of Harlem, the many successful colored shows on Broadway, the florescence of Negro literature and art, with many promising aspirants receiving scholarships from foundations and patronage from individuals. Newspapers and magazines brought me exciting impressions of a more glamorous Harlem. Even in Casablanca a Moor of half-German parentage exhibited an article featuring Harlem in an important German newspaper, and he was eager for more information.

But the resentment of the Negro intelligentsia against _Home to Harlem_ was so general, bitter and violent that I was hesitant about returning to the great Black Belt. I had learned very little about the ways of the Harlem élite during the years I lived there. When I left the railroad and the companionship of the common blacks, my intellectual contacts were limited mainly to white radicals and bohemians. I was well aware that if I returned to Harlem I wouldn't be going back to the _milieu_ of railroad men, from whom I had drifted far out of touch. Nor could I go back among radical whites and try to rekindle the flames of an old enthusiasm. I knew that if I did return I would have to find a new orientation among the Negro intelligentsia.

One friend in Harlem had written that Negroes were traveling abroad _en masse_ that spring and summer and that the élite would be camping in Paris. I thought that it might be less unpleasant to meet the advance guard of the Negro intelligentsia in Paris. And so, laying aside my experiment in wearing bags, bournous and tarboosh, I started out.

First to Tangier, where four big European powers were performing their experiment of international government in Africa upon a living corpse. Otherwise Tangier was a rare African-Mediterranean town of Moors and progressive Sephardic Jews and Europeans, mostly Spanish.

Through Spanish Morocco I passed and duly noted its points of interest. The first was Tetuán, which inspired this sonnet:

_TETUÁN_

_Morocco conquering homage paid to Spain And the Alhambra lifted up its towers! Africa's fingers tipped with miracles, And quivering with Arabian designs, Traced words and figures like exotic flowers, Sultanas' chambers of rare tapestries, Filigree marvels from Koranic lines, Mosaics chanting notes like tropic rain._

_And Spain repaid the tribute ages after: To Tetuán, that fort of struggle and strife, Where chagrined Andalusian Moors retired, She brought a fountain bubbling with new life, Whose jewelled charm won even the native pride, And filled it sparkling with flamenco laughter._

In all Morocco there is no place as delicious as Tetuán. By a kind of magic instinct the Spaniards have created a modern town which stands up like a happy extension of the antique Moroccan. The ancient walls merge into the new without pain. The Spanish Morisco buildings give more lightness to the native Moroccan, and the architectural effect of the whole is a miracle of perfect miscegenation.

I loved the colored native lanterns, illuminating the archways of Larache. I liked Ceuta lying like a symbolic hand-clasp across the Mediterranean. And I adored the quaint tile-roofed houses and cool watered gardens in the mountain fastness of Xauen. From Gibraltar I was barred by the British. But that was no trouble to my skin, for ever since I have been traveling for the sheer enjoyment of traveling I have avoided British territory. That was why I turned down an attractive invitation to visit Egypt, when I was living in France.

Once again in Spain, I inspected the great Moorish landmarks. And more clearly I saw Spain outlined as the antique bridge between Africa and Europe.

* * * * *

After the strong dazzling colors of Morocco, Paris that spring appeared something like the melody of larks chanting over a gray field. It was over three years since I had seen the metropolis. At that time it had a political and financial trouble hanging heavy round its neck. Now it was better, with its head up and a lot of money in every hand. I saw many copies of my book, _Banjo_, decorating a shop window in the Avenue de l'Opéra and I was disappointed in myself that I could not work up to feeling a thrill such as I imagine an author should feel.

I took a fling at the cabarets in Montparnasse and Montmartre, and I was very happy to meet again a French West Indian girl whom I knew as a _bonne_ in Nice when I was a valet. We ate some good dinners together and saw the excellent French productions of _Rose Marie_ and _Show Boat_ and danced a little at the Bal Negre and at Bricktop's Harlem hang-out in Montmartre.

I found Louise Bryant in Paris. It was our first meeting since she took my manuscript to New York in the summer of 1926. The meeting was a nerve-tearing ordeal. About two years previously she had written of a strange illness and of doctors who gave her only six months to live and of her determination to live a long time longer than that. She had undergone radical treatment. The last time I had seen her she was plump and buxom. Now she was shrunken and thin and fragile like a dried-up reed. Her pretty face had fallen like a mummy's and nothing was left of her startling attractiveness but her eyebrows.

She embarrassed me by continually saying: "Claude, you won't even look at me." Her conversation was pitched in a nervous hysterical key and the burden was "male conceit." I told her that the female was largely responsible for "male conceit." Often when I had seen her before she had been encircled by a following of admirably created young admirers of the collegiate type. Now she was always with an ugly-mugged woman. This woman was like an apparition of a male impersonator, who was never off the stage. She had a trick way of holding her shoulders and her hands like a gangster and simulating a hard-boiled accent. A witty Frenchman pronounced her a _Sappho-manqué_. The phrase sounded like a desecration of the great glamorous name of Sappho. I wondered why (there being so many attractive women in the world) Louise Bryant should have chosen such a companion. And I thought that it was probably because of the overflow of pity pouring out of her impulsive Irish heart.

I remembered, "Aftermath," the beautiful poem which she sent us for publication in _The Liberator_ after John Reed died. Now it seemed of greater significance:

_AFTERMATH_

_Dear, they are singing your praises,
Now you are gone.
But only I saw your going,
I ... alone ... in the dawn._

_Dear, they are weeping about you,
Now you are dead,
And they've placed a granite stone
Over your darling head._

_I cannot cry any more,
Too burning deep is my grief....
I dance through my spendthrift days
Like a fallen leaf._

_Faster and faster I whirl
Toward the end of my days.
Dear, I am drunken with sadness
And lost down strange ways._

_If only the dance could finish
Like a flash in the sky.... Oh, soon,
If only a storm could come shouting--
Hurl me past stars and moon._

And I thought if I could not look frankly with admiration at Louise Bryant's face, I could always turn to the permanently lovely poem which she had created.

* * * * *

I had spruced myself up a bit to meet the colored élite. Observing that the Madrileños were well-tailored, I had a couple of suits made in Madrid, and chose a hat there. In Paris I added shoes and shirts and ties and gloves to my wardrobe.

The cream of Harlem was in Paris. There was the full cast of _Blackbirds_ (with Adelaide Hall starring in the place of Florence Mills), just as fascinating a group off the stage as they were extraordinary on the stage. The _Porgy_ actors had come over from London. There was an army of school teachers and nurses. There were Negro Communists going to and returning from Russia. There were Negro students from London and Scotland and Berlin and the French universities. There were presidents and professors of the best Negro colleges. And there were painters and writers and poets, of whom the most outstanding was Countee Cullen.

I met Professor Alain Locke. He had published _The Anthology of the New Negro_ in 1925 and he was the animator of the movement as well as the originator of the phrase "Negro renaissance." Commenting upon my appearance, Dr. Locke said, "Why, you are wearing the same kind of gloves as I am!" "Yes," I said, "but my hand is heavier than yours." Dr. Locke was extremely nice and invited me to dinner with President Hope of Atlanta University. The dinner was at one of the most expensive restaurants in the _grands boulevards_. President Hope, who was even more Nordic-looking than Walter White, was very affable and said I did not look like the boxer-type drawings of me which were reproduced with the reviews of _Home to Harlem_. President Hope hoped that I would visit his university when I returned to America.

There had been an interesting metamorphosis in Dr. Locke. When we met for the first time in Berlin in 1923, he took me for a promenade in the Tiergarten. And walking down the row, with the statues of the Prussian kings supported by the famous philosophers and poets and composers on either side, he remarked to me that he thought those statues the finest ideal and expression of the plastic arts in the world. The remark was amusing, for it was just a short while before that I had walked through the same row with George Grosz, who had described the statues as "the sugar-candy art of Germany." When I showed Dr. Locke George Grosz's book of drawings, _Ecce Homo_, he recoiled from their brutal realism. (Dr. Locke is a Philadelphia blue-black blood, a Rhodes scholar and graduate of Oxford University, and I have heard him described as the most refined Negro in America).

So it was interesting now to discover that Dr. Locke had become the leading Negro authority on African Negro sculpture. I felt that there was so much more affinity between the art of George Grosz and African sculpture than between the Tiergarten insipid idealization of Nordic kings and artists and the transcending realism of the African artists.

Yet I must admit that although Dr. Locke seemed a perfect symbol of the Aframerican rococo in his personality as much as in his prose style, he was doing his utmost to appreciate the new Negro that he had uncovered. He had brought the best examples of their work together in a pioneer book. But from the indication of his appreciations it was evident that he could not lead a Negro renaissance. His introductory remarks were all so weakly winding round and round and getting nowhere. Probably this results from a kink in Dr. Locke's artistic outlook, perhaps due to its effete European academic quality.

When he published his _Anthology of the New Negro_, he put in a number of my poems, including one which was originally entitled "The White House." My title was symbolic, not meaning specifically the private homes of white people, but more the vast modern edifice of American Industry from which Negroes were effectively barred as a group. I cannot convey here my amazement and chagrin when Dr. Locke arbitrarily changed the title of my poem to "White Houses" and printed it in his anthology, without consulting me. I protested against the act, calling Dr. Locke's attention to the fact that my poem had been published under the original title of "The White House" in _The Liberator_. He replied that he had changed the title for political reasons, as it might be implied that the title meant the White House in Washington, and that that could be made an issue against my returning to America.

I wrote him saying that the idea that my poem had reference to the official residence of the President of the United States was ridiculous; and that, whether I was permitted to return to America or not, I did not want the title changed, and would prefer the omission of the poem. For his title "White Houses" was misleading. It changed the whole symbolic intent and meaning of the poem, making it appear as if the burning ambition of the black malcontent was to enter white houses in general. I said that there were many white folks' houses I would not choose to enter, and that, as a fanatical advocate of personal freedom, I hoped that all human beings would always have the right to decide whom they wanted to have enter their houses.

But Dr. Locke high-handedly used his substitute title of "White Houses" in all the editions of his anthology. I couldn't imagine such a man as the leader of a renaissance, when his artistic outlook was so reactionary.

The Negroid élite was not so formidable to meet after all. The financial success of my novel had helped soften hard feelings in some quarters. A lovely lady from Harlem expressed the views of many. Said she: "Why all this nigger-row if a colored writer can exploit his own people and make money and a name? White writers have been exploiting us long enough without any credit to our race. It is silly for the Negro critics to holler to God about _Home to Harlem_ as if the social life of the characters is anything like that of the respectable class of Negroes. The people in _Home to Harlem_ are our low-down Negroes and we respectable Negroes ought to be proud that we are not like them and be grateful to you for giving us a real picture of Negroes whose lives we know little about on the inside." I felt completely vindicated.

My agent in Paris gave a big party for the cast of _Blackbirds_, to which the lovely lady and other members of the black élite were invited. Adelaide Hall was the animating spirit of the _Blackbirds_. They gave some exhibition numbers, and we all turned loose and had a grand gay time together, dancing and drinking champagne. The French guests (there were some chic ones) said it was the best party of the season. And in tipsy accents some of the Harlem élite admonished me against writing a _Home-to-Harlem_ book about _them_.

Thus I won over most of the Negro intelligentsia in Paris, excepting the leading journalist and traveler who remained intransigent. Besides Negro news, the journalist specialized in digging up obscure and Amazing Facts for the edification of the colored people. In these "Facts" Beethoven is proved to be a Negro because he was dark and gloomy; also the Jewish people are proved to have been originally a Negro people!

The journalist was writing and working his way through Paris. Nancy Cunard's _Negro Anthology_ describes him as a guide and quoted him as saying he had observed, in the flesh market of Paris, that white southerners preferred colored trade, while Negro leaders preferred white trade. Returning to New York, he gave lectures "for men only" on the peep-holes in the walls of Paris.

The journalist was a bitter critic of _Home to Harlem_, declaring it was obscene. I have often wondered if it is possible to establish a really intelligent standard to determine obscenity--a standard by which one could actually measure the obscene act and define the obscene thought. I have done lots of menial work and have no snobbery about common labor. I remember that in Marseilles and other places in Europe I was sometimes approached and offered a considerable remuneration to act as a guide or procurer or do other sordid things. While I was working as a model in Paris a handsome Italian model brought me an offer to work as an occasional attendant in a special _bains de vapeur_. The Italian said that he made good extra money working there. Now, although I needed more money to live, it was impossible for me to make myself do such things. The French say "_On fait ce que on peut_." I could not. The very idea of the thing turned me dead cold. My individual morale was all I possessed. I felt that if I sacrificed it to make a little extra money, I would become personally obscene. I would soon be utterly unable to make that easy money. I preferred a menial job.

Yet I don't think I would call another man obscene who could do what I was asked to do without having any personal feeling of revulsion against it. And if an artistic person had or was familiar with such sordid experiences of life and could transmute them into literary or any other art form, I could not imagine that his performance or his thought was obscene.

The Negro journalist argued violently against me. He insisted that I had exploited Negroes to please the white reading public. He said that the white public would not read good Negro books because of race prejudice; that he himself had written a "good" book which had not sold. I said that Negro writers, instead of indulging in whining and self-pity, should aim at reaching the reading public in general or creating a special Negro public; that Negroes had plenty of money to spend on books if books were sold to them.

I said I knew the chances for a black writer and a white writer were not equal, even if both were of the same caliber. The white writer had certain avenues, social and financial, which opened to carry him along to success, avenues which were closed to the black. Nevertheless I believed that the Negro writer also had a chance, even though a limited one, with the great American reading public. I thought that if a Negro writer were sincere in creating a plausible Negro tale--if a Negro character were made credible and human in his special environment with a little of the virtues and the vices that are common to the human species--he would obtain some recognition and appreciation. For Negro writers are not alone in competing with heavy handicaps. They have allies among some of the white writers and artists, who are fighting formalism and classicism, crusading for new forms and ideas against the dead weight of the old.

But the journalist was loudly positive that it was easy for a Negro writer to make a sensational success as a writer by "betraying" his race to the white public. So many of the Negro élite love to mouth that phrase about "betraying the race"! As if the Negro group had special secrets which should not be divulged to the other groups. I said I did not think the Negro could be betrayed by any real work of art. If the Negro were betrayed in any place it was perhaps in that Negro press, by which the journalist was syndicated, with its voracious black appetite for yellow journalism.

Thereupon the journalist declared that he would prove that it was easy for a Negro to write the "nigger stuff" the whites wanted of him and make a success of it. He revealed that he was planning a novel for white consumption; that, indeed, he had already written some of it. He was aiming at going over to the white market. He was going to stop writing for Negroes, who gave him so little support, although he had devoted his life to the betterment of the Negro.

I was eager to see him prove his thesis. For he was expressing the point of view of the majority of the colored élite, who maintain that Negroes in the arts can win success by clowning only, because that is all the whites expect and will accept of them. So although I disliked his type of mind, I promised to help him, I was so keen about the result of his experiment. I introduced him to my agent in Paris, and my agent introduced him to a publisher in New York.

Our Negro journalist is very yellow and looks like a _métèque_ in France, without attracting undue attention. Yet besides his "Amazing Facts" about Negroes he has written in important magazines, stressing the practical nonexistence of color prejudice in Europe and blaming Negroes for such as exists! Also he wrote in a white magazine about Africa and the color problem under a nom de plume which gave no indication of the writer's origin.

He might have thought that as he had "passed white" a little in complexion and in journalism, it would be just as easy "passing white" as a creative writer. Well, the Negro journalist deliberately wrote his novel as a "white" novelist--or as he imagined a white man would write. But the sensational white novel by a Negro has not yet found its publisher.

The last time I heard about him, he was again a Negro in Ethiopia, interviewing Haile Selassie and reporting the white rape of Ethiopia from an African point of view for the American Negro press.

* * * * *

_Nigger Heaven_, the Harlem novel of Carl Van Vechten, also was much discussed. I met some of Mr. Van Vechten's Negro friends, who were not seeing him any more because of his book. I felt flattered that they did not mind seeing me! Yet most of them agreed that _Nigger Heaven_ was broadly based upon the fact of contemporary high life in Harlem. Some of them said that Harlemites should thank their stars that _Nigger Heaven_ had soft-pedaled some of the actually wilder Harlem scenes. While the conventional Negro moralists gave the book a hostile reception because of its hectic bohemianism, the leaders of the Negro intelligentsia showed a marked liking for it. In comparing it with _Home to Harlem_, James Weldon Johnson said that I had shown a contempt for the Negro bourgeoisie. But I could not be contemptuous of a Negro bourgeoisie which simply does not exist as a class or a group in America. Because I made the protagonist of my novel a lusty black worker, it does not follow that I am unsympathetic to a refined or wealthy Negro.

My attitude toward _Nigger Heaven_ was quite different from that of its Negro friends and foes. I was more interested in the implications of the book. It puzzled me a little that the author, who is generally regarded as a discoverer and sponsor of promising young Negro writers, gave Lascar, the ruthless Negro prostitute, the victory over Byron, the young Negro writer, whom he left, when the novel ends, in the hands of the police, destined perhaps for the death house in Sing Sing.

Carl Van Vechten also was in Paris in the summer of 1929. I had been warned by a white non-admirer of Mr. Van Vechten that I would not like him because he patronized Negroes in a subtle way, to which the Harlem élite were blind because they were just learning sophistication! I thought it would be a new experience to meet a white who was subtly patronizing to a black; the majority of them were so naïvely crude about it. But I found Mr. Van Vechten not a bit patronizing, and quite all right. It was neither his fault nor mine if my reaction was negative.

One of Mr. Van Vechten's Harlem sheiks introduced us after midnight at the Café de la Paix. Mr. Van Vechten was a heavy drinker at that time, but I was not drinking liquor. I had recently suffered from a cerebral trouble and a specialist had warned me against drinking, even wine. And when a French doctor forbids wine, one ought to heed. When we met at that late hour at the celebrated rendezvous of the world's cosmopolites, Mr. Van Vechten was full and funny. He said, "What will you take?" I took a soft drink and I could feel that Mr. Van Vechten was shocked.

I am afraid that as a soft drinker I bored him. The white author and the black author of books about Harlem could not find much of anything to make conversation. The market trucks were rolling by loaded with vegetables for Les Halles, and suddenly Mr. Van Vechten, pointing to a truck-load of huge carrots, exclaimed, "How I would like to have all of them!" Perhaps carrots were more interesting than conversation. But I did not feel in any way carroty. I don't know whether my looks betrayed any disapproval. Really I hadn't the slightest objection to Mr. Van Vechten's enthusiasm for the truck driver's raw carrots, though I prefer carrots _en casserole avec poulet cocotte_. But he excused himself to go to the men's room and never came back. So, after waiting a considerable time, I paid the bill with some _Home to Harlem_ money and walked in the company of the early dawn (which is delicious in Paris) back to the Rue Jean-Jacques Rousseau.

Mr. Van Vechten's sheik friend was very upset. He was a precious, hesitating sheik and very nervous about that introduction, wondering if it would take. I said that all was okay. But upon returning to New York he sent me a message from Mr. Van Vechten. The message said that Mr. Van Vechten was sorry for not returning, but he was so high that, after leaving us, he discovered himself running along the avenue after a truck load of carrots.

Among the Negro intelligentsia in Paris there was an interesting group of story-tellers, poets and painters. Some had received grants from foundations to continue work abroad; some were being helped by private individuals; and all were more or less identified with the Negro renaissance. It was illuminating to exchange ideas with them. I was an older man and not regarded as a member of the renaissance, but more as a forerunner. Indeed, some of them had aired their resentment of my intrusion from abroad into the renaissance set-up. They had thought that I had committed literary suicide because I went to Russia.

For my part I was deeply stirred by the idea of a real Negro renaissance. The Arabian cultural renaissance and the great European renaissance had provided some of my most fascinating reading. The Russian literary renaissance and also the Irish had absorbed my interest. My idea of a renaissance was one of talented persons of an ethnic or national group working individually or collectively in a common purpose and creating things that would be typical of their group.

I was surprised when I discovered that many of the talented Negroes regarded their renaissance more as an uplift organization and a vehicle to accelerate the pace and progress of smart Negro society. It was interesting to note how sharply at variance their artistic outlook was from that of the modernistic white groups that took a significant interest in Negro literature and art. The Negroes were under the delusion that when a lady from Park Avenue or from Fifth Avenue, or a titled European, became interested in Negro art and invited Negro artists to her home, that was a token of Negroes breaking into upper-class white society. I don't think that it ever occurred to them that perhaps such white individuals were searching for a social and artistic significance in Negro art which they could not find in their own society, and that the radical nature and subject of their interest operated against the possibility of their introducing Negroes further than their own particular homes in coveted white society.

Also, among the Negro artists there was much of that Uncle Tom attitude which works like Satan against the idea of a coherent and purposeful Negro group. Each one wanted to be the first Negro, the one Negro, and the only Negro _for the whites_ instead of for their group. Because an unusual number of them were receiving grants to do creative work, they actually and naïvely believed that Negro artists as a group would always be treated differently from white artists and be protected by powerful white patrons.

Some of them even expressed the opinion that Negro art would solve the centuries-old social problem of the Negro. That idea was vaguely hinted by Dr. Locke in his introduction to _The New Negro_. Dr. Locke's essay is a remarkable chocolate _soufflé_ of art and politics, with not an ingredient of information inside.

They were nearly all Harlem-conscious, in a curious synthetic way, it seemed to me--not because they were aware of Harlem's intrinsic values as a unique and popular Negro quarter, but apparently because white folks had discovered black magic there. I understood more clearly why there had been so much genteel-Negro hostility to my _Home to Harlem_ and to Langston Hughes's primitive Negro poems.

I wondered after all whether it would be better for me to return to the new _milieu_ of Harlem. Much as all my sympathy was with the Negro group and the idea of a Negro renaissance, I doubted if going back to Harlem would be an advantage. I had done my best Harlem stuff when I was abroad, seeing it from a long perspective. I thought it might be better to leave Harlem to the artists who were on the spot, to give them their chance to produce something better than _Home to Harlem_. I thought that I might as well go back to Africa.

XXVIII

Hail and Farewell to Morocco

I suppose every man who achieves something worthwhile naturally attracts some woman. I was interested in Carmina, who had a white lover. Carmina was a pretty colored lady who had recently deserted the best circles of Harlem for Paris. I liked Carmina. She had lived her life a lot, even as I, and neither of us could reproach the other about the past. But when Louise Bryant saw us together she scolded me. "That girl is not your type," she said. "Why don't you go on living as you always did? Why do you have to go around with a female on your arm, simply because you have written a successful novel?" I said that perhaps it was nothing more than "male conceit." Louise Bryant laughed and said, "Take care you don't spoil yourself by doing the thing that every man thinks he ought to do because of male conceit."

Louise Bryant and Carmina did not like each other. The three of us were spending a convivial evening together and, feeling gallant, I tried to find something to praise in Louise's appearance. She had been to a hairdresser's that afternoon and her neatly shingled hair was gleaming black. I said, "Louise, your hair is very nice tonight." Louise smiled her appreciation. But Carmina said, in a loud whisper, "Can't you see it's dyed?" A blighting frost descended on the party.

It was a sweet relief to give up for awhile discussing problems of race and art for an atmosphere of pure sensuality and amorous intrigue. Carmina also had been fed up with too much race in the upper circles of Harlem, which was why she had fled to Paris. One night I was drunk and maudlin in Montparnasse and Louise Bryant shrieked at me in high intoxicated accents, shaking her forefinger at me, "Go away and write another book. Go home to Harlem or back to Africa, but leave Paris. Get a grip on yourself." She looked like the picture of an old emaciated witch, and her forefinger was like a broomstick. Perhaps it was her better unconscious self warning me, for she also could not get a grip on herself and get away from Paris.

I heeded the warning. I started off for Africa. But I lingered a long time in Spain. The weeks turned into months. From Madrid I went to Andalusia and visited Cordova and Granada again, then went back to Barcelona. A French radical friend wrote chidingly about my preference for Spain, so medieval and religion-ridden. I wrote him that I expected radical changes in medieval Spain sooner than in nationalistic France. That was no prophecy. The thing was in the air; students mentioned it to you on the café terraces; waiters spoke of it in the pensions and restaurants; chauffeurs spoke of their comrades murdered in Morocco by King Alfonso; bank clerks said a change was coming soon, and even guides had something to say. That was in the winter of 1929-30. I was in Spain early in 1930 when the dictatorship of Primo de Rivera collapsed. In the spring of 1931 I was in Spanish Morocco when King Alfonso abdicated, and in Tetuán I witnessed a wonderful demonstration of amity and fraternity between the native Moorish and civilian Spanish populations. There in Africa I hankered after Spain again and indited these three sonnets for Barcelona:

_BARCELONA_

1

_In Barcelona town they dance the nights Along the streets. The folk, erecting stands Upon the people's pavements, come together From pueblo, barrio, in families, Lured by the lilting playing of the bands, Rejoicing in the balmy summer weather, In spreading rings they weave fine fantasies Like rare mosaics of many-colored lights._