NIGGER HEAVEN

The strange inability on the part of many of the Negro critics to understand irony, or satire—except the obvious satire of George S. Schuyler’s Black No More—partially explains the phenomenon of that violent outburst of rage that stirred the Negro press for months after the appearance of Carl Van Vechten’s Nigger Heaven.

The use of the word nigger in the title explains the rest of it. The word nigger to colored people of high and low degree is like a red rag to a bull. Used rightly or wrongly, ironically or seriously, of necessity for the sake of realism, or impishly for the sake of comedy, it doesn’t matter. Negroes do not like it in any book or play whatsoever, be the book or play ever so sympathetic in its treatment of the basic problems of the race. Even though the book or play is written by a Negro, they still do not like it.

The word nigger, you see, sums up for us who are colored all the bitter years of insult and struggle in America: the slave-beatings of yesterday, the lynchings of today, the Jim Crow cars, the only movie show in town with its sign up FOR WHITES ONLY, the restaurants where you may not eat, the jobs you may not have, the unions you cannot join. The word nigger in the mouths of little white boys at school, the word nigger in the mouths of foremen on the job, the word nigger across the whole face of America! Nigger! Nigger! Like the word Jew in Hitler’s Germany.

Countee Cullen’s poem “Incident”1 captures with great power the meaning of nigger for most black Americans—except that that meaning extends far beyond the child world, as the poem indicates. Cullen says:

Once riding in old Baltimore,

Heart-filled, head-filled with glee,

I saw a Baltimorean

Keep looking straight at me.

Now I was eight and very small,

And he was no whit bigger,

And so I smiled, but he poked out

His tongue and called me, “Nigger.”

I saw the whole of Baltimore

From May until December:

Of all the things that happened there

That’s all that I remember.

So, when the novel Nigger Heaven came out, Negroes did not read it to get mad. They got mad as soon as they heard of it. And after that, many of them never did read it at all. Or if they did, they put a paper cover over it and read it surreptitiously as though it were a dirty book—to keep their friends from knowing they were reading it. And they held meetings to denounce it all across America. At one meeting in the Harlem Public Library, the crowd saw a large white-haired old gentleman in the back they thought was Carl Van Vechten. They turned on him in verbal fury. Astonished, the old gentleman arose stammering in amazement: “Why, I’m not Carl Van Vechten.”

Carl Van Vechten was distressed at the reactions his book provoked in the Negro press. He had not expected colored people to dislike it. Certainly in the novel he had treated the Negroes of Harlem much better, for instance, than he had treated his own home folks in The Tattooed Countess. But I doubt if any of the more vociferous of the Negro critics had ever read The Tattooed Countess, so, naturally, they didn’t know that. I doubt if any of those critics had ever read any book of Mr. Van Vechten’s at all, or knew anything about his style. If they had they could not then have written so stupidly about Nigger Heaven.

Perhaps, like my Fine Clothes to the Jew, Mr. Van Vechten’s title was an unfortunate choice. A great many colored people never did discover that the title was an ironical title, applying to segregated, poverty-stricken Harlem the words used to designate in many American cities the upper gallery in a theater, which is usually the only place where Negroes may buy tickets to see the show—the nigger heaven. To Mr. Van Vechten, Harlem was like that, a segregated gallery in the theater, the only place where Negroes could see or stage their own show, and a not very satisfactory place at that, for in his novel Mr. Van Vechten presents many of the problems of the Negroes of Harlem, and he writes of the people of culture as well as the people of the night clubs. He presents the problem of a young Negro novelist faced with the discriminations of the white editorial offices. And he writes sympathetically and amusingly and well about a whole rainbow of life above 110th Street that had never before been put into the color of words.

But Mr. Van Vechten became the goat of the New Negro Renaissance, the he-who-gets-slapped. The critics of the left, like the Negroes of the right, proceeded to light on Mr. Van Vechten, and he was accused of ruining, distorting, polluting, and corrupting every Negro writer from then on, who was ever known to have shaken hands with him, or to have used the word nigger in his writings, or to have been in a cabaret.

Some of the colored critics, evidently thinking I did not know my mind, accused Mr. Van Vechten of having brought about what they felt were the various defects of my Fine Clothes to the Jew. But the truth of the matter was that many of the poems in the book had been written before I had heard of or met Mr. Van Vechten, and they were not included in my Weary Blues, because scarcely any dialect or folk-poems were included in the Weary Blues. And, although I did shake hands with Mr. Van Vechten once upon being introduced to him at the N.A.A.C.P. party in 1924, it was many months before I saw him again. The blues, spirituals, shouts, and work poems of my second book were written while I was dragging bags of wet wash laundry about or toting trays of dirty dishes to the dumb-waiter of the Wardman Park Hotel in Washington.

Margaret Larkin in Opportunity was the first critic to term my work proletarian, in her review of Fine Clothes. Since high school days I had been writing poems about workers and the problems of workers—in reality poems about myself and my own problems. And, contrary to the accusations of the critics, after I came to know Carl Van Vechten, I never heard him say: “Don’t write poems about workers.” Or in any way try to influence me in my writing.

What Carl Van Vechten did for me was to submit my first book of poems to Alfred A. Knopf, put me in contact with the editors of Vanity Fair, who bought my first poems sold to a magazine, caused me to meet many editors and writers who were friendly and helpful to me, encouraged me in my efforts to help publicize the Scottsboro case, cheered me on in the writing of my first short stories, and otherwise aided in making life for me more profitable and entertaining.

Many others of the Negroes in the arts, from Paul Robeson to Ethel Waters, Walter White to Richmond Barthe, will offer the same testimony as to the interest Van Vechten has displayed toward Negro creators in the fields of writing, plastic arts, and popular entertainment. To say that Carl Van Vechten has harmed Negro creative activities is sheer poppycock. The bad Negro writers were bad long before Nigger Heaven appeared on the scene. And would have been bad anyway, had Mr. Van Vechten never been born.