In certain parts of the city, often at a considerable distance from the warehouse and factory sections, one may occasionally catch upon the breeze the faint, spicy fragrance of tobacco; and should one trace these pleasant scents to their sources, one would come to a region of factories in which rich brown leaves are transformed into pipe tobacco, plug tobacco, or cigarettes. In the simpler processes of this work, negro men and women are employed, and these with their natural picturesqueness of pose and costume, and their singing, in the setting of an old shadowy loft, make a tobacco factory a fascinating place. In one loft you will see negro men and boys handling the tobacco leaves with pitchforks, much as farm hands handle hay; in another, negro women squatting upon boxes, stemming the leaves, or "pulling up ends," their black faces blending mysteriously with the dark shadows of beams and rafters. Here the air is laden not only with the sweet tobacco smell, mixed with a faint scent of licorice and of fruit, but is freighted also with a fine brown dust which is revealed where bars of sunlight strike in through the windows, and which seems, as it shifts and sparkles, to be a visible expression of the smell.
Negro women squatting upon boxes in old shadowy lofts stem the tobacco leaves
In the busy season "street niggers" are generally used for stemming, which is, perhaps, the leading part of the tobacco industry in Richmond, and these "street niggers," a wild yet childlike lot, who lead a hand-to-mouth existence all year round, bring to the tobacco trade a wealth of semi-barbaric color. To give us an idea of the character of a Richmond "street nigger" the gentleman who took my companion and me through the factory told us of having wanted a piece of light work done, and having asked one of these negroes: "Want to earn a quarter?"
To which the latter replied without moving from his comfortable place beside a sun-baked brick wall: "No, boss, Ah got a quahtah."
The singing of the negroes is a great feature of the stemming department in a tobacco factory. Some of the singers become locally famous; also, I was told by the superintendent, they become independent, and for that reason have frequently to be dismissed. The wonderful part of this singing, aside from the fascinating harmonies made by the sweet, untrained negro voices, is the utter lack of prearrangement that there is about it. Now there will be silence in the loft; then there will come a strange, half-savage cry from some dark corner, musical, yet seemingly meaningless; soon a faint humming will begin, and will be taken up by men and women all over the loft; the humming will swell into a chant to which the workers rock as their black hands travel swiftly among the brown leaves; then, presently, it will die away, and there will be silence until they are again moved to song.
From shadowy room to shadowy room, past great dark bins filled with the leaves, past big black steaming vats, oozing sweet-smelling substances, past moist fragrant barrels, always among the almost spectral forms of negroes, treading out leaves with bare feet, working over great wicker baskets stained to tobacco color, piling up wooden frames, or operating the powerful hydraulic presses which convert the soft tobacco into plugs of concrete hardness—so one goes on through the factory. The browns and blacks of these interiors are the browns and blacks of etchings; the color of the leaves, the old dark timbers, the black faces and hands, and the ragged clothing, combined with the humming of negro voices, the tobacco fragrance, and the golden dust upon the air, make an indescribably complete harmony of shade, sound, and scent.
The department in which the pipe tobacco is packed in tins is a very different sort of place; here white labor is employed: a great many girls seated side by side at benches working with great digital dexterity: measuring out the tobacco, folding wax paper cartons, filling them, and slipping them into the narrow tins, all at a rate of speed so great as to defy the sight, giving a sense of fingers flickering above the bench with a strange, almost supernatural sureness, like the fingers of a magician who makes things disappear before your eyes; or like the pictures in which post-impressionist and cubist painters attempt to express motion.