The Gift of Black Folk: The Negroes in the Making of America

by W. E. B. Du Bois

The time has not yet come for the great development of American Negro literature. The economic stress is too great and the racial persecution too bitter to allow the leisure and the poise for which literature calls. “The Negro in the United States is consuming all his intellectual energy in this gruelling race-struggle.” And the same statement may be made in a general way about the white South. Why does not the white South produce literature and art? The white South, too, is consuming all of its intellectual energy in this lamentable conflict. Nearly all of the mental efforts of the white South run through one narrow channel. The life of every southern white man and all of his activities are impassably limited by the ever present Negro problem. And that is why, as Mr. H. L. Mencken puts it, in all that vast region, with its thirty or forty million people and its territory as large as half a dozen Frances or Germanys, “there is not a single poet, not a serious historian, not a creditable composer, not a critic good or bad, not a dramatist dead or alive.”

On the other hand, never in the world has a richer mass of material been accumulated by a people than that which the Negroes possess today and are becoming increasingly conscious of. Slowly but surely they are developing artists of technic who will be able to use this material. The nation does not notice this for everything touching the Negro has hitherto been banned by magazines and publishers unless it took the form of caricature or bitter attack, or was so thoroughly innocuous as to have no literary flavor. This attitude shows signs of change at last.

Most of the names in this considerable list except those toward the last would be unknown to the student of American literature. Nevertheless they form a fairly continuous tradition and a most valuable group expression. From them several have arisen, as I have said, to become figures in the main stream of American literature. Phyllis Wheatley was an American writer of Negro descent just as Dumas was a French writer of Negro descent. She was the peer of her best American contemporaries but she represented no conscious Negro group. Lemuel Haynes wrote for Americans rather than for Negroes.

Dunbar occupies a unique place in American literature. He raised a dialect and a theme from the minstrel stage to literature and became and remains a national figure. Charles W. Chesnutt followed him as a novelist, and many white people read in form of fiction a subject which they did not want to read or hearken to. He gained his way unaided and by sheer merit and is a recognized American novelist. Braithwaite is a critic whose Negro descent is not generally known and has but slightly influenced his work. His place in American literature is due more to his work as a critic and anthologist than to his work as a poet. “There is still another rôle he has played, that of friend of poetry and poets. It is a recognized fact that in the work which preceded the present revival of poetry in the United States, no one rendered more unremitting and valuable service than Mr. Braithwaite. And it can be said that no future study of American poetry of this age can be made without reference to Braithwaite.”

Of McKay’s poems, Max Eastman writes that it “should be illuminating to observe that while these poems are characteristic of that race as we most admire it—they are gentle, simple, candid, brave and friendly, quick of laughter and of tears—yet they are still more characteristic of what is deep and universal in mankind. There is no special or exotic kind of merit in them, no quality that demands a transmutation of our own natures to perceive. Just as the sculptures and wood and ivory carvings of the vast forgotten African Empires of Ife and Benin, although so wistful in their tranquility, are tranquil in the possession of the qualities of all classic and great art, so these poems, the purest of them, move with a sovereignty that is never new to the lovers of the high music of human utterance.”[205]

The later writers like Jean Toomer, Claud McKay, Jessie Fauset and others have come on the stage when the stream of Negro literature has grown to be of such importance and gained so much of technique and merit that it tends to merge into the broad flood of American literature and any notable Negro writer became ipso facto a national writer.

One must not forget the Negro orator. While in the white world the human voice as a vehicle of information and persuasion has waned in importance until the average man is somewhat suspicious of “eloquence,” in the Negro world the spoken word is still dominant and Negro orators have wielded great influence upon both white and black from the time of Frederick Douglass and Samuel Ward down to the day of J. C. Price and Booker T. Washington. There is here, undoubtedly, something of unusual gift and personal magnetism.

One must note in this connection the rise and spread of a Negro press—magazines and weeklies which are voicing to the world with increasing power the thought of American Negroes. The influence of this new force in America is being recognized and the circulation of these papers aggregate more than a million copies.