Wallace Thurman
Harlem has been called the Mecca of the New Negro, the center of black America’s cultural renaissance, Nigger Heaven, Pickaninny Paradise, Capitol of Black America, and various other things. It has been surveyed and interpreted, explored and exploited. It has had its day in literature, in the drama, even in the tabloid press. It is considered the most popular and interesting section of contemporary New York. Its fame is international; its personality individual and inimitable. There is no Negro settlement anywhere comparable to Harlem, just as there is no other metropolis comparable to New York. As the great south side black belt of Chicago spreads and smells with the same industrial clumsiness and stockyardish vigor of Chicago, so does the black belt of New York teem and rhyme with the cosmopolitan cross currents of the world’s greatest city. Harlem is Harlem because it is part and parcel of greater New York. Its rhythms are the lackadaisical rhythms of a transplanted minority group caught up and rendered half mad by the more speedy rhythms of the subway, Fifth Avenue and the Great White Way.
Negro Harlem is located on one of the choice sites of Manhattan Island. It covers the greater portion of the northwestern end, and is more free from grime, smoke and oceanic dampness than the lower eastside where most of the hyphenated American groups live. Harlem is a great black city. There are no shanty-filled, mean streets. No antiquated cobble-stoned pavement; no flimsy frame fire-traps. Little Africa has fortressed itself behind brick and stone on wide important streets where the air is plentiful and sunshine can be appreciated.
There are six main north and south thoroughfares streaming through Negro Harlem—Fifth Avenue, Lenox Avenue, Seventh Avenue, Eighth Avenue, Edgecombe and St. Nicholas. Fifth Avenue begins prosperously at 125th Street, becomes a slum district above 131st Street, and finally slithers off into a warehouse-lined, dingy alleyway above 139th Street. The people seen on Fifth Avenue are either sad or nasty looking. The women seem to be drudges or drunkards, the men pugnacious and loud—petty thieves and vicious parasites. The children are pitiful specimens of ugliness and dirt.
The tenement houses in this vicinity are darkened dungheaps, festering with poverty-stricken and crime-ridden step-children of nature. This is the edge of Harlem’s slum district; Fifth Avenue is its board-walk. Push carts line the curbstone, dirty push carts manned by dirtier hucksters, selling fly-specked vegetables and other cheap commodities. Evil faces leer at you from doorways and windows. Brutish men elbow you out of their way, dreary looking women scowl at and curse children playing on the sidewalk. That is Harlem’s Fifth Avenue.
Lenox Avenue knows the rumble of the subway and the rattle of the crosstown street car. It is always crowded, crowded with pedestrians seeking the subway or the street car, crowded with idlers from the many pool halls and dives along its line of march, crowded with men and women from the slum district which it borders on the west and Fifth Avenue borders on the east. Lenox Avenue is Harlem’s Bowery. It is dirty and noisy, its buildings ill-used, and made shaky by the subway underneath. At 140th Street it makes its one bid for respectability. On one corner there is Tabb’s Restaurant and Grill, one of Harlem’s most delightful and respectable eating houses; across the street is the Savoy building, housing a first-class dance hall, a motion picture theater and many small business establishments behind its stucco front. But above 141st Street Lenox Avenue gets mean and squalid, deprived of even its crowds of people, and finally peters out into a dirt pile, before leading to a car-barn at 147th St.
Seventh Avenue—Black Broadway—Harlem’s main street, a place to promenade, a place to loiter, an avenue spacious and sleek with wide pavement, modern well-kept buildings, theaters, drug stores and other businesses. Seventh Avenue, down which no Negro dared walk twenty years ago unless he was prepared to fight belligerent Irishmen. Seventh Avenue, teeming with life and ablaze with color, the most interesting and important street in one of the most interesting and important city sections of greater New York.
Negro Harlem is best represented by Seventh Avenue. It is not, like Fifth Avenue, filthy and stark, nor like Lenox, squalid and dirty. It is a grand thoroughfare into which every element of Harlem population ventures either for reasons of pleasure or of business. From 125th Street to 145th Street, Seventh Avenue is a stream of dark people going to churches, theaters, restaurants, billiard halls, business offices, food markets, barber shops and apartment houses. Seventh Avenue is majestic yet warm, and it reflects both the sordid chaos and the rhythmic splendor of Harlem.
From five o’clock in the evening until way past midnight, Seventh Avenue is one electric-lit line of brilliance and activity, especially during the spring, summer and early fall months. Dwelling houses are close, overcrowded and dark. Seventh Avenue is the place to seek relief. People everywhere. Lines of people in front of the box offices of the Lafayette Theater at 132d Street, the Renaissance motion picture theater at 138th Street and the Roosevelt Theater at 145th Street. Knots of people in front of the Metropolitan Baptist Church at 129th Street and Salem M. E. Church, which dominates the corner at 129th Street.
People going into the cabarets. People going into speak-easies and saloons. Groups of boisterous men and boys, congregated on corners and in the middle of the blocks, making remarks about individuals in the passing parade. Adolescent boys and girls flaunting their youth. Street speakers on every corner. A Hindoo faker here, a loud-voiced Socialist there, a medicine doctor ballyhooing, a corn doctor, a blind musician, serious people, gay people, philanderers and preachers. Seventh Avenue is filled with deep rhythmic laughter. It is a civilized lane with primitive traits, Harlem’s most representative street.