Ebook Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, by Langston Hughes, Carl Van Vechten
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Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, by Langston Hughes, Carl Van Vechten
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Langston Hughes is widely remembered as a celebrated star of the Harlem Renaissance -- a writer whose bluesy, lyrical poems and novels still have broad appeal. What's less well known about Hughes is that for much of his life he maintained a friendship with Carl Van Vechten, a flamboyant white critic, writer, and photographer whose ardent support of black artists was peerless.
Despite their differences — Van Vechten was forty-four to Hughes twenty-two when they met–Hughes’ and Van Vechten’s shared interest in black culture lead to a deeply-felt, if unconventional friendship that would span some forty years. Between them they knew everyone — from Zora Neale Hurston to Richard Wright, and their letters, lovingly and expertly collected here for the first time, are filled with gossip about the antics of the great and the forgotten, as well as with talk that ranged from race relations to blues lyrics to the nightspots of Harlem, which they both loved to prowl. It’s a correspondence that, as Emily Bernard notes in her introduction, provides “an unusual record of entertainment, politics, and culture as seen through the eyes of two fascinating and irreverent men.
- Sales Rank: #566248 in Books
- Brand: Bernard, Emily (EDT)/ Hughes, Langston/ Van Vechten, Carl
- Published on: 2002-02-05
- Released on: 2002-02-05
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.00" w x 5.20" l, .81 pounds
- Binding: Paperback
- 402 pages
Amazon.com Review
When their correspondence began in 1925, Carl Van Vechten (1880-1964) was the nation's leading Caucasian enthusiast for African American culture, and Langston Hughes (1902-67) was a struggling poet who lived with his mother in Washington, D.C., and plaintively closed one letter, "Remember me to Harlem." Over the four-decade-long friendship that's captured engagingly in these warm, funny letters, Hughes would become more famous, and Van Vechten less so, but their mutual affection and respect only would deepen. Editor Emily Bernard, a professor at Smith College, sensibly decided to include only a fraction of the letters that the pair exchanged, but to print those in their entirety, so that readers might get a vivid sense of each man's personality. Van Vechten is lighthearted, flirtatious, gossipy, effusive in his appreciation for Hughes' writing, and frank when he finds it not to his taste. Despite his unflinching commitment to civil rights, he's considerably less political than Hughes, whose equally witty correspondence has an underlying seriousness that's commensurate with a personal history that's far more turbulent and painful than that of his affluent friend. They share a dislike for "uplift-the-race" sanctimoniousness and a zest for African American folk culture; their letters are rife with references to the music of Bessie Smith and other great blues singers, as well as to the many Harlem Renaissance artists who were their personal acquaintances. The correspondence also provides a sustained chronicle of the working writer's life: they swap news of assignments and story ideas; Van Vechten generously makes his book-publishing and magazine contacts available to Hughes; and the poet loyally defends his friend's controversial novel, Nigger Heaven, against its numerous detractors. Helpfully, everyone is identified in Bernard's copious footnotes, which make this a handy reference work, as well as a delightful record of an extraordinary relationship between two uniquely gifted figures in American letters. --Wendy Smith
From Publishers Weekly
As the Harlem Renaissance unfolded in the 1920s, few were closer to its hub than the black poet and playwright Langston Hughes and his white friend and mentor, the writer, photographer and patron of the arts Carl Van Vechten. They met in 1924, as Hughes was first exploding into literary celebrity, and quickly became friends and correspondents; between them, they knew everyone of note among Harlem's cultural figures. Marked by a shared irreverence and taste for the good life, their correspondence offers snapshots of vastly different worlds. Hughes comes across as a true adventurer, finding poetry in the world's byways and forgotten corners; Van Vechten is the quintessential bon vivant, whose refinements emanated from the comfort of his own home. The letters offer heartrending insights into the two men's contributions to a variety of political firestorms over four decadesAthe trial of the Scottsboro boys, Van Vechten's publication of his controversial Nigger Heaven, Hughes's branding as a Communist. Bernard's painstakingly assembled edition provides comprehensive background notes and a complete guide to the procession of famous and obscure personages appearing in the letters, as well as a graceful introduction briefly sketching the correspondents' lives and the arc of the Harlem Renaissance. Readers' interest may flag in the later letters, which occasionally devolve into lists of names and accounts of professional obligations; Bernard also says nothing about Hughes's final years after Van Vechten's death in 1964. However, these are minor shortcomings in an otherwise engaging volume, which effectively captures the rare world of two men whose friendship was emblematic of the complex racial entente offered by that extraordinary moment in history. This will be required reading for anyone interested in the Harlem Renaissance, and in black literature and the world of American letters generally; a reading tour by the editor will help bring it to wide attention. (Jan.)
Copyright 2000 Reed Business Information, Inc.
From Library Journal
Forty years of letter writing that encompasses the essence of a particular sociopolitical period is no small achievement. Add to that the powerful personalities of the writers a black man, Hughes, and a white man, Van Vechten and the achievement is vastly enriched. Noted poet Hughes is deservedly famous. Van Vechten, an author and a great benefactor of black artists (he was responsible for the publication of Hughes's first book of poetry, The Weary Blues, in 1926), was well known in his time but has since faded. These letters, coupled with the mighty contributions each has made toward the black literary and cultural scene, should remedy Van Vechten's omission from black cultural history. Both men loved Harlem its nightlife, its blues, its blackness but when Van Vechten published Nigger Heaven, some critics believed that he had exploited black culture. Hughes stood by Van Vechten, however, and the letters continued with stories of events, situations, and people (some famous) that will enlighten, warn, and sadden. The photographs included, many by Van Vechten, add just the right touch of interest. Robert L. Kelly, Fort Wayne Community Schs., IN
Copyright 2001 Reed Business Information, Inc.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Harlem Renaissance Icons!
By T. Kelley
Emily Bernard's REMEMBER ME TO HARLEM has to main goals. One, Bernard attempts with success to show the cordial communication between two leading figures of the Harlem Renaissance inner circle, Langston Hughes and Carl Van Vechten. Two, Bernard hopes to reveal a friendship uncommon for the day and time it flourished, the friendship between a black man and a white man during a major period of segregation and inequality between the black and white Americans. Of course, all this is done through the letters of Hughes and Van Vechten.
Bernard does an excellent job at showing the relationship between these two icons of the Harlem Renaissance. Initially, their friendship starts off as sort of a patron, Vechten, helping to support a struggling artist, Hughes. As revealed in these compiled letters, this working relationship evolves into a friendship where Hughes often defends Vechten agianst distractors who view him as an exploiter and currupter of certain members of the Reaissance literatti (e.g. Hughes himself). Through Hughes, Vechten is shown morphing from an attitude of ignorance and paternal racist assumptions about the primitivism of blacks to one of "some" understanding but definite admiration for the black community. The two men were friends, but it must be stressed they were not best friends. Hughes best friend/almost brother was Arna Bontemps. I stress this difference because the tone of the letters differ when Hughes is writing to Vechten and Bontemps. Therefore, I STRONGLY RECOMMEND the purchasing of the letters between Langston Hughes and Arna Bontemps edited by Charles H. Nichols were Hughes is much less reserved than he is in his letters to Van Vechten on certain matters intimate to two men dealing with trials, tribulations, and triumphs of being black during the early and mid 20th century.
A characteristic of the letters is the sign off. Vechten had a habit of grandiose and flowery sign offs in his letters to Hughes. He chastised Hughes for his cordial but distant ending of his letters with "Sincerely." In letters to Van Vechten only, Hughes eventually adopted the grandiose sign off in his letters but with a difference. Hughes was a socially consicious man and early civil rights activist and this is reflected in some of the ways he ended his letters to Vechten where the two men initially engaged in gossip about friends like Bessie Smith, DuBois, Ethel Waters, Countee Cullen, Richard Bruce Nugent, and so on and the goings on in their lives to the mundane aspects of business. Sadly, after Vechten writes to Hughes that he compiling Renaissance works for the beginning of the James Weldon Johnson Collection at Yale, the letters between the two men, Hughes especially conscious of posterity, become almost tedious.
The wealth of the Bernard's compilation of the letters is in the notes following each letter where she provides bits of information about a person mentioned in the letter or current
event of that day. This is were her book shines its brightest. The notes mentions one of Van Vechten's lovers, a white man. In mentioning Mangus Hirschfeld, Bernard fails to indicate Hirschfeld was gay and leading proponent of gay rights that was widely known in the 20's. Pay special attention to the footnote from the letter dated 12/20/40 concerning the Amsterdam News pick of eligible bachelors, one or two men besides Hughes is gay
and paper makes a coy remark about Hughes "thin cloud of mystery," a reference to the "open secret" of his being gay.
Also, Bernard and reviews of the book have noted that you will not find any overt references to Hughes being gay unless you are willing to read between the lines of the letters and "notes". Well, the evidence is there if you know what to look for. But, you must be acquainted with Arnold Rampersad's excellent and thoroughly meticulous and accurate two biographies of which Bernard is indebted and that of Faith Berry and even the letters between Hughes and Bontemps. Van Vechten sends Hughes a photograph of two very handsome black sailors with interesting text about one of them. Other black men featured in the book, not all, are more associated with Hughes and his "preference" for black men than Van Vechten who one professional reviewer incorrectly said were Vechten's lovers.
Ms. Bernard's book provides an interesting window on two figures important to literaturein the U.S.
6 of 8 people found the following review helpful.
The letters of Langston Hughes and Carl Van Vechten
By Midwest Book Review
Bernard gathers and edits the letters of Langston Hughes and Carl Van Vechten, written between 1925-64, presenting a notable work of Hughes' mentor and the friendship which evolved between the two men. From discussions of literature and the publishing world to politics and gossip, these letters hold important keys to the personalities and concerns of two great men of the Harlem Renaissance.
0 of 0 people found the following review helpful.
The book is amazing, a black history time capsule written in letters ...
By Michelle Reynolds
The book is amazing, a black history time capsule written in letters from an iconic figure who give the world the African American story in art.
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