New Alain Locke Biography + Richard T. Greener Honored at University of South Carolina

When most people think of the Harlem Renaissance, they probably summon the names of its major literary and visual atists--Langston Hughes, Zora Neale Hurston, Claude McKay, Aaron Douglas, etc.--and even may note figures who were linked to but critical of some of its aspects, like W. E. B. DuBois. They also may recall the cultural shift under which it unfolded, "The New Negro Movement." But they may not know the name of the man who popularized the term "The New Negro," in a famous essay and in, perhaps most lastingly, in the title of his 1925 famous anthology, and who provided the intellectual foundation, and cultivated the networks out of which the Harlem Renaissance developed.

That man was Alain Leroy Locke (1885-1954), a Philadelphia native who attended Harvard College (AB 1907), became the first African American Rhodes Scholar, studied at the University of Berlin, and subsequently returned to Harvard to receive his Ph.D. in philosophy in 1918. Black, gay, physically unimposing, an adherent of the Bahá'í faith, and a gifted and productive thinker and writer, Locke not only provided the intellectual framework for the New Negro Movement and the Harlem Renaissance, through his championing of Black art and culture, and the idea of the Diaspora and its links to Africa, but he taught at Howard University from 1918 to 1925, when he was temporarily dismissed for teaching a course on race relations, and then, after reinstatement in 1928, until 1953, training generations of students, including Toni Morrison.

Jeffrey C. Stewart, a professor in the Department of Black Studies at University of California-Santa Barbara has just published a new, thorough biography of Locke, a scholar, critic, and cultural worker, situating him with the intellectual, social, political, and cultural contexts in which he lived. Titled The New Negro: The Life of Alain Locke (Oxford University Press, 2018), Stewart's study draws upon previously unavailable primary source material and interviews with Locke's colleagues, friends and associates. Divided into three sections, the first focusing on Locke's youth and eduction, the second on Locke's involvement with the Harlem Renaissance and his advancement of ideas of Black beauty and aesthetics, and the third exploring the latter portion of Locke's rich and fascinating life, Stewart's exploration of Locke's life and mind looks like it also will provide a richer illumination of the intellectual foundations of and complex relationships among members of the Harlem Renaissance and its many cultural legacies.

I have ordered a copy of Stewart's biography, which has received starred reviews from Kirkus and Booklist and a laudatory review in The New York Times, and am looking forward to reading it. (If I can, I may post a review on here.) I especially enjoyed listening to Professor Stewart discuss it on Midday in New York; you can hear that podcast here. You can also read Eugene Holley's excellent overview of Stewart's book on Publishers Weekly's website. Stewart's previous work includes several edited volumes about Locke, as well as the biography Paul Robeson: Artist and Citizen and 1001 Things Everyone Should Know About African American History, a text that, like the Locke biography, strikes me as particularly appropriate for our current moment.

***

The unveiling of the Richard T. Greener
statue, University of South Carolina
(TheState.com © Tracy Glantz tglantz@thestate.com)

Nearly half a century before Alain Locke graduated from Harvard, the first African American to enroll and successful receive a Harvard College degree left his name on the university's rolls, and proceeded to a remarkable life that, like Locke's, is now almost completely forgotten. Richard T. Greener, whom I'd previously blogged about when a contractor discovered a trunk of his belongings in a run-down Chicago home, was that first graduate (A.B. 1870), and, as part of his extraordinary journey, received a law degree from the University of South Carolina in 1876, during that brief period of post-Civil War Reconstruction, which meant a brief interlude of integration. From 1873 to 1877, Greener served as a professor at South Carolina, becoming the first African American professor there, and, once Reconstruction ended and white retrenchment and segregation resumed their hold, he moved to Howard University, where he would serve as the dean of the law school, before eventually entering government service as an agent in Vladivostok, Russia.

Democratic Congressman James Clyburn, at the unveiling
(TheState.com © Tracy Glantz tglantz@thestate.com)

Yesterday, the University of South Carolina unveiled a 9-foot tall statue honoring Greener as one its pioneering figures. Speakers, including Democratic Congressman and Minority Whip James Clyburn, praised his numerous contributions during his brief stay at the university, which included serving as professor of philosophy, while also teaching the classics, mathematics, and constitutional history and serving as USC's first librarian. The statue, by Jon Hair, stands next to the Thomas Cooper Library, which he led. While teaching Greener simultaneously enrolled in South Carolina's law school, graduating with honors, and was admitted to South Carolina's bar in 1876 and the DC bar in 1877. An advocate for racial equality, journalist, and secondary school educator as well, Greener later moved to DC, beginning his career at Howard in 1879, where he taught until 1881.

Evelyn Bausman, a grand-daughter
of Richard T. Greener, poses with
a statue of Greener that was
unveiled at The University of South Carolina.(TheState.com © Tracy Glantz tglantz@thestate.com)

He would go on to open his own law practice, and later, after serving as US Consul to Bombay, India, became the first black US diplomat to a predominantly white country and the first American to hold his Russian post. Throughout, Greener kept writing and advocating on behalf of African Americans; ironically, his daughter, Belle da Costa Greene, would pass as a white woman in New York, and gained the confidence of and great influence with banker J. P. Morgan, becoming his chief manuscript advisor and eventually the first director of the Morgan Library. At a time when US municipalities, public and private institutions, and corporations are rethinking monuments to problematic historical figures and eras, like the Confederacy, the USC unveiling offers and enshrines a powerful and necessary counternarrative.

Richard T. Greener
(photo courtesy of Harvard
University Library)

In 2001, while celebrating its centenary, USC commissioned and staged a play, The White Problem, by Jon Tuttle, about Greener's time on campus. Then in 2013, the centenary of Greener's arrival at South Carolina, the university honored him by reintroducing him to the campus, complete with a ceremony (see below) on his behalf. Among the events to celebrate him, there was an official presentation of his law diploma and law license, which USC purchased from the Chicago trove. As for his first alma mater, Harvard installed a portrait of Greener in   its Annenberg Hall, located in its famous Memorial Hall (opened the year of Greener's graduation). In addition, the Cambridge Historical Commission mounted a plaque commemorating him on College House, in Harvard Square, at 1430 Massachusetts Avenue. You can learn more about Greener's life in Katherine Reynolds Chaddock's biography Uncompromising Activist: Richard Greener, First Black Graduate of Harvard College (Johns Hopkins, 2017).

Alain Locke's Proper Burial + Poem

Alain Locke,
by Winold Reiss, c. 1921

In 1954, Alain Leroy Locke (b. 1885), one of the chief intellectual forebears and anchors of the Harlem Renaissance, an important theoretician of philosophical pragmatism, and the author who coined the term "New Negro," which was the title of his landmark, eponymous anthology and essay, announcing the arrival of a new artistic, social and cultural movement, died in New York City. For many decades Locke had been Professor and Chair of Philosophy at Howard University, from which he was temporarily dismissed for three years in the 1920s, before being reinstated, for teaching a course on race relations. It was at Howard that he taught Toni Morrison and many other major African American artists and other cultural and political figures.

A native of Philadelphia, Locke had graduated from Harvard College with highest honors and been elected to Phi Beta Kappa, and in 1907 became the first African American recipient of a Rhodes Scholarship, allowing him to study at University of Oxford's Hertford College, after which he studied at the University of Berlin, before returning to Harvard to receive his Ph.D. in philosophy in 1918. All of the important figures in the Harlem Renaissance knew and interacted with Locke; for some, like Langston Hughes, who would study at Howard in part through Locke's urging, he played a key role in cultivating their intellectual development. Like a number of his fellow Harlem Renaissance peers, Locke was also gay, though this was not widely known beyond his close associates and other Harlem Renaissance figures until after his death.

The container that held Locke's ashes
(Astrid Riecken/Washington Post)

Despite his stature, upon his death and after his cremation, his ashes were not interred anywhere, but passed into the custody of his estate executor, dear friend and fellow educator, Arthur Huff Fauset, half-brother of Harlem Renaissance author Jesse Redmon Fauset. After Fauset's death in 1983, his 91-year-old niece, Conchita Porter Morison, received the cremated remains and she contacted her friend, Sadie Mitchell, who also knew Locke and Arthur Fauset. Mitchell would serve as an "intermediary" with Locke's longtime employer to secure a place for the late philosopher's remains. When Howard coordinator of music history J. Weldon Norris traveled to Philadelphia in the mid-1990s, Mitchell passed on the ashes to him. From Norris the remains went to Howard's renowned archives, the Moorland Spingarn Research Center, where Locke's papers are stored, and then on to the W. Montague Cobb Research Laboratory, where they were repackaged in a simple urn and placed in a locked safe by then director Mark Mack.

Finally, as Frances Stead Sellers reported in a Washington Post article on September 12, Locke's ashes were buried in Capitol Hill Congressional Cemetery, in a September 13 ceremony funded by African-American Rhodes Scholars, of whom there are over six dozen now. This tribute and proper memorial, with an engraved granite headstone, arose during planning by the Association of American Rhodes Scholars, in conjunction with Howard, for a symposium to honor the centenary of Locke's Rhodes Scholarship. In the process of conceiving the symposium, the Association learned of the status and location of Locke's remains, and through the financial support of Black Rhodes Scholars, he is now properly laid to rest.

According to Stead Seller's article, his headstone appears as follows:

Alain Leroy Locke, it reads, 1885-1954: “Herald of the Harlem Renaissance, Exponent of Cultural Pluralism.” On the reverse side are four symbols: a nine-pointed Baha’i star representing the religion that emphasizes the spiritual unity of humankind; a Zimbabwe bird, the emblem of the African country formerly called Rhodesia, which the American Rhodes community adopted; a lambda, symbolizing gay and lesbian rights; and Phi Beta Sigma, the fraternity Locke joined at Howard.

Alain Locke, by Betsy
Graves Reyneau

Some years ago, I wrote a short poem for Locke that I've never published, but in his honor, I'm posting it here. He was, as the Washington Post article notes, and as Toni Morrison described in her public conversation with Ishmael Reed at Margaret and Quincy Troupe's Harlem Arts Salon last year, utterly "fastidious,"  so I hope the poem possesses some of the spirit of his rigor too. He was an extraordinary figure, one of so many of his time and era, who have made so much that followed him possible, in this country and beyond. I thus share with you "Alain Locke at Stoughton Hall" (Stoughton is one of the freshman dorms at Harvard, Sever is the home of Harvard's philosophy department, William Henry Lewis was one the college's first and black football stars, William Monroe Trotter one of its famous black activist alumni. Du Bois needs no introduction).

ALAIN LOCKE IN STOUGHTON HALL
 
Between their theses he writes his own.
 
Between "the general theory of value"
 
and "beauty consisting in ideal forms"
 
he pens fresh hypotheses. Back, past
 
Pliny and Mary Locke to the first ones,
 
speechless and staggering sick with sea
 
and living memories of sour-sour, gold-
 
weights, delta deities ghosting

into mastlines. Dread of these forlorn

shores. Dread of salty tongues' renaming
 
them, their own names buried under winter-

ed paving stones. In the spirits' graveless

inquietude, the cries of two centuries'

mute nights, he has grasped his nation's
 
true history: resistance and the cold-
 
hearted ability to make oneself
 
anew remain his true inheritance.
 
***

           
His journey from colored Philadelphia
 
to the Square: the hero's solitary
 
trajectory.  Within the dreamsongs
 
guiding him out of yesterday's

sorrows furl maps of righteousness
 
and Quaker industry. Here he treads
 
as he did through the schoolyards
 
and alleyways of fists, brick valleys
 
of indifference. Tiny warrior,
 
he holds little fear of being the queer
 
exception defying local customs,
 
minister of his own natural law.
 
As for fools and impolitic white
 
people, he suffers them coolly as any
 
politico, performing the acrobatics
 
by which he balances his days
 
with "master minds" in Sever, nights
 
at the library, the Boylston laboratories.
 
Someday some will claim they knew
 
him. Some days he thinks they'll recall him
 
more swiftly than the footballer Lewis,
 
the agile scholar and gem-eyed DuBois,
 
the Boston-born rebel Trotter.
 
***

You are the emblem of Negro genius.
 
You are the affirmation of the plural cause.
 
You are the angel gliding between histories
 
you must use and ones that silence you,
 
man, African, American, Harvardian, human.

Amid this desert of touch, threadbare

society of friends who can never

truly comprehend or love you,

amid the arid propositions of Kant,
 
Plato and Aristotle, Hegel and Santayana,
 
which once might have been your sextants,
 
you chart your passage into the bay
 
of your people’s stories, voyage

of a mind and vision honed.

Sunday now, and distant bells summon

hungry souls. Freedom is sailing
 
by the compass of possibility, fearless,
 
even if with no ship or sea at all.
 
You will stay and write until
 
your heart runs out.  You will take this
 
dark knowledge and spread it.

Copyright © John Keene, 2014. All rights reserved.