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But he was powerfully drawn to his mother. He was being cultivated to be a race leader: a metallic statue of polished masculinity.
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“No special indulgence as to sentiment very little kissing, little or no fairy stories, no frightening talk or games.” Instead, Pliny read aloud from Virgil and Homer, but only after Roy had finished his early-morning math exercises. “I was indulgently but intelligently treated,” Locke later recalled. Roy (as Alain was known in childhood) was Pliny’s project. Stewart’s new biography bears the perhaps inevitable title “ The New Negro: The Life of Alain Locke.” But the title makes a point: the New Negro, that lively protagonist stomping onto the proscenium of history, might also be thought of, tenderly, as a figure for Locke himself. “The New Negro,” which appeared just a year after Locke’s summer visit with Hughes, launched the Negro Renaissance and marked the birth of a new style: the swank, gritty, fractious style of blackness streaking through the modern world. Locke drove it forward and is remembered, dimly, as its “dean.” Whoever knows his name today likely links it to “ The New Negro: An Interpretation,” a 1925 anthology that planted some of the bravest black writers of the nineteen-twenties-Hughes, Cullen, Toomer, Fauset, Claude McKay, Zora Neale Hurston-squarely in the public eye. Du Bois had announced in 1920, “to start a renaissance.” “I think we have enough talent,” W. E. B. Cullen was gaining renown the novelist Jessie Fauset was the literary editor of The Crisis and Jean Toomer’s “Cane”-a novel in jagged fragments-had trumpeted the arrival of a new black art, one chained to the fate of a roiling, bullied, “emancipated” people. Hughes had found a use for the gallant Locke: an entrée to the bold movement in black American writing then rumbling to life. I like him a great deal.” The words are grinning-and sexless.
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“Locke’s here,” Hughes wrote to their mutual friend Countee Cullen. Each man was trapped in the other’s fantasy: Hughes appeared as the scruffy poet who had fled his studies at Columbia for the pleasures of la vie bohème, while Locke was the “little, brown man” with status and degrees.ĭays passed in a state of dreamy ambiguity. This was the first time they’d met-but, after more than a year of sighing letters, Locke had come to Paris flushed with amorous feeling. Now in Europe on vacation, he had come to call.ĭuring the next two weeks, the middle-aged Locke, then a philosophy professor at Howard University, snatched the young Hughes from dingy Montmartre and took him on an extravagant march through ballet, opera, gardens, and the Louvre. He had got my address from the Crisis in New York, to whom I had sent some poems from Paris. Locke who had written me about my poems, and who wanted to come to see me almost two years before on the fleet of dead ships, anchored up the Hudson. Alain Locke of Washington, a little, brown man with spats and a cultured accent, and a degree from Oxford. A mild and gentle voice answered: “Alain Locke.”Īnd sure enough, there was Dr.