Part I
Documentary
CHAPTER ONE
Photography and the Development of Radical Poetics
Langston Hughes in Haiti, Mexico, Alabama
But how many people have really listened to this photograph?
âFred Moten, In the Break
What Kind of Poem Would You Make?
For Langston Hughes, the âred decadeâ began with a trip to the Caribbean. During the spring and summer of 1931, Hughes and the African American artist Zell Ingram traveled to Cuba and Haiti. The trip came at a formative moment for Hughes, when the âpersonal crashâ engendered by his break with patron Charlotte Osgood Mason intersected with the effects of the 1929 stock market crash. As he later described it in his autobiographical I Wonder as I Wander, which opens with his 1931 travels, âWhen I was twenty-seven the stock-market crash came. When I was twenty-eight, my personal crash came. Then I guess I woke up.â1 Whether or not Hughesâs contemporary readers specifically reference his travels to the Caribbean, they also mark the early 1930s as a significant moment of personal and artistic transformation. Hughes had been involved in left political and cultural institutions prior to the 1930s (as a high school student, he supported the Russian Revolution, and he had been writing for Communist Party publications throughout the twenties), but his participation in the left increased exponentially during the Depression and had a âmarked impactâ on the form and content of his poetry.2 Hughesâs experiences in the Caribbean, and in Haiti specifically, were influential on the construction of his political persona and his radical poetics during the Depression. In U.S.-occupied Haiti, Hughes witnessed the exportation of Jim Crow, and what he saw there intensified his outrage at systems of race and class oppression. At the same time, his travels in the country engendered a connection to histories of black rebellion, which he linked to present international struggles against racial and economic imperialism.3 His 1932 poem âAlways the Same,â for instance, evokes the âcoffee hills of Haitiâ in order to articulate the struggle of black laborers in the Americas at the same time that it uses documentary lists to demonstrate how those âcoffee hillsâ are connected to âthe docks at Sierra Leoneâ and the âcotton fields of Alabamaâ in ways that disrupt U.S. nationalist-populist discourses about left struggle.4
Thirties political poems such as âAlways the Sameâ can be better understood, in both historical and theoretical terms, when one considers that Hughes traveled to the Caribbean in 1931 with the Kodak camera that his friend Amy Spingarn gave him as a graduation present. The extent to which Hughes used his handheld camera to document Haitian people, landscapes, and monuments is proven by his extensive visual archive from the trip, which contains several contact sheets of photographic prints, picture postcards, a photograph album, and âloose pagesâ from a scrapbook. At first glance, Hughesâs snapshots from Haiti, along with the albums and scrapbooks where he carefully arranged and captioned them, might appear as unremarkable personal ephemera. This is perhaps why, despite the continued critical interest in discerning the literary-historical and political import of Hughesâs travels in Haiti, almost every story told about them either leaves out the fact of Hughesâs Kodak or mentions it only in passing.
Hughesâs experience of taking photographs in Haiti, along with the process of organizing them in albums and scrapbooks, generated questions about the politics and practices of representation that he pursued in his subsequent political poetry. He did not snap pictures as merely a hobbyist or awed tourist. Hughesâs practice of visually documenting Haiti occurs in the context of his increasing involvement in left political and literary organizations during the early 1930s, and his photographs of barefoot children, fishermen, and women selling wares in crowded marketplaces demonstrate his concerted, if vexed, political effort to make visible the Haitian peasant class as well as his desire to comprehend the experiences of black diaspora subjects in relation to the totalizing effects of capitalism and imperialism. Hughesâs oft-cited accounts of HaitiââThe People without Shoesâ (1931), âWhites Shadows in a Black Landâ (1932), and the first chapters of his autobiography I Wonder as I Wander (1956)âindicate how he saw the country through the lens of intersecting racial and class struggles, and they emphasize the connections he made between what he witnessed in Haiti and the conditions of subaltern groups in other parts of the world. Hughesâs photographic encounter with Haiti is part of the construction of a transnational vision that starts in the Caribbean but then moves through the U.S. South and Mexico. Across these sites, Hughes utilizes documentary imaging as a resource in the construction of an anticapitalist, anti-imperialist countervisuality, one that is enacted in the interference between photography and writing.5 The photographic image is fundamental to Hughesâs attempts to map the connectedness of persons and locales in a capitalist world system as well as to imagine the formation of international political communities in resistance to that system.
The two chapters that compose this first section examine closely the nexus between documentary and poetic genres, demonstrating how Depression-era writers fused the two as part of their efforts to grasp historical experiences of capitalist crisis. Documentary techniques and objects reveal significant aspects of how left writers imagined the poem in relation to other technologies for representing political subjects. Even though Hughes was not publishing actively in photo-textual or photojournalistic modes during the thirties and forties, he, like his comrade Richard Wright, was attuned to the form and politics of the documentary photograph, and his experiments with emergent proletarian aesthetics were informed by the possibilities of photography.6 Indeed, it was a photographer, Henri Cartier-Bresson, who reminded Hughes in 1935, âYouâre a child of the proletariat first.â7 Unlike poets discussed in chapter 2, such as Muriel Rukeyser, Ben Maddow, and Archibald MacLeish, Hughes did not overtly incorporate or theorize visual objects in his poems. Nonetheless, he described his early-thirties poetry as âdocumentary, journalistic, and topical.â8 The interactions between Hughesâs Haiti photography and his early Depression poems are conceptually complex: exemplifying Rukeyserâs call to âextend the documentâ and, as I will discuss later in the chapter, to âphotograph and extend the voice,â in ways that explicitly address the international black proletariat and multiracial communist coalitions. The range of Hughesâs engagements with documentary imagingâfrom his own photographs of Haiti to his relationships with photographers such as Manuel Ălvarez Bravo and Cartier-Bressonâpush beyond the bounds of New Deal initiatives as they employ documentary in the shaping of an international public sphere.
Opening Hughesâs visual archive from Haiti recontextualizes the development of his radical poetics in terms of a documentary modernist tradition and, in so doing, reframes his political poems in relation to black experimental writing traditions. When Hughesâs 1930s poetry is recuperated, it is often idealized as a conduit for âcommonâ or âvernacularâ speech.9 Even recent efforts to demonstrate how the internationalist impulse of Hughesâs social poetics was mediated by modern technologies such as the radio cling to fantasies of ârepresentative voicesâ that âcould speak for allâ through the ideal of a âuniversalizedâ expressive subject.10 Such analyses partake in an interpretive practice that Anthony Reed terms âracialized reading,â a âparticular kind of misreadingâ that âlocates texts within a preemptive black tradition or black social location,â and as a result they foreclose alternate possibilities imagined through experimental writing. Hughesâs engagements with photography, insofar as they complicate the notion that his poems are sites of authentic or unmediated expression, provide an alternate interpretive context that also allows for a âradical unlearningâ of the predetermined understandings of black social life on which racialized reading practices rely.11
Complicating current understandings of Hughesâs career as a radical poet, this chapter further illuminates how African American writersâ engagements with photography enable âan altered understanding of the literary fieldâ as well as a renewed understanding of âphotography as a practice and cultural resource.â12 The movement between Hughesâs visual archive and his thirties poems also reorients conceptions of the relationship between the historical and the expressive. Created out of the interference between the visual and the verbal, Hughesâs radical verse interrogates how the speaker of a poem exists in a gap between lived history and representation, and it enacts a mode of expression that is not authentic or private but mediated by technology and history. Thus, there is more at stake in Hughesâs contemplation of the relationship between the photograph and the poemâor image and textâthan figuring how the poem might match the photographâs ability to render visible subaltern populations. What struck Hughes about photographs was not their evidentiary power but their unique temporality: the photographâs capturing of an immediate situation provided Hughes with a template for representing new global political realities and networks of relation. Even if the photograph per se vanishes from Hughesâs interwar radical poetry, it remains as part of his conceptual and formal imagining of an international revolutionary community. In this sense, Hughesâs interwar political verses, far from being merely âham-fistedâ or âdidactic,â are historical exemplars of, and precursors to, contemporary multimedia experiments that negate the conservative ideological parameters of the expressive subject.13
I begin by examining Hughesâs overlooked archive of photographs and scrapbooks from Haiti, demonstrating how Hughesâs photographic encounter with Haiti reveals significant aspects of how he imagined the poem in relation to other technologies for representing political subjects. In subsequent sections, I extend these considerations to Hughesâs interwar radical verse, including his 1931 verse play Scottsboro Limited, showing how Hughesâs encounters with visual objects on an international scale continued to influence his poetic compositions during the interwar period. The chapter closes by demonstrating how Hughesâs contemplation of the relationship between the practices of photography and poetry writing opens up new readings of James Agee and Walker Evansâs canonical documentary modernist text, Let Us Now Praise Famous Men (1941), notably Ageeâs statements about the status of the poetic. Hughesâs early radical verses, like Ageeâs experimental prose, attempt to translate the truth claims of the photograph into language and, in so doing, gesture toward an unrealizable whole through a concentration on the particular. To put it in Jacques RanciĂšreâs terms, Hughesâ...