The Black Cultural Front describes how the social and political
movements that grew out of the Depression facilitated the left turn
of several African American artists and writers. The Communist-led
John Reed Clubs brought together black and white writers in writing
collectives. The Congress of Industrial Organizations's effort to
recruit black workers inspired growing interest in the labor
movement. One of the most concerted efforts was made by the
National Negro Congress (NNC), a coalition of civil rights and
labor organizations, which held cultural panels at its national
conferences, fought segregation in the culture industries, promoted
cultural education, and involved writers and artists in staging
mass rallies during World War II.
The formation of a black cultural front is examined by looking
at the works of poet Langston Hughes, novelist Chester Himes, and
cartoonist Ollie Harrington. While none of them were card-carrying
members of the Communist Party, they all participated in the Left
at one point in their careers. Interestingly, they all turned to
creating popular culture in order to reach the black masses who
were captivated by the movies, radio, newspapers, and detective
novels. There are chapters on the Hughes' "Simple" stories, Himes'
detective fiction, and Harrington's "Bootsie" cartoons.
Collectively, the experience of these three figures contributes
to the story of a "long" movement for African American freedom that
flourished during the 1930s, 1940s, and 1950s. Yet this book also
stresses the impact that McCarthyism had on dismantling the Black
Left and how it affected each individual involved. Each was
radicalized at a different moment and for different reasons. Each
suffered for their past allegiances, whether fleeing to the haven
of the "Black Bank" in Paris, or staying home and facing the House
Un-American Activities Committee (HUAC). Yet the lasting influence
of the Depression in their work was evident for the rest of their
lives.
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