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Arna Bontemps Advises Christian 

on Securing  a Rosenwald Fellowship

 

 

 Letter 22

 

703 East 50th Place,

Chicago, Illinois

29 December '42

 

My dear Christian, 

This part of my reply to your Christmas day special is a bit tardy, but rest assured the more vital part was given immediate attention. I am sure that by now you have received one of the two sets of blank applications sent you by the Fund. One went in care of Lyle Saxon, along with the letter

Mr. Embree wrote. The other Miss Utley, secretary to Wm. C. Haygood, sent directly to you at my request. Incidentally, I saw the Saxon letter to Mr. Embree and the answer. In fact, Mr. Embree discussed it before replying.

Now for the subject matter. Your chance of getting the fellowship is excellent this year. Age worked against you more than anything else in your last try. This year the requirements will be relaxed as a result of the war. I suggest that you outline a project something like this: a) completion of the Negro in Louisiana study, b) some historical research that you may decide upon, for example, 'collecting biographical material concerning free men of color in Louisiana', c) assembling and writing first draft of 'b'. If the above doesn't get it, nothing will.

It would probably be best to leave the Illinois study out of the project. There are several reasons. 1.) Jack Conroy and I have been given permission to rework parts of it in another connection. This has been done, and the manuscript is now in the agent's hands. 2.) My own plans are obscure for the moment. Being on fellowship now, I will not have to decide whether or not I'll re-apply till March.

In the meantime two or three irons are in the fire, and I'll want to see what comes of them before I commit myself to another fellowship application. One of these irons is a job which it was more or less understood I would take following my present year's work. So you see I'm hogtied for the present. But that is no cause for worry. I will speak in behalf of your candidacy and thereby bring to bear any strength which I may have.

You will perhaps need to send representative sections of the Louisiana book to the director of fellowships. I suggest that this be done now rather than waiting for the 'additional evidence' call. In my opinion it is the stuff that comes in early that exerts the influence. That is the stuff that gets thoroughly read by the ADVISERS. Only when the issue is in doubt is the 'additional evidence' called for. Two strikes are already against the candidate in such cases. I strongly advise that you present about two or three hundred pages of the most interesting historical sections of your book right away.

Tomorrow I'm going East on an errand connected with Yale and the James Weldon Johnson Memorial Collection. The Yale Gazette has asked me to do an article about the collection. My hope is that both you and Lyle Saxon will have made a contribution to it by the time my article is published. An opportunity for a good 'plug' would thus be afforded. I expect to be back in Chicago by January 7th.

Something in Mr. Saxon's letter makes me curious. He spoke of some passages in the NEGRO IN ILLINOIS which he thought might perhaps be regarded by some as controversial. As an amateur investigator, I am excited by that. Could you give me a hint as to which sections gave this impression? We have had a bit of fun with reactions like this. Frankly, I'm blissfully unaware of any questionable history in the book, though its other shortcomings and additional requirements are only too plain. But the history part is like a game to me--since my approach is strictly nonprofessional--and I can't wait to find out where we have rushed in where the angels would have hesitated.

I spoke of having fun with similar reactions. Well, not to lay any traps, we caught a couple of the more academic historians (in a prankish way) on some of the stuff which they thought sure was bogus till we brought in the documentation. Did the bibliography accompany the copy of the manuscript which you saw? Mind, I'm not saying the manuscript doesn't contain doubtful or debatable material, but only that I'm unaware of it.

Finally, a word about your suggestion of appearing before the committee. That is something which I would suggest that you take up with Mr. Haygood well in advance. You see, one never know who will be on the committee from year to year, the time or place of the meetings, etc. Moreover, there may even be some policy about personal appearances by candidates before the committee.

All in all, I don't see how you can miss this shot. Give it a try.

Ever sincerely, 

Bontemps

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Arna Wendell Bontemps (1902-1973) -- born in Alexandria, Louisiana, the son of Creole parents --  was one of the more prolific writers of the Harlem Renaissance. He was the author of over 25 books of poetry, history, biography, fiction and anthologies. Bontemps was a major figure of the Harlem Renaissance. Bontemps served as head librarian at Fisk University from 1969 to 1972. He was also curator of the James Weldon Johnson Memorial Collection of Negro Arts and Letters at Yale University.  In 1923, Bontemps received his B.A. from Pacific Union College in Angwin. In 1924, his poetry appeared in Crisis magazine, the NACCP periodical edited by Dr. W.E.B. DuBois.

In 1926 Golgotha Is a Mountain won the Alexander Pushkin Award and in 1927 Nocturne at Bethesda achieved first honors in the Crisis poetry contest. Personals, a collection of poetry was published in 1963.

 

Bontemps then turned to prose. In the decade of the thirties, he wrote three acclaimed novels God Sends Sunday (1931); Black Thunder (1936); and Drums at Dusk (1939). Frustrated in his ability to reach his own generation Bontemps to literature for children and young graders. In 1937 he published the Sad-Faced Boy; and others for  young audience included We Have Tomorrow (1945) Slappy Hopper (1946) and Story of the Negro (1948).

Bontemps was involved in the publication of at least three anthologies: Golden Slippers: An Anthology of Negro Poetry for Young Readers (1941);  with Langston Hughes, The Poetry of the Negro, 1746-1949 (1949);  and Bontemps, American Negro Poetry (1963 & 1974 rev.). Bontemps was gracious enough to include Christian's poems in all his anthologies.

Bontemps' beautiful short story "A Summer Tragedy" is found often in anthologies. It is indeed a treat. His poems "A Black Man Thinks of Reaping," "Southern Mansion," and "Nocturne at Bethesda" are often anthologized. But such poems as "My Heart Has Known Its Winter" and "Day Breakers" are also found in anthologies.

Early in his career Bontemps had wanted to get a Ph.D. in English but with his marriage in 1926 and the coming of six children he had to work. He taught for awhile at an Alabama junior college. With the coming of the Depression he worked for the Illinois WPA and supervised and assisted in the writing of a history of the Negro in Illinois. In 1943 he completed a degree in library science and served as librarian at Fisk University and developed an archive of African American cultural materials that is a major resource for study in this field.

 

Anyplace But Here

Arna Wendell Bontemps : A Bibliography

Robert E Fleming.  James Weldon Johnson and Arna Wendell Bontemps: A reference guide. G. K. Hall, 1978

Kirkland C. Jones. Man from Louisiana; A Biography of Arna Wendell Bontemps.. Greenwood Press, 1992.

Sterling Brown "Arna Bontemps: Co-worker, Comrade." Black World 22:11 (September 1973): 92-98.

Wikipedia-Wendell_Bontemps

 

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Related files: A Black Man Thinks of Reaping   Southern Mansion  Illinois WPA -- Arna Bontemps  Arna Bontemps Advises Christian on a Rosenwald Fellowship  

Arna Bontemps Acknowledges Documents from Christian  Fifty Influential Figures