But in the end, I can’t think of anything to say, except: read the articles for a view of what some contemporary Black American writers had to say about U.S. expansionist policies at the time, and about their various perspectives on the world in general. Read multiple issues from The Digital Colored American Archive, for that matter. I’ll just quote a passage that caught my eye, from the article “Negro and Filipino,” which was reprinted in the October 1900 issue from the Lewiston Journal (author unknown):
Political demagogues who cry upon the corners for liberty to the Tagalogs and the Sulus shut their eyes and ears to the disfranchisement of this people whom Lincoln freed.
Anti-imperialists who sweat blood because McKinley, in obedience to the Senate, assumes to place the flag in Manila and to defend it there, are silent over the act that Louisiana and Mississippi pass laws that admit the vote to white men who cannot read or write and deny it to black men because they cannot read or write.
The fact is, that here in this nation the very sins which they wrongfully impute to the Republican party in the Philippines, they cultivate and promote within the body politic of the states of the nation that hate the Negro and seek to relegate him to ignorance and superstition in order to perpetuate his servility and his dependence.
I recently finished reading The Conjure-Man Dies, the first and possibly only Golden Age detective novel by an African-American author
It was sooooo good.
The plot is complex and twisty, but not overly complicated. The novel, which came out in 1932, has both aspects of a classic “murder in the library” Golden Age mystery, and of grittier, hardboiled crime fiction as well. It even has a little bit of mysticism and some supernaturalish elements — but don’t worry, there’s no “cheating:” the crime and its solution are strictly down-to-earth.
The novel’s author, Rudolph Fisher (1897-1934), was a practicing physician and medical researcher, a radiologist, and a member of that eminent group, Doctors Who Write — in such company as Arthur Conan Doyle, W. F. Harvey, David H. Keller, and probably more that I’ve forgotten about. Fisher puts his knowledge to good use in this story, which features, among other things, a nice description and use of (pre-DNA) methods of blood sample comparisons, and other clever forensic things.
As the story opens, Dr. John Archer is summoned late at night to the house across the street, where he finds the dead body of N’Gana Frimbo, a “Psychist”, or as he’s known in the neighborhood, a conjure-man. One of Frimbo’s clients discovered the body, and it soon becomes clear to Archer and Detective Perry Dart (one of only ten black detectives in Harlem) that the murderer must be one of the clients who consulted with Frimbo that evening. It doesn’t take too long to find a suspect, but then things take an odd, odd turn….
Today’s featured author is Pauline Elizabeth Hopkins (1859-1930): writer, journalist, editor, poet and playwright. From approximately 1902 to 1904, she was the editor of Colored American Magazine, one of the earliest literary and cultural journals aimed at an African-American readership (“a magazine Of the Race, By the Race, For the Race“). She was also the magazine’s most prolific contributor, serializing several novels within its pages, and often writing pieces for the magazine, both fiction and non-fiction, under various pen names.
I’m featuring her today for her gothic adventure-romance Of One Blood; or The Hidden Self, which was serialized over eleven issues of Colored American Magazine. However, she is also a germinal figure in one of my other favorite genres: detective fiction. Her short story “Talma Gordon,” published in the October 1900 issue of the magazine, is said to be the first published mystery by a black author [citation]. Her novel Hagar’s Daughter: A Story of Southern Caste Prejudice is “the earliest-known African American novel to feature a black detective” (two of them, actually) [citation, but see note1 below]. I’ll talk about all three of these works (with links to read them!) in this post.
Hopkins is an important figure in Black American literature, but for a long time she was obscured by other black literary figures of her era. A 1972 Phylon article brought her back to public (or at least academic) notice. Since then, there’s been a fair bit of Hopkins scholarship. I’ll also point you to some interesting articles from that literature stream, as well.