Home to Harlem by Claude McKay

1. Home to HarlembyClaude McKay III and IV of IV

2. Zeddy’s Rise and Fall “’ll mek mah breddah beat you’ bottom foh you.” “Gash it and stop you’ jawing.” ` They were interrupted by another West Indian girl, who wore a pink-flowered muslin frock and a wide jippi-pippi hat from which charmingly hung two long ends of broad green ribbon. “It’s a shame. Can’t people act like decent English people?” she said. Gently she began pushing away the assaulted girl, who burst into tears. “The come boxing me up ovah a dutty-black ‘Merican coon.” “Mek a quick move, or I’ll box you bombole ovah de moon,” her assailant cried after her.... “The monkey-chasers am scrappin,” Zeddy commented. “In a language all their own,” said Jake. “They are wild womens, buddy, and it’s a wild language they’re using, too” remarked young West Indian behind Jake. Talking Points • McKay presents us with four West Indian personages in this passage who speak in three different ways? What are these different ways and what is the rhetorical and polemical impact of this strategic deployment of dialects and “standard English”? Why do you think Jake--the character most often marked by dialect--is one of the two personages speaking in “standard English”? • McKay deploys the language of primitivism is several ways in this passage. What terms would you say he uses to invoke the language of primitivism? Do they invoke the discourse of primitivism or not or both? What rhetorical and polemical purposes does they serve in this context? The fight takes place in the nude for specific reasons. What are they and how do they complicate the discourse of atavistic primitivism? • Describe the implications and ironies of Jake’s use of the paradoxical phrase “in a language all their own.” Does it help to consider it in light of the victor’s remark about “a dutty-black ‘Merican coon” • What do you make of the callousness of the girl in the flowered frock who “pushes” away the assaulted girl?

3. The Raid at the Baltimore Madame Suarez’s Flat Mixed Justice Talking Points For McKay, a fear of hybridity equated to a fear of internationalism. Knowing this, what is the rhetorical effect of juxtaposing a “mauve” girl against the invocation of “All Americans” and the international audience who loves jazz? In light of point one, what can be said of the judge? Does he, in effect, come to symbolize a form of nationalism? Is so, what kind? What is the rhetorical effect of the narrator relating the fact that the judge wished he could whip the girls in light of the legacy of slavery? Given that the whole world and All Americans “jazzed to it,” how is this judge’s brand of mixed justice multiply ironic/hypocritical? And what does this detail (if it does) have to do with black internationalism? Is this simply Hughes’s exploitative Parisian cabaret, or something more? At the piano a girl made up in mauve was rendering the day. Broadway was wild about it and Harlem was crazy. All Americans jazzed to it, and it was already world famous. Already being jazzed perhaps in Paris, Cairo, Shanghai, and Java. They were all fined. But Madame Suarez, besides being fined, was sent to Blackwell’s Island for six months. To the two white girls that were also taken in the raid the judge remarked that it was a pity he had no power to have them whipped. For whipping was the only punishment he considered suitable for white women who dishonored their race by associating with colored persons.

4. Jake Makes a Move When he returned to the house he hard laughter in the room. Gertie Blake was there and Rosie was telling a happy story. He stood by the close door and listened a while. “Have another drink, Gertie. Don’t ever get a wee bit delicate when youse with me…. My, mah dear, but he did slap the day-lights outs me. When I comed to I wanted to kiss his feet, but he was gone” “Rose! You’re the limit. But didn’t it hurt awful?” “Didn’t hurt enough. Honey, it’s the first time I ever felt his real strength. A hefty-looking one like him, always acting so nice and proper. I almost thought he was getting sissy. But he’s a ma-an all right…” A nasty smile stole into Jake’s features. He could not face those women. He left the house again. He strolled down to Dixie Red’s pool-room and played awhile. From there he went with Zeddy to Uncle Doc’s Saloon. Talking Points • What were the circumstances that led Jake to hit Rose? In light of them, what do you think McKay is trying to suggest about gender relations in his Harlem? • Rose does a lot of bragging in this passage. What is she bragging about? And what is McKay trying to suggest by having her do it? Is she simply crazy? Or is there more to it? • Here, Rose equates masculinity, violence, and possession? What are the rhetorical implications of this? • What rhetorical effect does describing Jake’s smile as “nasty” produce? • What do you make out of the fact that Jake heads to “Dixie Red’s” pool house after overhearing this conversation?

5. The RailroadBlackNationalism and Internationalism Talking Points After Jakes charade of being proficient in French is exposed, he asks to be spoken to in “United States”? What is the rhetorical and polemical impact of this odd turn of phrase? From the outset, we have are presented with a Ray who can, at the very least be described, as bookish. Although his knowledge interest Jake, his books don’t. What do you make of this? If nothing, keep this difference between the two buddies in mind. What is the thematic importance vis-à-vis nationalism and internationalism of Jake’s fascination with Ray’s knowledge and Ray’s willingness to share? What are some of the significances of the fact that Ray has, in effect, joined the lumpen (while, granted, remaining a student) due to U.S Imperialism in Haiti? Why describe the train that invoke primitivism in the context of industrialization? “So you were over there?” “Au oui camarade, “ Jake beamed. “I was way, way over there after Democracy and them boches, and when I couldn’t find one or the other, I jest turned my black moon A. E. F…. But you! How come you just plowing through this here stuff lak that? I could never see no light at all in them print chappie. Eh bien. Mais vous compris beaucoup.” “Ce’s ma langue maternelle.” “Hm!”” Jake made a face and scratched his head. “Comprend pas, chappie. Tell me in straight United States. Had Jake ever heard of Liberia, founded by American Negroes? And Abyssinia, deep-set in the shoulder of Africa, besieged by the hungry wolves of Europe? The only nation that has existed free and independent from the earliest records of history until today! The great black animal whistled sharply and puff-puffed slowly into the Station of Pittsburgh

6. Snowstorm in Pittsburgh:The Possibilities and Problematics of a Black Internationalism, Race, Nation, Civilization Talking Points Race and nation were, at one time, synonymous terms. What do you make of Ray’s internal conflict here: he feels he “ought” to love the men who claim “kinship” with him and yet has a great distaste for feeling as though he must “love”? Is this a simple back and forth? Or is something more going on here? What role does the fact that Ray is delusional in this chapter play on our interpretation of his machinations and memories? In Haiti, Ray drew distinctions between members of the Diaspora and himself as a proud Haitian nationalist. Now, displaced, he finds himself both one and not one of them. What do you make of the polemical and metaphorical importance of this shift? What is the magnificent monster of civilization? The U.S.? If so, why does the narrator differentiate it from Uncle Sam? How does the finl sentence of the first passage reposition primitivism? What is the metaphorical resonance of Jake’s last sentence vis-à-vis the concept of difference in unity? Sleep remained cold and distant. Intermittently the cooks broke their snoring with masticating noises of their fat lips, like animals eating. Ray fixed his eyes on the offensive bug-bitten bulk of the chef. These men claimed kinship with him. Man and nature had put them in the race. He ought to love them and feel them (if he felt anything). Yet he loathed every soul in the great barrack-room, except Jake. Race…. Why should he have to love a race? Races and nations were things like skunks, whose smells poisoned the air of life. Yet civilized mankind reposed its faith and future in their ancient. Silted channels. He remembered when little Hayti was floundering uncontrolled, how proud he was to be the son of a free nation. He used to feel condescendingly sorry for those poor African natives; superior to ten millions of suppressed Yankee “coons.” Now he was just one of them and he hated being just one of them…. But he was not entirely of them, he reflected. He possessed a language and literature that they knew not of. And some day Uncle Sam might let go of his island and he would escape from the clutches of that magnificent monster of civilization [….] “We may be niggers aw’right, but we ain’t nonetall all the same,” Jake said as he hurried along the dining car thinking of Ray.

7. Treeing the Chef The chef’s lower lip flopped low down, dripping, and the cigar had fallen somewhere. “Cut them aiggs off o’ the bill, Sah Farrel. O Lawd!” he moaned, “Ise sartain sure I brought them eggs on the car mahself, and now I don’t know where they is.” “What kind o’ blah is that”: cried the steward. “The eggs must be there in the kitchen. I saw them with the stock myself.” “And I brought them here hugging them, Boss, ef I ain’t been made fool of by something. The rhinoceros had changed into a meek lamb. “O lawd! And I ain’t been outa the kitchen scene. Ain’t bo mortal hand could tuk them Some evil hand. O Lawd! “Hell!” The steward dashed out [….] “Chef! The yellow pantryman’s face carried a royal African grin. “What’s the matter with you and them aiggs?” “I done gived them to your mammy.” “And fohget you wife, ole timer? Ef you ain’t a chicken-roost nigger, as you boast, you surely loves the nest.” Talking Points • Does anyone here know the tale of the signifying monkey? Is the chef simply tricked or has he fallen victim to one of “Tricksters” we discussed? If so, which one(s)? Given that Tricksters both trick and get tricked, how is Chef a Trickster? Make sure to point to concrete elements in the passage to support your conjectures. • What do you make of the fact the metaphorical emasculation of Chef (the loss of the cigar) is tied to the narrator’s description of a phenotypic trait generally associated with negative stereotypes of African Americans? • What is the rhetorical impact of McKay noting that the “yellow pantryman’s face carried a royal African grin”? • What is the double entendre of the pantryman’s remark “What’s the matter with you and them aiggs?” How does it shed light on Chef’s failure to quip back--especially in light of his earlier prejudices and lack of affinity with his common workers? • What is rhetorical purpose served by surreptitiously refashioning African and African American folklore here, especially with respect to the intra-group color prejudices that exist on the train?

8. Treeing the Chef:Black Internationalism, Nationalism, Folklore, and the Signifying Monkey Way down in the jungle deep, The bad ass lion stepped on the signifyin monkey's feet. The monkey said, "Muthafucka, can't you see? Why, you standin on my goddamn feet!" The lion said, "I ain't heard a word you said." Said, "If you say three more I'll be steppin on yo muthafuckin head!" Now, the monkey lived in the jungle in an old oak tree. Bullshittin the lion everyday of the week. Why, everyday before the sun go down, The lion would kick his all through the jungle town. But the monkey got wise and started usin his wit. Said, "I'm gon' put a stop to this ole ass kickin shit!" So he ran up on the lion the very next day. Said, "Oh Mr. lion, there's a big, bad muthafucka comin your way. And when you meet, it's gonna be a goddamn sin, And wherever you meet some ass is bound to bend." Said, "he's somebody that you don't know, He just broke a-loose from the Ringlin Brother's show." Said, "Baby, he talked about your people in a helluva way! He talked about your people till my hair turned gray! He said your daddy's a freak and your momma's a whore. Said he spotted you running through the jungle sellin asshole from door to door! Said your sister did the damndest trick. She got down so low and sucked a earthworm's dick. Said he spotted yo niece behind the tree, Screwin a muthafuckin flea! He said he saw yo aunt sittin on the fence Givin a goddamn zebra a french. Then he talked about yo mammy and yo sister Lou, Then he start talkin about how good yo grandmaw screw.

9. Treeing the Chef:Black Internationalism, Nationalism, Folklore, and the Signifying Monkey Said yo sister's a prostitute and yo brother's a punk, And said I'll be damned if you don't eat all the pussy you see every time you get drunk! He said he cornholed your uncle and fucked your aunty and niece, And next time he see yo grandmaw he gonna get him another good piece. Said your brother died with the whoopin cough and your uncle died with the measles And your old grandpaw died with a rag chunked up in his ass, said he's goin on home to Jesus. And you know yo little sister that ya love so dear I fucked her all day for a bottle of beer. So, Mr. Lion, you know that ain't right. Whenever you meet the elephant be ready to fight." So the lion jumped up in a helluva rage! Like a young cocksucker full of gage. He let out a roar! Tail shot back like a forty-four. He went through the jungle knockin down trees, Kickin giraffes to their knees. The he ran up on the elephant talkin to the swine. He said, "All right you big, bad muthafucka. It's gonna be yo ass or mine." The elephant looked at him outta the corner of his eyes. Said, "Alright go ahead home you little funny-bunny muthafucka and pick on somebody your own size. The lion jumped up and made a fancy pass. The elephant side-stepped him and kicked him dead in his ass. He busted up his jaw, fucked up his face. Broke all four legs, snatched his ass outta place. He picked him up, slammed him to the tree. Nothin but lion shit as far as you could see. He pulled out his nuts, rolled em in the sand. And kicked his ass like a natural man! They fought all night and all the next day.

10. Treeing the Chef:Black Internationalism, Nationalism, Folklore, and the Signifying Monkey Somehow the lion managed to get away. But he drug his ass back to the jungle more dead than alive. Just to run into that little monkey and some more of his signifying jive! The monkey looked at him and said, "Goddamn ole partner, you don't look so swell." Said, "Look like to me you caught a whole lotta hell." Said, "Yo eyes is all red and yo asshole is blue, I knew in the beginning it wasn't shit to you. There's one thing you and me gotta get straight Cause you one ugly cocksucker I sure do hate! Now, when you left, the jungle rung Now you bring yo dog ass back here damn near hung. Look muthafucka, ain't you a bitch! Yo face look like you got the Seven Year Itch! I told my wife before you left, I should kicked yo ass my muthafuckin self! Why I seen you when he threw you into that tree, Cause some of that ole lion shit got on me! Why every night when me and my wife is tryin to get a little bit, Here you come around here with some that old "I owe" shit! Shut up! Don't you roar! Cause I'll bail outta this tree and whoop yo dog-ass some more! And don't look up here with yo sucka-paw case. Cause I'll piss through the bark of this tree in yo muthafuckin face!" The monkey got happy, started jumpin up and down. His feet missed the limb and his ass hit the ground. Like a streak of lighting and a ball of white heat, That lion was on his ass with all four feet. Dust rolled and tears came into the little monkey's eyes, The little monkey said, "Look Mr. Lion, I apologize!" Said, "If you let me get my nuts out the sand,

11. Treeing the Chef:Black Internationalism, Nationalism, Folklore, and the Signifying Monkey I'll fight yo ass like a natural man! Look muthafucka, ain't you a bitch, you ain't raisin no hell, Cause everybody saw you jump on me after I slipped and fell." Said, "If you'll fight like men should I'd whoop yo ass all over these woods!" This made the lion mad! It was the boldest challenge he ever had. He squared off for the fight, But that little monkey jumped damn near outta sight! Landed waaay up in a banana tree and began to grin. Sayin, "Look here you big, bad muthafucka, you been bullshitted again! Why, I'll take me one of these bananas, And whoop on yo ass till it sing the Star Spangled Banner!" And said, "If you ever mess with me again, I'm gonna send you back to my elephant friend!" Said, "The things I told you will never part, But what I'm gonna tell you know will break yo muthafuckin heart!" Your mammy ain't no good and yo sister's been a whore" Said, "I had that bitch on the corner for a year or more!" But the lion looked up with a helluva frown. Roared so loud that little monkey fell back to the ground. The little monkey looked up and said "Please, Mr. Lion! Please don't take my life! Cause I got thirteen kids and a very sickly wife!" Said, "All of my money to you I'll give, Mr. Lion, Please just let me live!" But the lion kicked him in his ass and broke his neck, Left that little monkey in a helluva wreck. The monkey looked to the sky, With tears in his eyes. Nothin he could see or nothin he could hear, But he knew that it was the end of his bulllshittin and signifyin career! (Rudy Ray Moore’s Version of the Toast)

12. One Night in Philly Talking Points Describe the deployment of primitivism in this passage? Is it simply atavistic? If so, how does the phrase “some sensual dream of his own complicate this”? What is the force that semi-tranforms this group from the lumpen into an community? How would you characterize this collective (What do they have in common)? What is the rhetorical effect of McKay’s juxtaposition of a seemingly atavistic primitivism against “Black lovers of life caught up in their own free native rhythm?” Moreover, what makes this rhythm native? How does this further complicate or develop McKay’s notion of primitivism? In the context of black nationalism and internationalism, what is the rhetorical impact of McKay’s phrase “celebrating the midnight hours in themselves, for themselves, of themselves”? How does the strikingly banal description of the locale in the final clause cause us to rethink what has come before? “ The piano-player had wandered off into some dim, far-away, ancestral source of music. Far, far away from music-hall syncopation and Jazz, he was lost in some sensual dream of his own….[tum-tum]….Love in the deep heart of the jungle…[tum-tum] like a primitive dance of war or love…the marshalling of spears or the sacred frenzy of a phallic celebration. Black lovers of life caught up in their own free native rhythm, threaded to a remote scarce-remembered past, celebrating the midnight hours in themselves, for themselves, of themselves, in a house in Fifteenth street in Philadelphia.”

13. Interlude Jake loved pretty women’s clothes. The plain nigger-brown coat Agatha wore, unbuttoned, showed a peach-colored frock. He asked after Ray. “I didn’t see him myself this trip,” she said. “He telephoned about you.” Jake praised his best pal. “He’s a good boy,” she agreed. She asked Jake about the railroad. “It must be lots of fun to ride from one town to the other like that. I’d love it, for I love to travel. But Ray hates it.” “It ain’t so much fun when youse working,”replied Jake. “ I guess your right. But there’s something marvellous about meeting people for a little while and never seeing them again. It’s romantic. You don’t have that awful everyday contact that domestic workers have to get along with.” Talking Points • How is McKay reclaiming language (or is he?) in the narrator’s initial description of Agatha’s coat? • Agatha juxtaposes here the life of “domestics” and the life of the railroad, positing the former must be worse. Why should that be the case? How does Agatha’s romanticization of the railroad valorize the lumpen? • Why do you think Agatha has ignored what Ray has to say about the railroad and questions Jake in the first place? • What multiple tensions are produced by the passages implied valorization of the lumpen and the relayed-fact that Ray hates the railroad? How does this impact how we conceive of Ray?

14. Relapse Talking Points 1) When we reach the bottom of this paragraph, we see that, for Ray, “Only the Russians of the late era seemed to stand like giants in the new.” What do you make of his penchant for this literary epoch? Does his taste help us to better understand Ray or/and to better understand why Ray’s psychic life is so frustrating? What is the rhetorical significance of McKay’s association of Ray with these 19th century writers? 2) Ray’s machinations about making (an art in which “vague, incomprehensible words and phrases stormed (and about rethinking he nature of art) are easily associated with a distinct literary movement. What is this movement? What is the significance of Ray’s inability to name it? 3) Ray’s machinations about the possibility for art to be more than just a “clear cut presentation of life” point to a rejection of a different literary movement. What is it? How does it stand in contradistinction to the movement invoked earlier? 4) How is McKay using this passage to make a meta-textual commentary on his own literary aesthetic? 5) Ray later relates that Uncle Sam shattered his dream of writing like the Russians “until life appeared like one big disease and the world a vast hospital?” What poet does this passage invoke? What is the significance of his invocation for McKay’s purposes here? 6) What is the grand carnage to which Ray refers? What is its rhetorical and polemical significance? Dreams of making something into words. What could he make… and fashion? Could he ever create art? Art, around which vague, incomprehensible words and phrases stormed? What was art, anyway? Was it more than a clear-cut presentation of a vivid impression of life Only the Russians of the late era seemed to stand up like giants in the new. Gogol, Dostoievsky, Tolstoy, Chekhov, Tugurniev. When he read them he now thought: Here were the elements that the grand carnage swept over and touched not.