Parties

In those days of the late 1920’s, there were a great many parties, in Harlem and out, to which various members of the New Negro group were invited. These parties, when given by important Harlemites (or Carl Van Vechten) were reported in full in the society pages of the Harlem press, but best in the sparkling Harlemese of Geraldyn Dismond who wrote for the Interstate Tattler. On one of Taylor Gordon’s fiestas she reports as follows:

A’Lelia Walker was the then great Harlem party giver, although Mrs. Bernia Austin fell but little behind. And at the Seventh Avenue apartment of Jessie Fauset, literary soirées with much poetry and but little to drink were the order of the day. The same was true of Lillian Alexander’s, where the older intellectuals gathered.

A’Lelia Walker, however, big-hearted, night-dark, hair-straightening heiress, made no pretense at being intellectual or exclusive. At her “at homes” Negro poets and Negro number bankers mingled with downtown poets and seat-on-the-stock-exchange racketeers. Countee Cullen would be there and Witter Bynner, Muriel Draper and Nora Holt, Andy Razaf and Taylor Gordon. And a good time was had by all.

A’Lelia Walker had an apartment that held perhaps a hundred people. She would usually issue several hundred invitations to each party. Unless you went early there was no possible way of getting in. Her parties were as crowded as the New York subway at the rush hour—entrance, lobby, steps, hallway, and apartment a milling crush of guests, with everybody seeming to enjoy the crowding. Once, some royal personage arrived, a Scandinavian prince, I believe, but his equerry saw no way of getting him through the crowded entrance hall and into the party, so word was sent in to A’Lelia Walker that His Highness, the Prince, was waiting without. A’Lelia sent word back that she saw no way of getting His Highness in, either, nor could she herself get out through the crowd to greet him. But she offered to send refreshments downstairs to the Prince’s car.

A’Lelia Walker was a gorgeous dark Amazon, in a silver turban. She had a town house in New York (also an apartment where she preferred to live) and a country mansion at Irvington-on-the-Hudson, with pipe organ programs each morning to awaken her guests gently. Her mother made a great fortune from the Madame Walker Hair Straightening Process, which had worked wonders on unruly Negro hair in the early nineteen hundreds—and which continues to work wonders today. The daughter used much of that money for fun. A’Lelia Walker was the joy-goddess of Harlem’s 1920’s.

She had been very much in love with her first husband, from whom she was divorced. Once at one of her parties she began to cry about him. She retired to her boudoir and wept. Some of her friends went in to comfort her, and found her clutching a memento of their broken romance.

“The only thing I have left that he gave me,” she sobbed, “it’s all I have left of him!”

It was a gold shoehorn.

When A’Lelia Walker died in 1931, she had a grand funeral. It was by invitation only. But, just as for her parties, a great many more invitations had been issued than the small but exclusive Seventh Avenue funeral parlor could provide for. Hours before the funeral, the street in front of the undertaker’s chapel was crowded. The doors were not opened until the cortège arrived—and the cortège was late. When it came, there were almost enough family mourners, attendants, and honorary pallbearers in the procession to fill the room; as well as the representatives of the various Walker beauty parlors throughout the country. And there were still hundreds of friends outside, waving their white, engraved invitations aloft in the vain hope of entering.

Once the last honorary pallbearers had marched in, there was a great crush at the doors. Muriel Draper, Rita Romilly, Mrs. Roy Sheldon, and I were among the fortunate few who achieved an entrance.

We were startled to find De Lawd standing over A’Lelia’s casket. It was a truly amazing illusion. At that time The Green Pastures was at the height of its fame, and there stood De Lawd in the person of Rev. E. Clayton Powell, a Harlem minister, who looked exactly like Richard B. Harrison in the famous role in the play. He had the same white hair and kind face, and was later offered the part of De Lawd in the film version of the drama. Now, he stood there motionless in the dim light behind the silver casket of A’Lelia Walker.

Soft music played and it was very solemn. When we were seated and the chapel became dead silent, De Lawd said: “The Four Bon Bons will now sing.”

A night club quartette that had often performed at A’Lelia’s parties arose and sang for her. They sang Noel Coward’s “I’ll See You Again,” and they swung it slightly, as she might have liked it. It was a grand funeral and very much like a party. Mrs. Mary McCleod Bethune spoke in that great deep voice of hers, as only she can speak. She recalled the poor mother of A’Lelia Walker in old clothes, who had labored to bring the gift of beauty to Negro womanhood, and had taught them the care of their skin and their hair, and had built up a great business and a great fortune to the pride and glory of the Negro race—and then had given it all to her daughter, A’Lelia.

Then a poem of mine was read by Edward Perry, “To A’Lelia.” And after that the girls from the various Walker beauty shops throughout America brought their flowers and laid them on the bier.

That was really the end of the gay times of the New Negro era in Harlem, the period that had begun to reach its end when the crash came in 1929 and the white people had much less money to spend on themselves, and practically none to spend on Negroes, for the depression brought everybody down a peg or two. And the Negroes had but few pegs to fall.

But in those pre-crash days there were parties and parties. At the novelist, Jessie Fauset’s, parties there was always quite a different atmosphere from that at most other Harlem good-time gatherings. At Miss Fauset’s, a good time was shared by talking literature and reading poetry aloud and perhaps enjoying some conversation in French. White people were seldom present there unless they were very distinguished white people, because Jessie Fauset did not feel like opening her home to mere sightseers, or faddists momentarily in love with Negro life. At her house one would usually meet editors and students, writers and social workers, and serious people who liked books and the British Museum, and had perhaps been to Florence. (Italy, not Alabama.)

I remember, one night at her home there was a gathering in honor of Salvador de Madariaga, the Spanish diplomat and savant, which somehow became a rather self-conscious gathering, with all the Harlem writers called upon to recite their poems and speak their pieces. But afterwards, Charles S. Johnson and I invited Mr. Madariaga to Small’s Paradise where we had a “ball” until the dawn came up and forced us from the club.

In those days, 409 Edgecombe, Harlem’s tallest and most exclusive apartment house, was quite a party center. The Walter Whites and the Aaron Douglases, among others, lived and entertained there. Walter White was a jovial and cultured host, with a sprightly mind, and an apartment overlooking the Hudson. He had the most beautiful wife in Harlem, and they were always hospitable to hungry literati like me.

At the Aaron Douglases’, although he was a painter, more young writers were found than painters. Usually everybody would chip in and go dutch on the refreshments, calling down to the nearest bootlegger for a bottle of whatever it was that was drunk in those days, when labels made no difference at all in the liquid content—Scotch, bourbon, rye, and gin being the same except for coloring matter.

Arna Bontemps, poet and coming novelist, quiet and scholarly, looking like a young edition of Dr. DuBois, was the mysterious member of the Harlem literati, in that we knew he had recently married, but none of us had ever seen his wife. All the writers wondered who she was and what she looked like. He never brought her with him to any of the parties, so she remained the mystery of the New Negro Renaissance. But I went with him once to his apartment to meet her, and found her a shy and charming girl, holding a golden baby on her lap. A year or two later there was another golden baby. And every time I went away to Haiti or Mexico or Europe and came back, there would be a new golden baby, each prettier than the last—so that was why the literati never saw Mrs. Bontemps.

Toward the end of the New Negro era, E. Simms Campbell came to Harlem from St. Louis, and began to try to sell cartoons to the New Yorker. My first memory of him is at a party at Gwendolyn Bennett’s on Long Island. In the midst of the party, the young lady Mr. Campbell had brought, Constance Willis, whom he later married, began to put on her hat and coat and gloves. The hostess asked her if she was going home. She said: “No, only taking Elmer outside to straighten him out.” What indiscretion he had committed at the party I never knew, perhaps flirting with some other girl, or taking a drink too many. But when we looked out, there was Constance giving Elmer an all-around talking-to on the sidewalk. And she must have straightened him out, because he was a very nice young man at parties ever after.

At the James Weldon Johnson parties and gumbo suppers, one met solid people like Clarence and Mrs. Darrow. At the Dr. Alexander’s, you met the upper-crust Negro intellectuals like Dr. DuBois. At Wallace Thurman’s, you met the bohemians of both Harlem and the Village. And in the gin mills and speakeasies and night clubs between 125th and 145th, Eighth Avenue and Lenox, you met everybody from Buddy de Silva to Theodore Dreiser, Ann Pennington to the first Mrs. Eugene O’Neill. In the days when Harlem was in vogue, Amanda Randolph was at the Alhambra, Jimmy Walker was mayor of New York, and Louise sang at the old New World.