“Black Writers and White!”: Jack Conroy, Arna Bontemps, and Interracial Collaboration in the 1930s

The task of cultural recovery, George Hutchinson writes, begins with “those moments when places where the intertwined discourses of race, culture, and nation were exposed to questioning, to skepticism, to transformation, however small and localized, and when possibilities for coalitions of cultural reformers were envisioned and exploited” (Harlem, 26). The historical record has been muddied by shifting political currents and fragmented by instances of deliberate neglect over time, yet scholars have recently begun to reconstruct the complicated story of interracial cooperation between the two world wars. More effort, however, should be devoted to discovering connections and parallels between the worlds of work and art — of labor and literature — as part of this story. One reward of such effort, I suggest, will be to reveal the hitherto hidden “lines of continuity and disruption” that James A. Miller sees connecting “the African-American literary production of the 1920s and its production in the 1930s” (87–88). That those lines often intersected lines traced by nonblack literary production and working-class history reinforces Hutchinson's point that it is necessary to rethink “American cultural history from a position of interracial marginality, a position that sees ‘white’ and ‘black’ American cultures as intimately, mutually constitutive” (Harlem, 3).