Nobody Knows My Name Page 3

  Just what the specific relation of an artist to his culture says about that culture is a very pretty question. The culture which had produced Senghor seemed, on the face of it, to have a greater coherence as regarded assumptions, traditions, customs, and beliefs than did the Western culture to which it stood in so problematical a relation. And this might very well mean that the culture represented by Senghor was healthier than the culture represented by the hall in which he spoke. But the leap to this conclusion, than which nothing would have seemed easier, was frustrated by the question of just what health is in relation to a culture. Senghor’s culture, for example, did not seem to need the lonely activity of the singular intelligence on which the cultural life—the moral life—of the West depends. And a really cohesive society, one of the attributes, perhaps, of what is taken to be a “healthy” culture, has, generally, and, I suspect, necessarily, a much lower level of tolerance for the maverick, the dissenter, the man who steals the fire, than have societies in which, the common ground of belief having all but vanished, each man, in awful and brutal isolation, is for himself, to flower or to perish. Or, not impossibly, to make real and fruitful again that vanished common ground, which, as I take it, is nothing more or less than the culture itself, endangered and rendered nearly inaccessible by the complexities it has, itself, inevitably created.

  Nothing is more undeniable than the fact that cultures vanish, undergo crises; are, in any case, in a perpetual state of change and fermentation, being perpetually driven, God knows where, by forces within and without. And one of the results, surely, of the present tension between the society represented by Senghor and the society represented by the Salle Descartes was just this perceptible drop, during the last decade, of the Western level of tolerance. I wondered what this would mean—for Africa, for us. I wondered just what effect the concept of art expressed by Senghor would have on that renaissance he had predicted and just what transformations this concept itself would undergo as it encountered the complexities of the century into which it was moving with such speed.

  The evening debate rang perpetual changes on two questions. These questions—each of which splintered, each time it was asked, into a thousand more—were, first: What is a culture? This is a difficult question under the most serene circumstances—under which circumstances, incidentally, it mostly fails to present itself. (This implies, perhaps, one of the possible definitions of a culture, at least at a certain stage of its development.) In the context of the conference, it was a question which was helplessly at the mercy of another one. And the second question was this: Is it possible to describe as a culture what may simply be, after all, a history of oppression? That is, is this history and these present facts, which involve so many millions of people who are divided from each other by so many miles of the globe, which operates, and has operated, under such very different conditions, to such different effects, and which has produced so many different subhistories, problems, traditions, possibilities, aspirations, assumptions, languages, hybrids—is this history enough to have made of the earth’s black populations anything that can legitimately be described as a culture? For what, beyond the fact that all black men at one time or another left Africa, or have remained there, do they really have in common?

  And yet, it became clear as the debate wore on, that there was something which all black men held in common, something which cut across opposing points of view, and placed in the same context their widely dissimiliar experience. What they held in common was their precarious, their unutterably painful relation to the white world. What they held in common was the necessity to remake the world in their own image, to impose this image on the world, and no longer be controlled by the vision of the world, and of themselves, held by other people. What, in sum, black men held in common was their ache to come into the world as men. And this ache united people who might otherwise have been divided as to what a man should be.

  Yet, whether or not this could properly be described as a cultural reality remained another question. Haiti’s Jacques Alexis made the rather desperate observation that a cultural survey must have something to survey; but then seemed confounded, as, indeed, we all were, by the dimensions of the particular cultural survey in progress. It was necessary, for example, before one could relate the culture of Haiti to that of Africa, to know what the Haitian culture was. Within Haiti there were a great many cultures. Frenchmen, Negroes, and Indians had bequeathed it quite dissimilar ways of life; Catholics, voodooists, and animists cut across class and color lines. Alexis described as “pockets” of culture those related and yet quite specific and dissimilar ways of life to be found within the borders of any country in the world and wished to know by what alchemy these opposing ways of life became a national culture. And he wished to know, too, what relation national culture bore to national independence—was it possible, really, to speak of a national culture when speaking of nations which were not free?

  Senghor remarked, apropos of this question, that one of the great difficulties posed by this problem of cultures within cultures, particularly within the borders of Africa herself, was the difficulty of establishing and maintaining contact with the people if one’s language had been formed in Europe. And he went on, somewhat later, to make the point that the heritage of the American Negro was an African heritage. He used, as proof of this, a poem of Richard Wright’s which was, he said, involved with African tensions and symbols, even though Wright himself had not been aware of this. He suggested that the study of African sources might prove extremely illuminating for American Negroes. For, he suggested, in the same way that white classics exist—classic here taken to mean an enduring revelation and statement of a specific, peculiar, cultural sensibility—black classics must also exist. This raised in my mind the question of whether or not white classics did exist, and, with this question, I began to see the implications of Senghor’s claim.

  For, if white classics existed, in distinction, that is, to merely French or English classics, these could only be the classics produced by Greece and Rome. If Black Boy, said Senghor, were to be analyzed, it would undoubtedly reveal the African heritage to which it owed its existence; in the same way, I supposed, that Dickens’ A Tale Of Two Cities, would, upon analysis, reveal its debt to Aeschylus. It did not seem very important.

  And yet, I realized, the question had simply never come up in relation to European literature. It was not, now, the European necessity to go rummaging in the past, and through all the countries of the world, bitterly staking out claims to its cultural possessions.

  Yet Black Boy owed its existence to a great many other factors, by no means so tenuous or so problematical; in so handsomely presenting Wright with his African heritage, Senghor rather seemed to be taking away his identity. Black Boy is the study of the growing up of a Negro boy in the Deep South, and is one of the major American autobiographies. I had never thought of it, as Senghor clearly did, as one of the major African autobiographies, only one more document, in fact, like one more book in the Bible, speaking of the African’s long persecution and exile.

  Senghor chose to overlook several gaps in his argument, not the least of which was the fact that Wright had not been in a position, as Europeans had been, to remain in contact with his hypothetical African heritage. The Greco-Roman tradition had, after all, been written down; it was by this means that it had kept itself alive. Granted that there was something African in Black Boy, as there was undoubtedly something African in all American Negroes, the great question of what this was, and how it had survived, remained wide open. Moreover, Black Boy had been written in the English language which Americans had inherited from England, that is, if you like, from Greece and Rome; its form, psychology, moral attitude, preoccupations, in short, its cultural validity, were all due to forces which had nothing to do with Africa. Or was it simply that we had been rendered unable to recognize Africa in it?—for, it seemed that, in Senghor’s vast re-creation of the world, the footfall of the African would prove to have covered
more territory than the footfall of the Roman.

  Thursday’s great event was Aimé Cesaire’s speech in the afternoon, dealing with the relation between colonization and culture. Cesaire is a caramel-colored man from Martinique, probably around forty, with a great tendency to roundness and smoothness, physically speaking, and with the rather vaguely benign air of a schoolteacher. All this changes the moment he begins to speak. It becomes at once apparent that his curious, slow-moving blandness is related to the grace and patience of a jungle cat and that the intelligence behind those spectacles is of a very penetrating and demagogic order.

  The cultural crisis through which we are passing today can be summed up thus, said Cesaire: that culture which is strongest from the material and technological point of view threatens to crush all weaker cultures, particularly in a world in which, distance counting for nothing, the technologically weaker cultures have no means of protecting themselves. All cultures have, furthermore, an economic, social, and political base, and no culture can continue to live if its political destiny is not in its own hands. “Any political and social regime which destroys the self-determination of a people also destroys the creative power of that people.” When this has happened the culture of that people has been destroyed. And it is simply not true that the colonizers bring to the colonized a new culture to replace the old one, a culture not being something given to a people, but, on the contrary and by definition, something that they make themselves. Nor is it, in any case, in the nature of colonialism to wish or to permit such a degree of well-being among the colonized. The well-being of the colonized is desirable only insofar as this well-being enriches the dominant country, the necessity of which is simply to remain dominant. Now the civilizations of Europe, said Cesaire, speaking very clearly and intensely to a packed and attentive hall, evolved an economy based on capital and the capital was based on black labor; and thus, regardless of whatever arguments Europeans use to defend themselves, and in spite of the absurd palliatives with which they have sometimes tried to soften the blow, the fact, of their domination, in order to accomplish and maintain this domination—in order, in fact, to make money—they destroyed, with utter ruthlessness, everything that stood in their way, languages, customs, tribes, lives; and not only put nothing in its place, but erected, on the contrary, the most tremendous barriers between themselves and the people they ruled. Europeans never had the remotest intention of raising Africans to the Western level, of sharing with them the instruments of physical, political or economic power. It was precisely their intention, their necessity, to keep the people they ruled in a state of cultural anarchy, that is, simply in a barbaric state. “The famous inferiority complex one is pleased to observe as a characteristic of the colonized is no accident but something very definitely desired and deliberately inculcated by the colonizer.” He was interrupted at this point—not for the first time—by long and prolonged applause.

  “The situation, therefore, in the colonial countries, is tragic,” Cesaire continued. “Wherever colonization is a fact the indigenous culture begins to rot. And, among these ruins, something begins to be born which is not a culture but a kind of subculture, a subculture which is condemned to exist on the margin allowed it by European culture. This then becomes the province of a few men, the elite, who find themselves placed in the most artificial conditions, deprived of any revivifying contact with the masses of the people. Under such conditions, this subculture has no chance whatever of growing into an active, living culture.” And what, he asked, before this situation, can be done?

  The answer would not be simple. “In every society there is always a delicate balance between the old and the new, a balance which is perpetually being re-established, which is re-established by each generation. Black societies, cultures, civilizations, will not escape this law.” Cesaire spoke of the energy already proved by black cultures in the past, and, declining to believe that this energy no longer existed, declined also to believe that the total obliteration of the existing culture was a condition for the renaissance of black people. “In the culture to be born there will no doubt be old and new elements. How these elements will be mixed is not a question to which any individual can respond. The response must be given by the community. But we can say this: that the response will be given, and not verbally, but in tangible facts, and by action.”

  He was interrupted by applause again. He paused, faintly smiling, and reached his peroration: “We find ourselves today in a cultural chaos. And this is our role: to liberate the forces which, alone, can organize from this chaos a new synthesis, a synthesis which will deserve the name of a culture, a synthesis which will be the reconciliation—et dépassement—of the old and the new. We are here to proclaim the right of our people to speak, to let our people, black people, make their entrance on the great stage of history.”

  This speech, which was very brilliantly delivered, and which had the further advantage of being, in the main, unanswerable (and the advantage, also, of being very little concerned, at bottom, with culture) wrung from the audience which heard it the most violent reaction of joy. Cesaire had spoken for those who could not speak and those who could not speak thronged around the table to shake his hand, and kiss him. I myself felt stirred in a very strange and disagreeable way. For Cesaire’s case against Europe, which was watertight, was also a very easy case to make. The anatomizing of the great injustice which is the irreducible fact of colonialism was yet not enough to give the victims of that injustice a new sense of themselves. One may say, of course, that the very fact that Cesaire had spoken so thrillingly, and in one of the great institutions of Western learning, invested them with this new sense, but I do not think this is so. He had certainly played very skillfully on their emotions and their hopes, but he had not raised the central, tremendous question, which was, simply: What had this colonial experience made of them and what were they now to do with it? For they were all, now, whether they liked it or not, related to Europe, stained by European visions and standards, and their relation to themselves, and to each other, and to their past had changed. Their relation to their poets had also changed, as had the relation of their poets to them. Cesaire’s speech left out of account one of the great effects of the colonial experience: its creation, precisely, of men like himself. His real relation to the people who thronged about him now had been changed, by this experience, into something very different from what it once had been. What made him so attractive now was the fact that he, without having ceased to be one of them, yet seemed to move with the European authority. He had penetrated into the heart of the great wilderness which was Europe and stolen the sacred fire. And this, which was the promise of their freedom, was also the assurance of his power.

  Friday’s session began in a rather tense atmosphere and this tension continued throughout the day. Diop opened the session by pointing out that each speaker spoke only for himself and could not be considered as speaking for the conference. I imagined that this had something to with Cesaire’s speech of the day before and with some of its effects, among which, apparently, had been a rather sharp exchange between Cesaire and the American delegation.

  This was the session during which it became apparent that there was a religious war going on at the conference, a war which suggested, in miniature, some of the tensions dividing Africa. A Protestant minister from the Cameroons, Pastor T. Ekollo, had been forced by the hostility of the audience the day before to abandon a dissertation in defense of Christianity in Africa. He was visibly upset still. “There will be Christians in Africa, even when there is not a white man there,” he said, with a tense defiance, and added, with an unconsciously despairing irony to which, however, no one reacted, “supposing that to be possible.” He had been asked how he could defend Christianity in view of what Christians had done in his country. To which his answer was that the doctrine of Christianity was of more moment than the crimes committed by Christians. The necessity which confronted Africans was to make Christianity real in their own lives, wi
thout reference to the crimes committed by others. The audience was extremely cold and hostile, forcing him again, in effect, from the floor. But I felt that this also had something to do with Pastor Ekollo’s rather petulant and not notably Christian attitude toward them.