Hollow Hills Farm,
Monterey, California,
November 2, 1939.

Mr. Maxim Lieber,
545 Fifth Avenue,
New York, New York.

Dear Maxim,

Under separate cover I am sending you today the following
articles or sketches selected from my book, THE BIG SEA.
If one magazine takes them all, they form a series, and
should be published in the following order:

BROKE IN MONTMARTRE
DON'T HIT A WOMAN
BRICKTOP, BRUCE, AND THE HELL-CAT, LIFE
BEACHCOMBER IN GENOA

I would suggest that you first submit them as a unit to ESQUIRE. Failing there, use your better judgement. Since these are not short stories, I am willing to permit cutting or accept suggestions for changes from the magazines in case they are purchased.

I suppose you have received a sketch, JOCKO, DUSE, AND ME a
few days ago. And before that, OLD HAT, a poem called SUNDAY
MORNING PROPHECY, and the revised libretto of DE ORGANIZER.

Could you let me know if DE ORGANIZER is in rehearsal at Labor
Stage or not? And if so, when is it to open, and where?

Within a week or so, you will receive further portions of THE
BIG SEA in the form of magazine chapters, as I am beginning to
work on the Negro Renaissance parts for you next.

SCHOLASTIC replied that they do not use serials, and prefer short
stories, so perhaps there is some other youth publication such
as YOUTH TODAY to whom we might sell the entire first portion of
the book. But that is a problem we can face when we come to it.
I shall revise that portion as a unit last, in a couple of weeks
or so. In fact I still have four chapters to write for it before
the book is done. But I hope to have it all finished this month.

With my best regards to Mina and to Miss Mavor, I am, and beg to
remain

Form 3806 (Rev. Jan. 21, 1935)

1433

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Registry Fees and Indemnity.—Domestic registry fees range from 15 cents for indemnity not exceeding $5 up to $1 for indemnity not exceeding $1,000. The fee on domestic registered matter without intrinsic value and for which indemnity is not paid is 15 cents. Consult postmaster as to the specific domestic registry fees and surcharges and as to the registry fees chargeable on registered parcel-post packages for foreign countries. Fees on domestic registered C. O. D. mail range from 25 cents to $1.20. Indemnity claims must be filed within one year (C. O. D. six months) from date of mailing.

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JULIUS HOCHMAN
*President*

LOUIS SCHAFFER
*Executive Director*

LABOR stage
INCORPORATED
106 West 39th St.
New York City

Productions:
1936-37
"Steel"
1937-38-39
"Pins and Needles"

Telephone: BRyant 9-1163-4-5

November 8th, 1939

Mr. Maxim Lieber
545 Fifth Avenue
New York City

Dear Mr. Lieber:

For your and Mr. Hughes' information:

"The Organizer" is being rehearsed by our Negro Chorus, a group which is part of the Cultural Division of the I.L.G.W.U. The group contains about fifty-five members, and is directed by Mr. Leonard de Paur, of whom we are sure you have heard in connection with his work in the Federal Theatre productions of "Androcles" and "Macbeth."

The Chorus meets weekly, for a full evening of concentrated work. The parts have not as yet been assigned, but the preliminary work necessary for a group such as ours is being done very thoroughly indeed. Mr. Hughes will be interested, we are sure, in hearing that the members of the Chorus are enthusiastic about the script, and expectant of its success.

The first public presentation of "The Organizer" will be made at the convention of the International Ladies' Garment Workers Union to be held in May, 1940.

LS:LW
afoe

ARTS CENTRE
INTERNATIONAL LADIES' GARMENT WORKERS' UNION

46

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE
NEW YORK CITY

November 14, 1939

Mr. Langston Hughes
Hollow Hills Farm
Monterey, Calif.

Dear Langston:

You will remember that we initiated an arbitration with Martin Jones through Miss Priester several months ago, which you decided you did not wish to continue with. Apparently this fee, is for that initiation, for setting the wheels in motion, so to speak, and must be paid regardless of the fact that we did not carry through. In writing to Miss Priester, I believe that you will find this is so.

We have received all of the material which you list in your letter of November 10 and have already started to work with it. We shall do our best to have a check in your stocking at Christmas time.

You have the letter from Labor Stage in re the ORGANIZER

The Louisiana Farmers union cannot go ahead with the play until they have a copy of the score. What have you done about this with your friend Mr. Johnson?

ONE ACT PLAY MAGAZINE has gone under, but there is talk of revival.

We should have a copy of JOY TO MY SOUL AND LITTLE HAM, when the girl at the Harlem Branch Library sends down the mimeographed copies which she has promised. I shall send them to you, when they come in.

GSM

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

December 5, 1939

Mr. Langston Hughes
Hollow Hills Fram
Monterey, Calif.

Dear Langston:

Don't be too disappointed if Caldwell does not come to see you. We have just heard from him that he probably will not be able to get that far....this trip.

The plays came back from the Harlem Library, but not from Nashville. Yes, we gave LITTLE HAM to Riddely Torrence.

By all means, write to the negro papers to secure publication for the parts of the book which you have not sent to me.

I have heard all about the holocaust in Philadelphia over Mulatto, both from Martin Jones and a negro politician, MacLean. It seems that MacLean, who works for Leventhal and has excellent political connections, could have gotten the play past the mayor and into Philadelphia. However, he wanted the play to be produced at a certain theatre owned by an associate. Jones didn't see why he needed MacLean's political pull to get the play in and refused to work with him. The result was that the play was banned once again.

The lawd has sent a letter from Rae Beamish, which I am enclosing for your perusal. What rights have you to the Lora poems? Is there a Lora estate to which moneys are paid? What do you say to this proposition? Please return the letter.

Hosannahs have rocked 545 Fifth Ave. asking for one small check from De Lawd. Praise de lawd! Love de lawd! Have faith in de lawd!......

......and we shall see.

GSM
encl;

December 11, 1939.

Dear Geraldine,

Thank you for your letter of December 5th with the news of MULATTO therein. After all that publicity, I should think they might stage it just across the river in Camden where it would run forever.

The Lawd works in misterious ways his wonder to perform, but I do not believe Rae Beamish and Lorca could possibly at this late date be one of his wonders. Although I'd be very pleased to have my Lorca translations published there've already been two books of his poems (although neither contained all 16 of the Gypsy Ballads that I've done) the Lloyd and the Spender translations. There is also a translation done by Rolphe Humphries on a Guggenheim. But for your information to pass on to Miss Beamish, my permission to do the poems came through the Press And Propaganda Office of the former Loyalist Government in Paris. And just before the fall of that government a cable which reached me through Miss Thyra Edwards of the Negro Committee of the Am. Medical Bureau to Aid Spain, M381 Fourth Avenue, I believe---this cable ask me to be official American translator of all Lorca's unpublished poems. The manuscript followed by post and I have it now---his poems not as yet in book form even in Spanish. However, now that that government is fallen, I do not know who has the rights to Lorca's poems. And the Spender and Lloyd editons may cover and control all English speaking rights. Lorca's brother is said to be in New York now and perhaps could be located through the Embassy. So if Rae Beamish or someone wishes to trace down this matter of our right to publish my translations, I would, of course, be delighted to permit their publication. And if that happens, would like a few days to go over the script, as I haven't looked at them for months.

Faith moves mountains! And the way I believe in Maxim and you and 545, surely I won't be setting here with nothing but my faith on Christmas Eve! With Santa Claus just as check conscious as he can be---naturally living under the present system!

Rae Beamish,
121 Edgerton Street,
Rochester, New York.
AMERICANA & REGENCY PRESS.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

December 19, 1939

Dear Langston:

In the Post of December 15 or 20, I believe ( the issue that
has Santa Claus climbing a ladder to a map of the world), there
is a vicious article written supposedly by a plantation owner
in the South. he speaks of his negroes as if they were dull
witted and while in one paragraph he says that he never has
trouble with them, in the next he tells the reader what he does
when he has strikes.

I have asked Stuart Rose whether you or Caldwell could write an
article ( not in rebuttal, since the Post never does this), but
giving another point of view. Here is his answer. Caldwell is
down with chicken pox in Texas, so won't be able to attempt
this project. Would you be interested ?

Of course, there is no assurance of acceptance and you can estimate
Rose's degree of enthusiasm from the enclosed letter, as well as I.
It would be a wonderful New Year's present to have a Post article
in the bag!

We are sending a copy of JOY TO MY SOUL to you by express, but we
have no copy of Little Ham...Ridgley Torrence walked off with the
last one ( we could retrieve it from him if you so say). Your
secretary sent in this request.

And what about FATHER DIVINE and the Yale Review?

Merry Xmas!

ML:GM

January 10, 1960.

Dear Max,

Being ten days past the dead line, I am sending directly to SCHOLASTIC (Miss Ernestine Taggard, Literary Editor) 250 East 43rd Street, New York, a story for the Harper's-SCHOLASTIC magazine-anthology combination which they requested me to do and which, if accepted, is due to bring us in $125.00. I have informed Miss Taggart that the check is to be sent to you. Or if the script is not found to liking, returned to you. Perhaps it might be sold elsewhere, to some other publication for young people (or adults.) The story is called ONE FRIDAY MORNING.

About plays, Mr. Luther Green, a leading coast producer, is now in the East, and learning from a friend of his that he has expressed an interest in Negro scripts, I've just written him a note telling him who has mine---namely YOU. I pointed out in the note some of the virtues of LITTLE HAM. So I'm telling you just in case he should get in touch with you. He's to be reached at Milford Conn., his mailing address. At the moment he's interested in seeing ST. LOUIS WOMAN, but so far the producers who've read the script here on the coast have felt it would be too expensive a production. Therefore I made so bold as to recommend LITTLE HAM as a play that can be done much cheaper.

I hope you've already started out to have a Happy New Year this and every month to come. Me, I wait on De Lawd!

Hollow Hills Farm,
Monterey, California,
January 18, 1940.

Dear Max and Minna,

Thank you very much for the most welcome ESQUIRE check from
SEVEN MOMENTS OF LOVE. And much needed it was!

The plays LITTLE HAM and JOY TO MY SOUL arrived O.K. and one or
the other is being seriously considered for a spring or summer
production here at Carmel, which, if the production is any good,
would mean that quite a few Hollywood and theatre people would
see it, as they are always week-ending up here.

I trust you have my note about SCHOLASTIC and the short story
called ONE FRIDAY MORNING. But they will no doubt communicate
with you in case they take the story.

Under separate cover today I am sending you eight new poems, an
article, two possible radio sketches, and a set of poems in
translation. The blues article and the translations might appeal
to one of the new smaller magazines like DIRECTIONS that I under-
stand pay something. Suggested markets:

POEMS: POETRY, NEW REPUBLIC, FORUM, etc.

ARTICLE---SONGS CALLED THE BLUES: NEW DIRECTIONS, DOWN-BEAT, THEATRE ARTS MONTHLY, etc.

TRANSLATIONS---FRANCISCA: NEW DIRECTIONS, POETRY, VOGUE

SKETCHES---EARLY EVENING QUARREL

BLUES IS WHAT'S THE MATTER
Might be submitted for possible publication to
NEW DIRECTIONS or any magazine that carries x
playlets or folk style material. For PERFORMANCE
they might be submitted to the various radio
net works, television, and theatrical offices
handling Negro artists. Also to John Hammond
at Columbia Recording, Cafe Society, Count Basie
or Benny Goodman bands. Also Hall Johnson Choir.

We've certainly been lucky selling poetry of late! Hope something
happens to one of the articles soon. I will be here until about
February 6th. In New York around the 18th.

Sincerely,

Langston Hughes

Dear Maxim,

Luther Green, leading West Coast producer, is at the
Hotel Windsor, 100 West 58th Street, New York, and
has written me that he's asking you for a copy of
LITTLE HAM. I trust you can get one to him, also any
other of my plays that might be lying around loose.
(DON'T MENTION THIS; BUT one of his backers lives here
at Carmel and is interested in having a Negro play
done if he can find one suitable. Said backer is away
at the moment but is reading my copy of LITTLE HAM as
soon as he comes back, and is anxious to have Green
read it in the meantime.)

I had a note from Miss Taggard at SCHOLASTIC saying they
may have to give up the whole idea due to slow response
on part of other authors, but that she liked my story.
In case they don't take it, I've asked her to return it
to you and perhaps you can place it elsewhere. Hope so.

In any case, IF THERE'S A CHECK OF ANY KIND FOR ME, SMALL
OR LARGE, KINDLY AIR-MAIL IT TO ME HERE ON OR BEFORE THE
7th OF FEBRUARY, AS I HAVE TO LEAVE HERE FOR THE EAST ON
THE L)TH AND AM SCRAMBLING MIGHTLY TO GET THAT FARE TO-
GETHER! GOD HELP ME!

THE BIG SEA, my autobiography goes off today to Knopf.
They expect to bring it out next fall sometime. The
Baltimore AFRO-AMERICAN has asked to see the manuscript
for their paper. I'm sending them a copy shortly and if
there's anything doing, will ask them to pay through you.

Kozlenko just wired this morning asking permission to use
DON'T YOU WANT TO BE FREE in a Harcourt anthology. I ans-
O.K. by me if O.K. by you and all business arrangements to
be made through you. I'd like to see the play published
somewhere, as the magazine is out of print, and people
keep writing me as to where to secure scripts. Once printed
in a BOOK, we might get an occasionally $10.00 amateur pro-
duction out of it.

Did MULATTO ever open up on that proposed road tour through
Penn., as VARIETY reported they were expected to do?

I am going to Frisco right now to see GONE WITH THE WIND.

Hollow Hills Farm,
Monterey, Calif.,
February 4th, 1940.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

March 18, 1940

Dear Langston:

You surely are working with a system! When I phoned Davidson Taylor after receiving my copy of the Booker Washington sketch, he told me that he already had his copy and that he was very much pleased with it. They are paying us $150.00 for it. Schimek has the script on the Blues and he is most enthusiastic about it. He asked me if there were any music for it and when I told him that I did not know of any, he said that if he had someone prepare some incidental music for it, he would want Columbia Broadcasting to share in any proceeds resulting from other productions. I assured him that we would be glad to make arrangements with him. The Organizer, he felt, was a trifle on the controversial side.....

The Afro-American has written to say that they will send us payments due you.

I spoke with Martin Jones who told me that there was a deal in the offing for a production of MULATTO in Boston and perhaps Philadelphia, but you know how Martin Jones is.

Best wishes from Lieber & Lieber, both of whom have cricks in their backs - but at opposite ends of the anatomy!

Baltimore • Washington • Philadelphia • Richmond

Executive Offices, Baltimore, Md.
628 N. EUTAW ST.

March 29, 1940

Dear Sir:

Enclosed please find check for $28.98 for
Chapters 1, 2 and 3 of Langston Hughes's
"The Big Sea," which were published March
16, 23 and 30, 1940 respectively.

CM:IB

Encl.-check

Mr. Maxim Leiber
545 Fifth Avenue
New York City

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

April 3, 1940

Dear Langston:

Your schedule is nothing if not ambitious - 2 to 3 speeches a day! Is this a lecture tour or an endurance speech marathon?

We have been after Martin Jones and he still hasn't come across! But never fear, we'll worry him until we get what is coming to us.

I received the revised pages and shall get after Taylor also for payment, although I feel safer here than in regard to Martini Jonesi, Esquire.

The Chicago Exposition matter sounds swell and it would be an excellent thing if you could get the commission to write the script for them. I am sure we could find the proper producer for such a venture; however, I am writing to Arna Bontemps today for more definite details as to precisely what they are looking for.

Town and Country are cutting the lines you want out.

I shall speak with Schimek about the old colored blues; I suppose you are quite right about this.

And I shall write to the college dramatists about Mulatto and see what we can arrange with them.

We are forwarding a letter from Mr. Guime and also the score for one of your lyrics, which we opened by mistake. Which reminds me that Ben Irwin of the New Theatre League phoned for the score of The Organizer and we referred him directly to Johnson. The League has an arrangement to reproduce scores by a photostate process for which they only pay 15¢ a page.

The Afro-American sent us a check for $28.98 - like a Macy bargain. I had expected much more - hadn't you?

Enjoy your trip and autograph plenty of books bought for the occasion! We'll be with you next Sunday afternoon, for sure!

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

April 8, 1940

Dear Langston:

Booker T. Washington was excellent yesterday afternoon! I must say
that you really did an excellent job - as usual.

I did not receive your telegram until this morning since we don't come in on Saturdays. I tried to reach Truman Gibson at the Commodore this morning, but discovered that he had checked out yesterday without leaving a forwarding address. I immediately airmailed a letter to Arna Bontemps, asking him if he knew where Gibson could be caught up with and also requested more detailed information about the type and length of the production desired.

Here is the huge check from The Afro-American and the CBS payment - $26.09
will be coming through shortly.

Martin Jones finally got in touch with us to say that the producer of MULATTO in Boston absconded with the money. They allegedly only played for one week. Jones said he would get in touch with Equity to see how he could get the money due us all. I am phoning Equity to check on Jones; we shall see what they have to say!

encl # 1485, $26.09

c/o Arna Bontemps,
703 East 50th Place,
Chicago, Illinois,
April 25, 1940.

Dear Maxim,

I've just come from another conference with the American Negro Exposition folks who seem enchanted with my ideas for an Exposition revue. And as an evidence of good faith, have just given me a check for $140.00 to cover a week's expenses in New York to confer with possible producers, look up material, etc. So I shall be in town next Wednesday morning for that purpose.

Now in answer to your letter:

**REVUE:** Tentative outline enclosed. Show to be fast moving singing and dancing show using Negro folk material and outstanding song-hits from famous minstrels and musical shows of past from the days of the Creole balls in New Orleans up to the present Chicago swing and boogie woogie styles.

**SETS:** Indicated by outline.

**CAST:** Also indicated. It is proposed to use as many of good Chicago actors and artists as possible including Etta Moten (who introduced "The Caricoca" in the movie FLYING DOWN TO RIO; Lonnie Johnson, famous recording blues singer and guitarist; Butterbeans and Susie, well known comedy vaudeville team, etc. It is also proposed to include W.C. Handy in person and the Fisk Jubilee Singers. The large singing chorus of the original Chicago Swing Mikado is also here and available.

**FINANCING:** The Exposition, being state sponsored, is not out for profit, and so therefore would wish a return from the show only in proportion to their investment. In other words, maintenance cost of running the theatre and small overhead. The theatre, which is a part of the exposition Collium, seats about 4,000 persons. They propose to sell seats directly to the theatre from the theatre entrance, or a combination Exposition and Theatre ticket. Attendance at the theatre, however, does not need to include extra expense of admittance to Fair. The revue will be an independent attraction with, at the same time, for those who wish it, a combination fair-revue ticket covering both.

The Exposition MUST have a show. And may be able to put some money into the actual production themselves. But prefer to offer theatre, publicity, and other available facilities to a producing backer who will stage and put on the show for his own profit, taking care of entire financial arrangements himself, giving the Expo small per centage to cover theatre overhead.

This is as definite a statement as I can get from them now. But they are prepared to send a man to New York to talk with a producer as soon as one is available. And that is what they wish US to do: find some body. As they are head over heels in other things at the moment, and have no theatre contacts either, beyond a few tentative ones here in Chicago that do not offer them what they desire---the novelty of Swing Gilbert and Sullivans having worn off now, they therefore wish us to make the necessary contacts for them.

2.

No one has come up with anything that appeals to them except myself and Arna Bontemps, who is working with me on this---since he is their chief advisor on the entire cultural and amusement end of the Fair, and naturally believes they should have something typically Negro and of some historical significance for a Negro Exposition.

Our idea is to have first an ENTERTAINING singing and dancing show, the historical and racial material coming in if and only when it is first class entertainment as well. A sort of glorified Spirituals to Swing with plenty of pretty girls, fast dancing, and good singing.

The small stage in the theatre has to be entirely rebuilt, and the Exposition will build it to suit the requirements of a first class modern revue, putting in runways and whatever else we require.

Since the time is short, whatever can be done to speed up things, do. Use wires or long distance phone if need be to contact the Chicago office. I'll be here until Sunday. Then Cleveland on Monday and Tuesday:

c/o Progressive Business Alliance,
2157 East 55th Street,
Cleveland, Ohio.

In any case, I'll see you on next Wednesday, and if you can have some one lined up to discuss the matter, we can get together. If Luthar Green is still at the Windsor, he might be interested in the idea. You recall, he wanted to put on Negro show, but didn't know what kind. Also, since this is very much down the Spirituals to Swing idea, John Hammond at Columbia Records might find it to his liking. These are suggestions for contacts.

Through Exposition ticket sales, their organizational contacts and various Negro conventions etc., meeting in Chicago this summer, the show (any show they have) is assured a partial audience, anyhow. And if it clicks, it has the whole city of Chicago to draw on independent of the Exposition angle. So it ought to be a good financial investment from any theatre angle. Besides, if the producer wishes to bring in a big box-office name like Robeson or Ethel Waters, or a name band like Ellington, the Expo people are willing to aid in publicizing and every way at their disposal. What they insist on having is a first class professional show, preferably one staged especially for the occasion. And such a one as I propose would be good for use later on the road and possibly in New York.

ADDITIONAL ANGLE: There is also included in the Collesium a large dance hall into which they wish to book perhaps once a week, big name bands throughout the summer. So far, they've done nothing about that either. If there any way you could get in on that? If so, keep it in your head. The expo committee, being state controlled from the government's office, cannot MAKE money or operate for profit, except that it go back to the State of Illinois---so whoever takes the show (or the dance hall) will make the money from them.

Will you be so kind as to see that we at least get in on the show? I swear I will cut you in on my next hit song, if you do!!! Or should we just keep on selling blues to POETRY? Huh?

With sincere regards to Minna, and the hope that you-all will come to Chicago to see this show, I beg to REMAIN,

SINCERELY YOURS,

212

Dear Maxim,

Now in answer to your letter:

This is as definite a statement as I can get from them now. But they are prepared to send a man to New York to talk with a producer as soon as one is available. And that is what they wish US to do: find somebody. As they are head over heels in other things at the moment, and have no theatre contacts either, beyond a few tentative ones here in Chicago that do not offer them what they desire---the novelty of Swing Gilbert and Sullivans having worn off now.

2.

Through Exposition ticket sales, their organizational contacts and various Negro conventions etc., meeting in Chicago this summer, the show (any show they have) is assured a partial audience, anyhow. And if it clicks, it has the whole city of Chicago to draw on in- dependent of the Exposition angle. So it ought to be a good financial investment from any theatre angle. Besides, if the producer wishes to bring in a big box-office name like Robeson or Ethel Waters, or a name band like Ellington, the Expo people are will to aid in publi- city and every way at their disposal. What they insist on having is a first class professional show, preferably one staged especially for the occasion. And such a one as I propose would be good for use later on the road and possibly in New York.

ADDITIONAL ANGLE: There is also included in the Collesium a large dance hall into which they wish to book perhaps once a week, big name bands throughout the summer. So far, they've done nothing about that either. In there any way you could get in on that? If so, keep it in your head. The expo committee, being state controlled from the government's office, cannot MAKE money or operate for profit, except that it go back to the State of Illinois---so whoever takes the show (or the dance hall) will make the money fromx them.

SINCERELY YOURS,

AN ANSWER
IS EXPECTED

BY THE SENDER OF THIS
MESSAGE. PLEASE GIVE
IT TO THE MESSENGER
OR TELEPHONE IT TO

WESTERN UNION

2477-0-

WESTERN
UNION

1201

<table><thead><tr><th>SYMBOLS</th></tr></thead><tbody><tr><td>DL=Day Letter</td></tr><tr><td>NT=Overnight Telegram</td></tr><tr><td>LC=Deferred Cable</td></tr><tr><td>NLT=Cable Night Letter</td></tr><tr><td>Ship Radiogram</td></tr></tbody></table>

B. WHITE
PRESIDENT

NEWCOMB CARLTON
CHAIRMAN OF THE BOARD

J. C. WILLEVER
FIRST VICE-PRESIDENT

on telegrams and day letters is STANDARD TIME at point of origin. Time of receipt is STANDARD TIME at point of destination

NA 1660 64/67 NT=NEWYORK NY 26

1940 APR 26 PM 11 26

LANGSTON HUGHES=

CARE BONTEMPS 703 EAST 50 PL CHGO=

LEW LESLIE PREPARED TO PRODUCE RHAPSODY IN BLACK
PROVIDED EXPOSITION BACKS HIM WITH FIFTEEN THOUSAND LESLIE
ANXIOUS TO PRODUCE ANY OTHER SHOW BUT WILL NOT FINANCE
STOP AM IMPRESSED BY HIS SHOWMANSHIP AND IF YOU THINK
EXPOSITION OR OTHER CHICAGO INTERESTS WILL BACK HIM FEEL
CERTAIN HE WOULD MAKE SUCCESS FOR ALL CONCERNED PLEASE
WIRE REACTION WILL HAVE WORD ON BIG NAME BANDS MONDAY
WIRE ANSWER WESTERN UNION=

MAXIM.

THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

May 12, 1940

Dear Langston:

There is not much to add to the enclosed letter.

I received the floor plans, etc. and it certainly begins to look
like something, if we only could line up a show!

I have been after Schiffman, etc. since I spoke with Forkins, but
he was unavailable until Monday!

Why don't you get an inspiration? I've been trying hard for one,
but I just can't find one.

Meanwhile we are freezing around these here parts. How's it with
you? How about starting the numbers racket..instead of a show?
Those fellows would need much less encouragement to come......

As ever from Minaxim!

Ans.
Advised of Minturn
" FRIDAY
Sissle

HOTEL GRAND,
5044 South Parkway,
Chicago, Illinois,
May 23, 1940.

Dear Maxim:

One of the Chicago beer companies has just agreed to sponsor a small show to be held inside the Exposition itself, either in a soundproof theatre or air-cooled beer garden, a kind of "unit" show in two or three parts, perhaps an hour in all, largely musical, for which Arna Bontemps and I are doing the book and the lyrics. Margaret Bonds is doing most of the music. The rest will be by Zilner Randolph (who wrote last year's hit song, OLD MAN MOSE IS DEAD).

Could you prepare a contract for Arna and I covering book and lyrics for such a show? I have just written Margaret Bonds asking her if she wishes you to handle her end of it, too. She lives in New York at:

Miss Margaret Bonds,
15 West 123rd Street,
New York, New York.

The Expo (or beer) people will endeavor to have published an album of the songs of the show to sell on the grounds....The contract, I guess, we'd better have soon SO would you write in the customary per centages for book and lyrics for CHICAGO PRODUCTION only, I think, don't you? Reserving other rights to ourselves---or as you think wise. The show is to be called THE TROPICS AFTER DARK. Please send draft contract here for me to go over, leaving space for producer's name, as it isn't clear yet who is producer, the beer folks or Expo.

Some of the songs are already set and are swell. (We ought to get a HIT out of one.) And we're auditioning talent tonight. Send on that contract!

CAVALCADE OF NEGRO THEATRE is still hanging fire. It looks now as though the Exposition will produce it themselves with the $75000 the Federal government has just voted them. But the bill awaits the President's signature. So you might draw up the outlines of an agreement with them to be ready in case of rush need. Book and incidental lyrics by Bontemps and myself. They promise us a larger than usual per centage on this since we conceived the whole thing and will also help in production and selection of music, etc.

MULATTO: Air-mail special recently arrived from Rumsey about Jones and back amounts owed, etc. Also a paper for me to sign regarding rights. I will send all this to you tomorrow or next day, soon as I have a chance to study it and make copies to keep here. Right now am RUSHED with this TROPICS show which at least is a bird practically in hand. LET'S HOLD THIS BIRD. So fix that contract so we don't come out holding the bag. Have you got a Chicago representative who can take care of all this? Don't send me no Biddnal who eats in a lungh wagon. Fact is, I don't want to eat. I just want a contract.

I like eating with you and Minna though on daylight saving time.

Hotel Grand,
5044 S. Parkway,
Chicago, Illinois,

May 25, 1940.

Dear Maxim,

BOTH shows are now set to go!

TROPICS AFTER DARK: Sponsor, Chicago's Fox Head Beer Company, who are putting up $5000 to produce the show, sum to be repaid, after which gate receipts go to a Producing Corporation now being formed who will contract to put on the show. Said Coporation headed by Mr. Gibson. BUDGET: Out of this $5000 must come sets, costumes, lights, rehearsal costs, and salaries of cast of 8-12 for a period of three weeks guaranteed run. (Option on remainder of Fair). THEIR PROPOSAL: A $900 advance to us for book and music on 6% royalty for three weeks. In case 6% amounts to more, we get it. In case less, we'll have had the $900 and won't lose. Does this seem O.K. to you.....FURTHERMORE: Sponsors agree to get music published at regular ASCAP contract for us (cutting sponsors in 1/3 since they will sell music at the Expo and endeavor also to arrange recordings).....They hope to interest Balaban & Katz people or other theatre chain to use show after Fair run, but will make a separate contract with us for that when time comes. Theatre seats 150-200. Is in form of beer garden with tables, but show will be on a stage. Admission probably 15¢ or 25¢ after one is already in Expo grounds. Also probably combination tickets to Expo, this, and other charge attractions.....I have asked Gibson to draw up in memo form what they consider essential to the contract for me to send to you. This he will do Monday or Tuesday. But does this general arrangement sound fairly reasonable or not? Show to be in two halves, half hour each. In other words, an hour show, containing eight songs by Hughes-Bonds-Bontemps, and slight book by Hughes-Bontemps. To go into rehearsal June 15th.....The % to be based on gate only, as the beer is another concession entirely, I mean that being sold therein.

CAVALCADE OF NEGRO THEATRE: To be sponsored by the Expo with the use of the Federal Music Project units here, (light opera and chorus Negro units). Gate to be probably 25¢-40¢, not over to avoid tax and keep it at popular level. Book by Hughes-Bontemps. Entire conception, in other words, by us. So I think we should have customary musical comedy book royalties. (The two or three songs which we may have in the show should be considered a separate thing, I think so what is the customary for use of a song in a musical. For instance, in HELL'S A-POPPIN', the songs are by various people. Perhaps a flat sum of so much per week for the use, no?

I believe Mr. Douglas once told me the Guild had no set form for musical show contracts as they do for drama. A DRAMATIST after all is highbrow, viz. MULATTO. I have now stepped down a bit, and maybe the Guild doesn't condescend to CAVALCADES. So make up a contract yourself, uurselves, us. Just so we get our money!

DETERMINED to be a song writer long ago!

L. Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

May 28, 1940

Dear Langston, Librettist:

I am sending you herewith four copies of a Collaboration Agreement between yourself, Arna Bontemps and Margaret Bonds, whom I phoned and who agreed I was to represent her in this matter. But on looking over your lyrics, which by the way, are delightful in which opinion the FRAU concurs, I note that several of them are in collaboration with Zilner Randolph. Now, since you did not mention him as involved in the contract, I have not introduced him into the Collaboration Agreement, but if he is to share in any way, we will have to revise these forms. If he is to be included in the arrangements, you had better tell me and let me know to what extent; also return the memoranda for revision. When these are in order, I shall then send you a contract for TROPICS AFTER DARK with the producer, but before drawing these, I should have the name of the producing corporation or the name of the manager who will be responsible tous and make the checks payable.

By the way, speaking of checks - the general practice for shows is to have a company manager and a house manager in the box office simultaneously so that there is a double check on the receipts. These two men always sign the daily statements. I see now where we will have to keep you in Chicago and stick you in the box office - otherwise we will never get any money; we would just have another Martin Jones show.

Be sure to send me the name of the producing company for TROPICS AFTER DARK because the contract will have to be signed by a person legitimately authorized to do so and who can be held responsible for payment of royalty. Your letter of the 25th states that the sponsor is Chicago's Fox Head Beer Company, but that a producing corporation is being formed. This producing corporation must have a name - so get it to me quickly!

I have discussed the contractual aspects of TROPICS AFTER DARK with Douglas several times. He assures me that a beer show, if this is what it is, does not come within the scope of the Dramatists Guild agreement and so we will not be plagued by this organization.

Cavalcade, however, is another matter, which we will take up in due time. Douglasthought that six per cent (6%) royalty was a very equitable arrangement for TROPICS AFTER DARK, but now that you are promised nine per cent (9%), you are certainly being done well by.

Of course, strictly speaking, this is not going to get any of you very rich because at a 25¢ top with a 200 seating capacity, the maximum box office receipts can only be $1,800 a week. However, that is better than WPA rates. However, with music and record rights, there will probably be a decent profit.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

June 3, 1940

Dear Langston:

TROPICS AFTER DARK appear to be in an impenetrable jungle by now....

Why haven't you returned the contracts to me yet? How can I continue with anything at all until I get those contracts? What is the name of the producing company?

When can I hope to get the additional information I asked for in my last letter? Time is fleeting and it is just about the moment for us to get those contracts signed.

And what is the latest development on the Cavalcade? Just how will the WPA music projects work out with Mr. Minturn and how are you and Bontemps affected by the WPA turn of events?

And what happened to the Rumsey papers you received? When will you send them on to me?

Langston, don't let me fret myself away, here in hot old New York town, awaitin' and asighin' for word from you.....

Friday night, we say a partial premiere of DE ORGANIZER at Carnegie Hall at the ILGWU Convention. Ostensibly due to lack of facilities and time, they put on a version, which was greatly cut and slightly mangled. The story was read by a man's voice, while a chorus sat on the stage in straight rows of chairs and while the main singers sat facing each other, flanking the chorus, they stepped up front each time they had a solo part. The whole thing was done by the Negro Chorus and orchestra of the ILGWU and in spots was immensely effective. The White Bastard of a Boss was sung by a young white chap and when he timidly came on stage (the audience was prepared for him by the Reading Voice) he was met with such a vehement hissing from the audience, that he lost his self-control and his song sounded rather waveringly....if all bosses could be knocked off their pins that way, it would not be so Bad. We shall send you a program in a couple of days and also a copy of the Saturday Times review of the Convention in which the Convention's cultural aspects are detailed and the musical program discussed with much gusto, but in which there is nary a word about DE ORGANIZER - just as if it had never been. And yet, the skit, such as it was shown, received tremendous applause from the audience. And as I have already said, much of it was very effective, despite of the handicaps it had to surmount. I meant to keep this Times report and if I can lay my hands on it, I shall send it to you as a curiosity.

But let me hear from you about all the matters I have to know in order to draw up the proper contracts, quand meme!

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

June 11, 1940

SOS SOS SOS SOS SOS SOS SOS SOS SOS SOS

Dear Langston:

What the ... is the matter with you? You have everybody guessing and worried here in New York. This afternoon, Miss Bonds came into the office. She is somewhat upset at not having heard from you in so long. She doesn't know where she is at as far as her music is concerned and we certainly were in no position to be of any comfort to her.

Gibson answered our letter, a copy of which we had sent you, but he quite misunderstood us. He thought we were _asking_ for contracts....but we want to _make_ contracts. Can't you spare ten minutes out of 1,440 (that figure is arrived at by multiplying 60 minutes times 24 hours) and let us know what's what?

What with a cockeyed world crashing around us, we do need a little stability....write - either on eastern standard time or on eastern daylight saving time or on mid-western standard time or mid-western daylight time - but WRITE!

We got a check for you today, but we won't tell you from whom until you write! Now we got you where we want you!

With best wishes as ever,
Minaxim,

NIGHT LETTER

June 13, 1940

Chicago, Ill.

TO:

Dear Max nothing the matter just sitting here waiting
for them to make contracts as both shows are done and
about to go into rehearsal but with creative urge upon me
could not write letters however now that I hear you have
check spell is broken heavens bless you both

Langston

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

June 14, 1940

Langston Hughes, Esquire
Hotel Grand
5044 South Parkway
Chicago, Ill.

Most Honored Sir:

At last! You can't know what a relief it was to hear from you. We had been genuinely worried because we couldn't understand why there should have been such a long silence from you.

June 15, 1940

Bucks County

Dear Langston:

Now that the shows are done, will you be good enough to let me know
what contracts "they" are supposed to make? Who is "they"? Isn't
it unwise to go into rehearsal without any contract in your hand?
I'm on pins and needles to know what is happening out there. And I
really can't go ahead with anything until you enlighten me.

Langston, we really put one over on you because although we do have
a few checks for you, they don't really amount to very much. Shall
we hold them or send them onto you? I know there is one from the
AfrO-American and a few other odds and ends that I can't think of at
this crucial moment.

Thanks for the heavenly blessing....same to you, but right now it
looks as if though we were going to be crowned first by certain
unmentionable elements in Washington.

What shall I tell Miss Bonds? I promised to get in touch with her
as soon as I heard from you, but your telegram doesn't say where she
is at with regard to a contract.

Minaxim are sitting on the side porch and enjoying the air and the
perfume from the mock orange blossoms....

With the best of wishes for all sorts of good things,

Hotel Grand,
5044 S. Parkway,
Chicago, Illinois,
June 15, 1940.

Dear Maxim,
(Help him, dear Minna):

If you will just help me to be a song writer one MORE time I will never bother you again---unless we turn out to have a HIT song on our hands---in which case I'm sure you won't really mind. (And since miracles really happen every day, who can tell? We might have a hit song sometime.) Anyhow, while we are fooling around waiting for those beer folks to get their dummy corporation made up so they can make contracts for THE TROPICS AFTER DARK, I thought we might as well do something about getting the music published--- in ordinary sheet music form, the pieces to be slipped into an

EXPOSITION FOLIO and sold therein, in the theatre and also in the
bookshop in the Expo proper. To that end I've listed the good
publishers having Chicago offices and shall proceed to interview
them one by one starting Monday, with a pianist along to demonstrate
the music should they want to hear. Enclosed on a separate sheet
are my talking points---and yours. I've just written Miss Bonds in
New York to do the same, (with your help in making appointments in
case you and she feel it desirable) taking the publishers in this
order, which is the order I shall use on this end:

ROBBINS MUSIC CORPORATION
CARL FISCHER INC.
BREGMAN VOCCO & CONN
CHAPPELL & COMPANY
MILLS MUSIC INC.
REMICK MUSIC CORP.

I'd suggest that you have Miss Bonds play her songs for you and Minna
so you'll know what you're talking about, too. (You received the book
of the snow, did you not? LIBRETTO, to be highbrow.)

The Exposition here has good contacts with Decca records, so we'll
approch them here in Chicago on recordings. But publication is im-
portant because it protects, through ASCAP, one's air-royalties. And
gives me a chance to check (for creative use) the rest of my days---
which I receive now quarterly---from the numbers I have already pub-
lished. (Miss Bonds has one or two numbers published now. When she
has six she also can join ASCAP.) It is a good organization.

Zilner Randolph has refused to release his numbers as yet since no-
body has gotten around to talking business with him. And since he is
also involved in the present union troubles the Expo is having---in
this case WPA Music Projects versus union arrangers. (But carpenters
and everybody else have refused to nail a nail so far en account some
of the exhibits were made with WPA labor and they want them torn down
as I believe I told you). In any case, Randolph is out of our orbit
for the nounce. But said barrier I refuse to allow to stand in the
way of my being a song writer, and no harm will come of Miss Bonds and
I getting our numbers (and yours---as the Mexicans so politely say)
from being published. So let's go to. Even if there should be no
Expo and no show, we'd have at least accomplished that much.

It is our duty in these troubled times to ad a little joy to the world
through our music.

friend,

June 15, 1940.

Dear Maxim,

Books of both the TROPICS AFTER DARK and JUBILEE, A Cavalcade Of The Negro Theatre, are ready and have been delivered to the Exposition Authority, nee Truman Gibson. As well as the lyrics and music for the TROPICS and two lyrics for Cavalcade: JUBILEE and DIAMOND JUBILEE, the first to be set by Thomas A. Dorsey, famous Negro gospel jubilee writer here in Chicago (music done) and the later, a dance finale for the show, to be set by Duke Ellington....So they have several thousand dollars worth of work so far for nothing!....But swear they will get around to contracts this coming week; Dramatist Guild through Federal Music Projects (and resulting red tape) for the CAVALCADE; and an agreement still to be discussed for TROPICS......The producer of TROPICS, Teddy Blackman, formerly of Cotton Club, New York, has arrived from Detroit and hopes to go into rehearsal Tuesday. The show is to done cabaret style now in a large dance hall, which means cutting out much of the dialogue---but STILL to be OUR books and songs--though they do it in a ball park!....The Expo heads are now head over heels in union trouble and to get a glimpse of them for a split second is worth your life---as all the unions in Chicago now swear they will not nail a nail or transport a single placard because too much of the pre-Expo labor has been done by WPA. The unions request that they tear everything down and scrape off all the paint and do the whole thing over at the union scale!!! So what will come of that, I do not know---and it is merely entre nous and not to be broadcast. If in the excitement, we can just get CONTRACTS and an advance, that is all I desire. But even if you were here in person with your very charming office staff, I don't know whether you could grab the main man long enough to open your mouth or not. (I am an old grabber---having learned my tenhichque in the days when you grabbed or ELSE---and I can't do no good. So I judge one must just sit and wait. HAVE YOU ANY OTHER ADVICE????? If so, air-mail it by wire at once.

As to the music; time being so short and contracts or no, it seems to me we'd better try to get the TROPICS music published. The Expo promises to permit its sale at the... and all during the Exposition from July 4 to Labor Day---and wishes it (a selection of perhaps six of the most salable numbers) in an Exposition Folio (sheet music placed in an Expo cover). To that end, do you think it wise to have Miss Bonds contact and play her numbers over for some of the New York publishers to see if they'd be interested? I'd suggest starting with Robbins---as they've published a Jacqui s Wolfe song of mine and also have published (or were to pub;) Zilner Randolph. Would you want to give them a ring and see if they express any interest? Meanwhile, on Monday, I'll contact their Chicago office, and see what gives off on this end.....

Both shows have been announced to the press---in case you've seen The Times---and Chicago Tri-

June 17, 1940.

Dear Maxim,

I just talked with several of the Chicago offices of New York
publishers and they all say new manuscripts have to be submitted
to the New York offices. The lady manager at Carl Fischer's
seemed most interested and suggested that we contact Mr. Walter
Fischer, 62 Cooper Square, New York. So to that end I am writing
him today explaining about the TROPICS and the Expo, etc. And I
suggest that you and Miss Bonds coordinate in getting an appoint-
ment with him so that he might hear the music.

After that I'd suggest trying Robbins and Schirmer's, both of whom
have published concert songs of mine (in case they recall.)

As to the contracts, I'm still sitting here on a limb waiting for
the wind to blow the right way so that I can grab a-hold of some
official. But all officials are so tangled up in unions right now
that their own office don't see hair nor hide of them all day long---
much less me. So all I know is to sit and wait. They've given
Teddy Blackmann transportation money for those he has to bring from
outside for the TROPICS and he starts casting and so forth tomorrow
at one of the rehearsal halls here. So it looks as if the TROPICS
will surely go through, but nobody has yet gotten around to putting
pen to paper. My suggestion would be to wait a few days more and
see if I can't buttonhole Mr. Gibson. Failing that this week, I
would suggest that before you go back to the country, you write him
a NOTE.

I am about to get around to sending you all that MULATTO material.
But had to stop yesterday to read proofs on THE BIG SEA due out
August 5th.

Do send on all little odds and ends of checks. As usual I am on
the verge.

No wonder you prefer Bethoven and Jersey. But just wait till we
get a hit tune on Broadway. To be sure you hear it once anyhow, I
shall come in person and play you a record of it, after which I
shall present you with the placque for the files.

You really ought to come to Chicago to see the TROPIES AFTER DARK.

Sincerely & always,

Hotel Grand,
5044 South Parkway,
Chicago, Illinois,
June 18, 1940.

My dear Maxim,

Before you go to the country this week-end, a bit of MULATTO to consume at your leisure. These letters of Mr. Rumsey's travelled all over the country before reaching me. But now here they are.

1. Do you think we should declare an arbitration---since he is seemingly mad himself and now willing to help us on it?

2. Should I sign that paper which he encloses saying the rights have revoked to me? If so, let me know, and I will. It seems to me O.K. (However, when Hitler comes in, Jones will take them right on back---because he is a Fascist as I think I told you).

3. Arthur Spingarn probably has in his files whatever MULATTO papers you don't have, as he was once trying to help on it.

4. Among other little items, the Guild, too, is due about Two Dollars for my dues deducted from my checks by Rumsey but never paid the Guild. (Which, no doubt, would come out, should there be an arbitration.)

Now to the more immediate---but hardly more cheerful. The Expo
folks are still closeted with the unions---and everything else
is held up until they get straight there. I was in the office
today and left memos, but couldn't find hair nor hide of any
official....Mr. Blackman is going ahead with TROPICS rehearsals
but has no contract himself yet, nor has any one else. SO....?
Advice.....? Wait is all I see to do. I don't think we are
dealing with dishonesty here. Simply an understaffed office
swamped by affairs beyond their ken!!!

I'll try to pin Gibson down this week-end, and will have an air-
mail in your office Monday letting you know what the week brings
forth.

My best to Minna.

238

My dear Maxim,

Now to the more immediate---but hardly more cheerful. The Expo
folks are still closeted with the unions---and everything else
is held up until they get straight there. I was in the office
today and left memos, but couldn't find hair nor hide of any
official....Mr. Blackmen is going ahead with TROPICS rehearsals
but has no contract himself yet, nor has any one else. SO....?
Advice.....? Wait is all I see to do. I don't think we are
dealing with dishonesty here. Simply an understaffed office
swamped by affairs beyond their ken!!!

My best to Minna.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

June 20, 1940

Dear Langston:

All the papers in the famous MULATTO case have come to
hand. I have read them all as well as the letter I am
returning herewith so that you can sign it and forward
it immediately to the Dramatists' Guild. While I do not
suspect Rumsey of being a philanthropist, I do believe
he is so incensed against Martin Jones that he is
perfectly willing to fight him tooth and nail and if
you incidentally get some of the monies that are
actually due you, that will be fine too.

I am writing Miss Bonds about playing the songs here in
New York for publication offers. Perhaps that million
we need so badly will come out of this.

And as for the Exposition, we will just sit tight and
wait until something happens. I guess you are right -
there does not appear to be any dishonesty in the air -
merely much confusion and ineptitude. And the only
thing to do is wait and hope.

Are you also on the Reception Committee for Herr Hitler
and Herr Himmler?

As ever from us both,

We still have not received the latest and final version
(to date) of the books. Mr. Bontemps said that he was
sending a copy last Friday, but thus far it has not
arrived. All we have is the original stuff you gave us
long ago.

P.S. Do you see me playing
the piano, enclosed.

Dear Max,

Thanks immensely for the checks which are a great help to
a young man trying to be a song writer in Chicago in the
face of diddiculties..... Songs and dances for both TROPICS
and CAVALCADE are being rehearsed..... Talked to Gibson today.
He was about to go into conference with the Musicians Union
again who are still holding out for demands far beyond the
capacity of the Expo budget to fill as well as refusing to
work with WPA musicians in CAVALCADE. If not settled there
can be no shows. However, if not settled, don't know how
there will be much of an Expo either as it affects all their
other entertainment plans, dance bands, etc. And an Expo
with no entertainment could hardly last two weeks, let alone
all summer---so I judge they will work it out some way. At
the moment they all feel very low in spirits---as would I if
it were not for you and my art..... Yesterday I sent you all
the MULATTO stuff. What did you finally do? Accept Jones'
last check? Did you figure 1/10 of a bird in hand worth
10 in bush? Or yea even 10 thousand?

With my sincere admiration, respect, and very best regards,
I beg to REMAIN,

June 20.[1940]
Chi.

Hotel Grand,
5044 S. Parkway,
Chicago, Illinois,
June 24, 1940.

Dear Maxim,

They are now ready to make contracts for the TROPICS AFTER DARK, having formed the producing company. It is:

City Concessions, Inc.,
3507 South Parkway,
Chicago, Illinois.

They will agree, according to Mr. Theodore Jones, who is in charge of business at the above address, to the following arrangement:

5% of gross up to $5000 per week
7 5/8% " " " 7500 " "
10% " " " 100000 " "

with an advance of $300.00 to the book, lyrics, and music. (Out of which would have to come 4/10 of $100 to Zilner Randolph as he has at the moment four numbers in the show's line-up---which should leave $60 for Miss Bonds). On the sale of the sheet music, and records, we have agreed to cut the City Concessions, Inc., in 1/4 or 25%, in return for which they will arrange the sale of the sheet music and records at the Exposition and in the theatre, use the Exposition publicity facilities to publicize same, use the Exposition radio time and contacts to plug said songs, and will make ever effort to have the songs recorded, etc.

Zilner Randolph's affairs are handled through the office of his local of the musician's union here, so I do not see how we can write him into our agreement---but if he has to be mentioned---since the music must be pro-rated between him and Miss Bonds---then fix it up as it should be.

Do I need a Collaboration contract between Mr. Randolph and myself and Mr. Bontemps on the four songs we have done? If so, would you kindly send me copies for the three of us to sign---as he is agreeable to the same arrangement, except that he cannot use you as agent---and his monies will be paid by City Concessions directly to him through his union local here.

(This union out here is a killer diller, by the way, and seems to have everybody, bands, composers, arrangers, and all sewed up and unable to move without them. The Expo, it seems, has finally bowed to the inevitable and made their peace (PIECE) with them---as they said this morning it was O.K. now to go ahead and rehearse the shows. The TROPICS orchestra will get about twice as much as everyone else concerned out of the production now---I mean all the rest put together.)

Kindly RUSH said TROPICS agreements while they are in a mood to sign and have money for ADVANCE before they spend it all on arrangers or electricians or something or other.

P.S. In CAVALCADE Bontemps and I have only two numbers with our lyrics---the rest all old music and spirituals. They will do the work of securing copyright releases---the Expo!

MAXIM LIEBER

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

AUTHORS' REPRESENTATIVE

545 FIFTH AVENUE

NEW YORK CITY

June 26, 1940

Dear Langston:

I am about to make out the contracts for the TROPICS AFTER DARK between the City Concessions, Inc. and yourselves, but before doing so, I feel I should point out to you that the royalty arrangements are very poor. According to your own explanation, the gross intake will never reach $5,000 per week. Therefore, according to Mr. Jones' offer, all of you would never get more than a total of 5% and inasmuch as musical royalties start at 6% and up, I feel we should ask for the minimum of 6% and it should slide to 8% after $3,000 instead of $5,000 and 10% after $6,000. Even so, you may never achieve the 8% unless they pile them in and charge more than $1.00 admission.

My suggestion is that you hold out for this increased royalty. First of all, you have got them by their hair, so to speak, because the show MUST go on and they cannot make substitutions in this brief period. If you are hesitant or indisposed to argue the matter with Mr. Theodore Jones (Shades of Martin), I will go to bat with him on your behalf - after all, that is really in my province. Unless you feel that he will acquiesce or unless you have miscalculated the possible weekly box office gross, I would suggest that you let him have the enclosed letter from me.

What happened to the $900. advance they talked about not so long ago?
Why did it sink down to this pitiful sum of $300.?
What would happen if we asked for a $500. advance?

I have made several appointments for Miss Bonds and myself to play your songs. Carl Fischer and Schirmer are definitely not interested in doing popular music. We already put in our appearance at Mills and they say NO. We also have been at Chappell and their highnesses asked us to come again on Friday. So you see, we are doing what we can here.

The collaboration contracts will be signed here by Miss Bonds and then sent out to you in a day or so.

We have not yet received payment for the ILGWU performance, but expect it soon. We Hope! I am sending off the Saturday Review of Literature today - Town and Country has not yet come to hand. Jones' last check was cashed and you received that payment with the rest of the checks. However, we wrote a letter of protest in which we declared that this was not an acceptance as total payment. That covers us. You can send Randolph's music if you think it is all right for Miss Bonds to play it for the publishers - this is a matter of etiquette and I don't know my way round...DON'T send it unless she can undertake to play it for the publishers because I couldn't do anything with it in that case.

Please WIRE an answer about the contracts so that we can mail them out to you tomorrow and you'll have them Friday.

finitum,

With our profoundest regards, sincerest best wishes ad in-

On the newspaper pictures you are heartbreakingly handsome, Langston!

June 27, 1940;

Dear Maxim,

It would be XXXXX all right to fight for better terms on the
TROPICS if you were HERE or somebody with the time to devote
to it, or if you could get hold of any responsible exposition
official to do it with, since they are like eels, hard to catch
and harder to hold. SECONDARY DIFFICULTIES being that the
unions are giving them such a hard way to go and running up the
expense of installing the Exhibition, stages, etc., so that
their out-go is about to run away with their in-come---and they
are all in a terrible humor about bills, money, etc., so even
to mention it one has either to be the greatest of diplomats or
else have a sledge hammer in one hand and gun in the other and
a knife between the teeth. Specifically, speaking of the TROPIOs,
several difficulties have come up---one a conflict of beer com-
panies (and I judge you know from the movies what Chicago beer
conflicts can become) is taking place, the company holding the
concession (and our money) unable yet to get a liscence because
another company has somewhere in the Colesium lease a blanket
clause granting latter company option on any or all beer-selling
that goes on under that roof ever. (This being merely a simple
statement of the situation involving above element in more com-
plicated tangle with various bosses, politicians, etc. involved.)

Second: Musicians union refuses to grant TROPICS a Black Belt
protection within loan district.

ed to be sold therein in a special Exposition Folio.
The songs, a dozen in number, from which a selection
of the most commercial might be made have music by
Margaret Bonds, and Zilner Randolph (composer of OLE
MAN MOSE IS DEAD). The titles include:

PRETTY FLOWER OF THE TROPICS
LONELY LITTLE MAIDEN
THE WAY WE DANCE IN CHICAGO
VOODOO MAN
SUNDOWN IN RHUMBA LAND
I'LL MAKE YOU SAVVY

The Exposition Authority will use its publicity fa-
cilities to publize the numbers, kits bands and radio
contacts to plug them, and will endeavor to have the
principal songs recorded and sold at the Exposition
as well as the sheet music. We would be pleased to
hear from you as to whether your firm might be inter-
ested in bringing out a selection of these numbers
from THE TROPICS AFTER DARK, in which case we would
be pleased to have them played for you, or arrange
to have a representative of your office attend a re-
hearsal of the show and hear them there.

Sincerely yours,

P.S. My telephone:
Kenwood 5200.

Langston Hughes
For THE TROPICS

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

June 28, 1940

Dear Langston:

Here are the collaboration contracts, duly signed by Miss Bonds.
Please see to it that the three Chicago signatures - yours,
Bontemps' and Randolph's are properly affixed and return two copies
to me. One for Miss Bonds and one for my files.

Here also are the contracts for TROPICS AFTER DARK. I feel that we
could have held out for a more equitable financial arrangement and
I think you are letting yourself in for much aggravation a la Martin
Jones, but since the letter we received this morning clearly states
that you would rather not argue the point, but have it all settled,
here are the documents.

Be sure to go over these contracts carefully because you will have
to fill in certain data on behalf of Zilner Randolph which we did
not have here - this is very simple as you will see - just names and
address.

Sign and return copies for Miss Bonds and myself.

And now GOOD LUCK!

July 2, 1940.

Dear Maxim,

Here are the Collaboration Agreements. I had the devil's own
time getting Zilner Randolph to sign anything. It seems that
he only got $30.00 for Ole Man Mose which sold over a 100,000
records, so he is double wary now, and the Musicians' Union
out here has to approve of everything he does. Took me three
days to finally get him down on both pieces of paper.

At 5 P.M. today (daylight savings) Mr. Theodore Jones swears
by all that is holy he will sign the contracts and advance the
wherewithall. By air mail this evening, I will let you know.

Did you say shades of Martin Jones? (Shade and shadow might
be a more complete description.) But careful---City Concessions
might bring you up on charges of white chauvenism!

Would you want to---no never mind, not yet. One thing at a time.
No doubt, little by little, with your aid I shall be come a song
writer.

TROPICS will have Horaee Henderson's Band---one of best Negro
bands out this way---a name band. (Which might help some in get-
ting music published.) Has anything come of you-all efforts yet?

In God we trust. Do you think he will save the British Empire?

Dear Minna:

The Exposition is not air-cooled---so kindly think of me
on the 4th in the TROPICS while you-all are sitting on your
nice front porch in Buck's County. Happy holidays to you.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 5, 1940

Dear Langston:

How did the Exposition get off yesterday? I hope the weather
out your way was more propitious than here. It was cold and
cloudy and most unexciting, but today is glorious and almost
warm enough to go swimming. We are spending the weekend with the
Carleton Beals at their place near New Haven right on the Sound.
Max and Carleton are spending their time playing chess until the
wee hours of the morning. They never get tired apparently.
And Blanca and I are lazy and we devote ourselves to little
beyond feeding the hungry men and working a little in between
times.

The contracts arrived safely, Langston. We could secure no ap-
pointments with music publishers for last week, or rather, this
week, due to the holiday. Practically all of New York closed
down today. And since Miss Bonds got an awful cold last week,
I guess she too is relieved because this breathing spell will give
her a chance to recuperate.

Are you staying out there in Chicago all summer? I shall write you
again from the City when we have some appointments, etc.

As ever, the Two Ms,

Chicago, Illinois,
5044 S. Parkway,
Hotel Grand,

July 9, 1940,

Dear Max and Minna,

Received your nice letter from the country. I'm glad you
had an enjoyable holiday with the Beale's..... I trust you
received the TROPICS contracts and check. Kindly send each
respective person his or her contract directly from your
office, with checks to Bonds and Bontemps. From now on, if
we get another penny, it is up to you.....THE TROPICS AFTER
DARK opens Friday night. Straight cabaret show, all dialogue
cut out, some of our songs left therein, still don't know how
many as the show hasn't been put together yet nor band ar-
rangements finished.

They are now ready to start on CAVALCADE this week-end, as
the first WPA Production opens tomorrow night, CHIMES OF NOR'
MANDY in swing. So please send on contracts for that, make
it the higest sliding scale you can, with Five Hundred advance
to Bontemps and I. Make contract out to Diamond Jubilee Ex-
position Authority, Inc., to be signed by Truman K. Gibson, Jr.,
who is the Executive Secretary. All the publishers granted us
use of the old music free, so in the light of that, our royalties
as authors of book and compilers of music, etc., ought to be as
high as we can get, especially in the light of the fact that it
was an ordered job, done without an advance, so far, of any kind.

Kindly write Mr. Theorose Jones, who is the authorized agent of
City Concessions, and tell him you expect a statement every
we k, ect., as he knows nothing about theatre customs.

We're sending you shortly six copies of CAVALCADE in case any-
body else anywhere on earth should want to do it.

The Expo opened in a blaze of cultural glory, but without a
single amusement—all education and achievement. Result crowds
getting smaller and smaller—until now the authorities are at
last frantically trying to get the shows on and ad some other
amusement features to the fair. I at least have the pleasure of
"I told you so!"

much

Just how culture can the masses take---
Unless Little Egypt is around to shake?

I am almost cured of being a song and play writer and shall shortly
go back to literature, this time for sure!

P.S. Bank sent back enclosed check because you didn't sign it!

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 10, 1940

Dear Langston:

Here is the signed check - Sorry this happened....

And here are the contracts for CAVALCADE, but, dear Langston, you will have to fill in three items: 1) the address for the Diamond Jubilee Exposition Authority, (I suspected it was the Exposition address, but did not wish to take a chance) 2) the full name of CAVALCADE. Since there have been so many changes, I did not know if this "work" still went by the dignified handle it was conceived with: Cavalcade of the Negro Theatre. In your last note you just spoke of Cavalcade all the time. Here again I did not wish to run the chance of asking having to retype the entire business, let alone wasting much precious time in transit), and 3) the date in Paragraph Six. I could not put in any date because I might make the whole business look ridiculous. And I suppose the date might be important in this instance to make sure it gets put on!

And here also are the collaboration contracts between yourself and Bontemps - I am just enclosing the second page of our office copy - which you will please return with the affixed signatures!

We are wrigint Theodore Jones and laying down the law to him, sort of gentle-like, but unmistakable, nonetheless.

And by tomorrow I shall be sending out the other contracts to the respective people.

In the Sunday Times there was a microscopic notice about the Expo - and almost all it mentioned was Miss Bronze America!! - not a word about you or Bontemps!!
!!! Minaxim!

254

Hotel Grand,
5044 S. Parkway,
Chicago, Illinois,
July 12, 1940.

Dear Maxim:

TROPICS got off to a fairly good start last night. All we have
left in it is four songs:

OPENING CHORUS---Randolph

WAY WE DANCE IN CHICAGO---Randolph

VOODOO MAN---Randolph

PRETTY FLOWER OF THE TROPICS---Bonds

Soon as CBS strike is over, due to have national hook-up twice weekly, Horace Henderson's Band, so listen in and hear out tunes. I think that will be our chief pleasure, as personally I think we have got our last dime therefrom.

Now re CAVALCADE. Signed and returned collaboration contracts to you. Show contracts are now in the hands of Truman K. Gibson, Jr., who says don't speak to him of CAVALCADE what with all the other headaches he has on his mine, whereupon he pulls out a statement and shows me of $63,000 indebness which the Expo owes and no wherewithall to meet it beyond some $30,000 which they claim will just cover present week's pay roles, etc. The rumor is that CAVALCADE will not be produced, but I could get no official to affirm this, their contention being that they still hope to do it. I am doubtful. The Expo, which is beautifully and culturally dull, with NO entertainment at all until TROPICS opened last night and CHIMES OF NORMANDY night before, has been drawing extremely small crowds---as I had warned them it would unless they pushed their entertainment program along with the other. Result, they had to discharge their entire staff of ushers, guides, etc., after the first week and take on all NYA kids paid by the state. One of the unions has served them with a summons. The motion picture operators never did go to work. The musicians union is about to crack down on them again for some reason or other---so with all that---HOW ARE WE GOING TO GET PAID FOR SIX WEEKS WORK ON CAVALCADE? ???? Howard M.径
Kindly consider that vital question and send your advice at once? In case the whole thing goes bankrupt (which doesn't seem possible since it is state sponsored) should we not at least have filed a claim for a settlement? Facts are:

1. CAVALCADE was written on verbal order from Truman K. Gibson, Jr., as executive director of Expo, which further entered into correspondence with you about it.

2. It has been widely published in the Negro weekly press with mine and Bontemps' name and picutres therein, also in New York Times. It is also announced in the Official Program sold at the Expo as having been written by us.

3. Our names have been exploited for newspaper and radio publicity. And I have appeared on one broadcast speaking of the show for them. Have been asked to appear on national hook-up tomorrow, but have refused, since contracts for show are not signed, and they offer no payment for the broadcast.

4. Partially on the basis of the CAVALCADE which was included in the cultural program, the Expo officials apporched the Rosenwald Fund and secured from them $15,000 to help promote the cultural end of the Expo.

2.

5. On my solicitation Duke Ellington wrote the finale of the show, Thomas A. Dorsey did a special number, all the music publishers released the old songs to us free of royalties (I have their letters to me), Abbie Mitchell (of the LITTLE FOXES company) agreed to appear in the show (and is still waiting in Chicago to do so), etc., etc. All of which is work doesn't for them aside from preparing the script.

6. An advance outline was given them and submitted to Washington for WPA Music approval. Final script was accepted and is now in Expo files.

So on the basis of the above, have we not a claim for a settlement whether they do the show or not? And had we better not file such a claim in case the contracts are not signed and an advance given at once? Should such a claim be filed through a lawyer here in Chicago or would you as our agent merely write them? How much should we ask in case the show is not being put on? Bontemps suggest $1200 which he feels would be cut down in case the whole thing should go bankrupt and people were being pro-rated on their debts or something of the sort. However, I hardly think the politicians will permit it to close. And certainly the various unions and some of the racketeers around town are getting theirs, or it would be running at all---so why not a couple of poor authors?

But just how can we get it? Can you figure out a way? Anyhow, please let me know what you would advise at once. Perhaps a preliminary step would be for you to write Gibson saying you'd like to have the CAVALCADE contracts signed and returned at once, since this has been draggin' on too long. See what answer if any comes from that before taking a further step. (But mail in the office has been piling higher and higher these days---as poor Mr. Gibson gets worried and worried-er to look upon. Personally I don't believe I would ever be the head of a Fair. Would you?)

In my soul I am resigned to getting nothing more out of the venture (except maybe a good chapter for my next autobiography) but if we can get something out of it, we might as well try. So let me know by return mail what you think. For which I promise to return immediately to literature and let the theatre alone.

6 copies of CAVALCADE were sent you. Any chance of doing anything with it elsewhere? Mary Virginia Farmer of the Hollywood Theatre Alliance wrote for a copy which was sent her with a notation that you handled it.

Also is there any possibility of selling the TROPICS book to anybody? Plenty of copies of it available, too---Thanks to the Expo mimeographing machine---whose office did all the work---another proof that it was especially for them.

I am about ready to return to Harlem so advise me on this situation out here before I come back to the city of culture and light.

["Chicago, July 17, 1940", "Dear Maxim,", "That was a masterpiece of a letter you wrote Gibson. Let's see\nwhat results it brings forth....Since last week business at the\nExpo has been picking up. As long as it runs, they are not broke\nsince gate receipts and exhibitors rent is coming in---and they\ntherefore must be meeting certain obligations---so they might as\nwell meet ours.", "Thank you for the check from TROPICS. I am seeing that the con-\ntracts are delivered. From the enclosed handbill, you will see\nthat no admission is being charged to TROPICS. Also another\nhand bill has been put out (I'll try and secure a copy) adver-\ntising TROPICS and using my name and Arna Bontemps thereon---al-\nthough as things stand now, we have no possible way of deriving\nfurther profits from the show unless a gate is charged---yet\nthey are obviously using our names to draw people.", "In case we should take legal action regarding CAVALCADE and (or)\nTROPICS, one point to remember that might come up is that I was\nsent to New York for the Exposition to find a backer for CAVALCADE\nand given a check for $140.00 in advance to cover the trip. On my\nreturn (after I had been here a couple of weeks) I was given a\ncheck for $60.00 also from the Exposition Authority to cover cost\nof phone calls (local and long distance), postage, taxis, and\ntyping on TROPICS and CAVALCADE. This amount did not fully cover\nthose items. But at that time they had agreed to a $900.00 advance\non TROPICS. When that dwindled to $300.00 Mr. Gibson said that\nthey would make us a generous advance on CAVALCADE to make up as\nsoon as the Federal Government was released. I have kept all bills,\nhotel, phone, wires, typing, etc. and the cost of my stay in\nChicago far exceeds the small amount I have so far received from\nTROPICS. On TROPICS I did practically all the preliminary work of\nattending auditions, getting the music written, securing a producer,\nlooking at night club talent locally, and in general organizing the\nshow up to point where Mr. Blackman came from Detroit and took over.\nI did much the same work on CAVALCADE, attended numerous conferences\nwith and without Gibson with the Federal Music Project people at\ntheir downtown offices, secured all the music for them, auditioned\ntalent, etc.,---all of this to be taken care of by a \"generous ad-\nvance when the government money comes\". . . . . . . . . . . . . . . . .

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 19, 1940

Dear Langston:

I hope it will not be too difficult for you to go back to being economical... don't worry, when you return to Literature! all your worries will fade away.

ONE FRIDAY MORNING has been seen and rejected by Common Ground - on the grounds that they had similar material already! And this inspite of the fact that I sent your piece over to them as soon as they told me they wanted something. I have now sent ONE FRIDAY MORNING over to Mademoiselle, which is turning a new leaf and going in for real literature. I'll keep your other suggestions in mind if it should bounce back from Mlle.

I phoned Spingarn's office today and have an appointment for Tuesday. They tell me that we clearly have an action, although it is not so clear whether or not we can collect. Needless to add, Gibson has not yet answered my letter to him. When I go over to Spingarn's office, I shall be weighed down with the entire dossier to give them a clear insight into this complicated business.

And what are your plans now? Was that just another joke on your part, putting a Carmel, Calif. return address on your card?

With our best wishes and sincerest consideration!

Marie

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 23, 1940

Dear Langston:

I had a very nice conversation with Mr. Spingarn this morn-
ing, He looked through the whole American Negro Exposition
dossier that I brought him, but he was not too sanguine about
our prospects. He felt that the best procedure was for him
to write Mr. Embree a note in which the various unsavory
facts were pointed out. Then, if Mr. Embree cannot help
us, Spingarn will give us the names of one or two Chicago
lawyers, who would undertake the necessary steps for a
legal action. However, Spingarn thinks it best that we try
all means "short" of legal action. He wrote the letter to
Embree in my presence and now we must wait for Embree's
reaction.

Mr. Spingarn is a charming man and he certainly has a very
warm spot in his heart for you, Langston (why, Minna and I
cannot possibly imagine...) and he told me how he had enjoyed
your piece in Town & Country. Incidentally, they have promised
to send you a copy of the July issue containing your opus.
Have you received it?

P.S. Dear Langston: It's an oat-louse! NOT an oat-Fly! and
in common with other lice, it's the damndest itchiest nuisance
you can imagine!

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 25, 1940

Dear Langston:

I don't know if I should call it good luck or bad luck or destiny or just plain wishful thinking that is strong enough to control the elements of fate on your part! Here you were a chastened penitent, anxious and happy to return to LITERATURE, when up pops the THEATRE again! Since I know now that the struggle is useless, I shall content myself with getting the most we can out of the THEATRE, for the time being, that is, you understand.

Enclosed is Mr. Vorhaus' original letter to you and a copy of my letter to him which went out to him yesterday via special airmail. I have a copy of Vorhaus' letter here so that we can both refer to it if necessary. My letter opens the possibility for Vorhaus to come out with suggestions for a working basis - instead of leaving the onus of the decision up to you. I think that on the whole, it is a good thing and this time you will listen to Papa Maxim and not budge until we get the proper contracts signed and sealed into our hands - collectively. Then you will be free to write that killer diller ditty. And also, you will be in Hollywood and you will add to your already enormous prestige and the whole may add up to something or other in picture work! As you know, Biddell is out and I am now working with Bill Dozier of Phil Berg Bert Allenberg. Albert Maltz tells me that he is a fine chap and a good guy...so although you may not get any invitations to luncheon, he might be able to swing a deal for us.

No news yet from Gibson or the Foundation....anything new at your end?

Equally proletarian greetings from Minaxim!

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

August 1, 1940

Poor, dear Langston:

That sad excerpt from the Afro-American was an exaggeration, wasn't it? Please assure me that it was.

I am enclosing the copy of Embree's letter that Spingarn sent me... and yesterday when I wrote to Arna Bontemps, I gave him the names of two eminent Negro lawyers suggested by Spingarn. Spingarn felt that for the sake of all concerned, if you intend to take legal action, it should be done through Negro lawyers so that whatever unpleasantnesses may arise, will remain within the Fold, so to speak. His advice appears sound to me. What do you think?

Did you know that you are the subject of a book? Aside from your AUTO-biography, of course! Book and newspaper clippings are being forwarded to you under separate cover. Will you kindly read them all, carefully and with concentrated interest, and then let me know what you have to say? Obviously, book publication cannot be thought of right now since your own autobiography will take up whatever general interest there may be in you. However, to quote one of Miss Bonds' favorite expressions, "The Race" publications, or college periodicals, etc. might very well be interested.

Vorhaus has not yet answered my note of the 24th and I am getting after him again today. Or have you heard anything?

With our deepest sympathy!

please return Rene Piquion's letter so that we can answer it.

Hotel Grand,
5044 S. Parkway,
Chicago, Illinois,
August 2, 1940.

Dear Maxim,

I asked Mrs. Blanche to send you a BIG SEA for me and trust you have it by now. When I get to Manhattan I'd be delighted to sign it for you and Minna in case you'd like one more signature of mine on something more substantial than a letter.

TROPICS closed Friday a week ago. Since they never did charge admission, I judge the contract was thereby rendered null and void and that all rights now belong to us. Do they not?

Under separate cover comes to you an official program of the Exposition so that you might see how both TROPICS and CAVALCADE were listed therein. Also a handbill showing how <u>No Charge</u> was advertised for TROPIES.

The Bonds song PRETTY FLOWER OF THE TROPICS was very well liked by patrons of the TRDPICS and should have commercial value if you-all could interest anybody in New York or Hollywood in it. Good song for Bing Crosby.

Will let you know what the Chicago lawyers recommended by Spingarn say, also if one accepts the case. After that will leave collection to you and Bontemps (and God help you) because I am checking out of this GEM OF THE PRAIRIES as Herbert Asbury calls Chicago in his new book being published shortly by the elder Knopf..... <u>Professional</u> personally, I think a gangster would have more success collecting our money than a lawyer, and would probably ask no higher per centage. Polite connectivities having failed, do you think I should refer it to those who have already been highly successful in seeing that other contributors to the Expo are now riding around in beautiful <u>new</u> cars?

Yeah, I know about the French study of my life and works and have copies of which I thought I'd sent you one. Since it is from a left viewpoint, maybe International Publishers would be interested. And since it's not at all like THE BIG SEA, it wouldn't conflict there. It would merely and probably just get us all in jail by next season. (Not that we wouldn't be there anyhow---simply on the grounds of non-nordicism. In spite of Irish ancestors, I seem to belong to the RACE. D)

I am signing those papers relating to MULATTO and returning them to you. Also sending the paper to the Dramatist Guild that Rumsey drew up. I had to wait to pay my dues and a $10.66 charge for that arbitration once called for but never carried through.

re VORHAUS and California. No reason why that revue couldn't be written here in the East without going way out to the coast unless they need me for production. So you might suggest that next time you write. Just send on contract and advance and I'll start work where ever I may be. (Truth of matter is I have a great deal of material for such a show now, as I'd planned to do one with The Suitcase Theatre in Harlem had I remained there---so it wouldn't take me long to put it together. But at the moment I am weary of show business without cash on line. X. I presume you are, also, especially wherein it it relates to the Race---whom I adore outside the theatre!

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

August 12, 1940

Dear Langston:

On August 8th we sent Mr. Mollison the American Negro Exposition dossier and let us hope that he will manage to frighten the Expo Authority into handing over some of its dough. We sent all relevant material and assured him that we would be happy to cooperate further,

We did not know that THE BIG SEA was not to be published until the 26th and both of us were sick at heart that no reviews were to be found anywhere. Finally, in desperation, we phoned Knopf's only to learn that publication has been postponed! Ten pounds of weight to the square millimeter popped off our chests at the news! What a relief.

And since you send us newspaper clippings about the Expo, here is a clipping from HOUSEHOLD. Although Mr. Crawford has not yet bought your stuff, we send it there frequently when all other sources fail and undoubtedly, he is an admirer of yours - because he has told us so in a letter, but inspite of everything (!) these few lines can do no harm!

With our best wishes,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

August 16, 1940

Dear Langston:

Enclosed find a copy of our letter to Vorhaus because we have just learned that NBC, moving slowly, cannot arrive at a decision with regard to the radio project and so there is nothing to keep you here in the East. The matter is not closed, and if they still want you, they can bring you East from Hollywood just as easily as from Chicago. Something may yet develop, but I don't feel that we should jeopardize the West Coast project.

As soon as we have word from Vorhaus, I will send you a wire so that you will be able to clear yourself with Knopf.

With our best wishes,

encl.

Hotel Grand,
5044 So. Parkway,
Chicago, Ill.,
August 19, 1940.

Mr. Maxim Lieber,
545 Fifth Avenue,
New York City.

Dear Maxim:

Mr. George D. Stephens, Faculty Exchange Box 128, College Station, Texas, has, with the permission of Alfred A. Knopf, made a dramatization of my story REJUVENATION THROUGH JOY from THE WAYS OF WHITE FOLKS. He has been working on this for about a year now, so if it is ever to be good, I reckon it is by this time. He is a gentleman of Nordic descent who has written some good short stories for the little magazines. He wants an agent for this play. Although I know several other agents, I can think of none better than yourself, so I have referred him to you. If this were an all Negro-cast play, I would not worry you with it, preserving that right exclusively for my own productions. But since this play largely concerns whites and may, therefore, stand a better chance of production, I trust you will be so kind as to look at the manuscript. You will recall that REJUVENATION THROUGH JOY was the one story of mine in which Hollywood took any interest, and that at one time Ivan Kuhn informed me that Al Jolson had it under consideration for a picture.

I received from Los Angeles a letter from the former promotion director of The New Negro Theatre which, as you know, has affiliated with The Hollywood Theatre Alliance to produce a Negro revue. Said letter paints a most dire picture of inner intrigue, confusion, strife, and disorganization which explains now why they were so long in getting around to sending us an offer to come to Hollywood. Having just emerged from one such sorry morass here in Chicago (leaving my profits behind in a swamp of inefficiency), I am not at all sure I want to have any parts of this business. If they do send the advance and the contract now, since I have promised, I will go. But on the clear understanding that I am going to write and edit a revue and not in any wise to take part in factional struggles, dissensions, and difficulties. I, myself, am an artist.

At this moment I am flat on my back in my bed with a bad cold brought on no doubt from worry over the material aspects of my art. But I trust I shall be up an about in a few days.

Hotel Grand,
5044 S. Parkway,
Chicago, Illinois,
September 30, 1940.

Dear Maxim,

A day or two ago I signed and returned to Mr. Rumsey copies
of the new complaint for Guild arbitration on MULATTO which
he said were sent me here at your suggestion. I am enclosing
herewith Guild letter which accompanied their check for $58.50
which really should have been sent to you, should it not?
Since we notified the Guild some months ago of your now being
my agent for MULATTO, as you will recall. In any case would
you kindly deduct your check for all this large commission
due you from the next sum we take in?

And speaking of checks, if it be humanly possible, kindly send
me AFRO check due from final chapters of BIG SEA---or any other
check that might (?) come in---by air-mail by the 6th or 7th
as I would like to leave this Gem Of The Prairies known as
Chicago no later than the 7th, since I am due on the coast on
the 16th to sign some autobiographies around mid-October for
the bookshops out there. Have fare, but also need to eat on
the way out.

Book has been doing well here, several downtown shops sold out
and re-ordering. Did you hear me on national CBS hook-up Sat-
urday? I heard myself via recorded re-broadcast Sunday morn-
ing. And Sunday afternoon Jack Conroy and the ANVIL group gave
a party for me. Maxwell Bodenheim was there and passed out.
There was also a small fight on the balcony. (It was held in
a pent-house---the proletariat having gone up in the world.)

All day I have been working on lyrics and ideas for the colored
Hollywood Theatre Alliance revue---and have some good ones. I
will send them to you to submit to them. But how will we keep
folks from stealing them? Maybe I should bind them all together
and copyright them as a libretto. Maybe will.

So more anon.

My best to Minna,

Our lawyer, Mr. Molison, says Truman Gibson assures him verbably
that we are on the list of obligations to be paid if the state
provides a deficit fund which they believe is forthcoming. But
Molison requests that we receive a written confirmation, if pos-
sible. Suppose you write Gibson again (now that the rush is over)
and see if you can get an answer. Also write the Secretary-
Treasurer of the Exposition: Mr. Albert W. Williams, Unity
Mutual Life Insurance Co., 4719 South Indiana Ave., Chicago, to
the same end. Please.

Hotel Grand,
5044 S. Parkway,
Chicago, Illinois,
October 6, 1940.

Dear Maxim,

Just getting all the revue material bound together in one of
your official blue folders and am sending it off directly by

air to:
Mrs. Meredith Hatcher,
The New Negro Theatre,
Warner Bros. Downtown Building,
7th & Hill Streets, Room 620,
Los Angeles, California.

since I will be in Los Angeles myself for a day on Thursday
and could then talk it over with them. It turns out that with
the new Santa Fe coach streamliner, the quickest way to Carmel
is via the movie capital, so I might as well find out what is
going on there. I also sent a list of the material to my friend

and lawyer there:
Mr. Loren Miller,
Johnson & Miller,
Vernon & Central,
Los Angeles, Cal.

who are the best firm of RACE lawyers in the city and will look
out for me in case anything comes up wrong a la theatre. Mrs.
Hatcher is informed that all business negotiations are through
you. And I think it would be not unwise for you to write her a
letter asking her to let you know her opinion and use of the mater-
ial as soon as possible as we have also other openings for it.

A full copy (or two) also goes off to you today so you can judge
for yourself what it is all about. I'd suggest that you submit
a copy to LABOR STAGE for possible use with their Negro group.
You might also inquire if New Theatre has any outlets for such
material. A number like HOLLYWOOD MAMMY might have some commer-
cial value elsewhere for a regular revue, too.

Thanks for making that contact with Glen Miller for Miss Bonds.
Hope something comes of it. Also through my Aunt, Mrs. Harper,
advise Miss Bonds to follow up the contracts with the managers
of the SHEEPS AND GOATS, popular radio program, that might use
some of our songs and material.

I am off Tuesday evening for Los Angeles. Have my ticket, but
GOD KNOWS I COULD USE THAT AFRO CHECK TO PAY MY HOTEL BILL if
you could just get a hold of it---or one like it. Kindly air-
mail it and I'll get it Tuesday. I am not kidding! Need is dire.

DIRE!

Dear Maxim,

Sincerely, your friend, as ever,

Langston Hughes

October 10, 1940

Dear Mr. Gibson;

Now that the American Negro Exposition is finally closed and you
have had an opportunity to take stock of the entire situation, I
hope you will cooperate with us in settling the Langston Hughes-
Arna Bontemp obligation, as well as my own remuneration for services
rendered. We understand from Mr. Molison that you have assured him
verbally that Hughes and Bontemp are on the list of creditors to be
paid if the state provides a deficit fund as anticipated. I would
consider it a personal favor if you would be kind enough to answer
this letter stating our exact status.

I am sending Mr. Albert W. Williams a copy of this letter so that
he will be fully informed.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

October 16, 1940

Dear Langston:

The Afro-American finally came through and just to temper your happiness here
is a billet doux from the Author's League.

Moe Gale phoned to say that he was simply crazy about the LITTLE HAM. He thinks your dialogue, the title and everything about the play is perfect. He feels that this would make an excellent radio play and he even has a radio cast in mind for it. He does not think that a radio broadcast would prejudice its chances for stage production. He is extremely anxious to receive the new script that you are going to do for him. I think it would be wise to strike while the iron is hot. When do you think we can get at least some of the material for him?

We have been in touch with Miss Gee Gee James. She is working on a radio
program with someone and wishes you to do the writing for her, for she con-
siders you the outstanding Negro writer. Whoever is behind this program wants
to keep it entirely Negro. That is to say, they do not want any white writers
who attempt only to represent the Southern Negro. Miss James is going away
on tour with a new play for two weeks and when she comes back she will get in
touch with you again. At any rate, you may be sure that we will keep after
her.

We could use some of your sunshine and warmth here in New York.

With best wishes,

Langston Hughes
Hollow Hills Farm
Monterey, California

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

December 9, 1940

Dear Langston:

Your long silence has upset me considerably. Especially so
because Moe Gale keeps phoning me to ask when he may expect
the first samples for the radio program. This morning he
phoned excitedly to inform me that another program was being
contemplated and unless we get your material we all will be
out on a limb.

I wonder whether I can make you understand the gravity of
the situation. Here is a golden opportunity for you to make
thousands of dollars and unless we can get you to co-operate
immediately we can kiss this fortune good bye. You are being
asked to do a comparatively simple thing. Gale is crazy about
LITTLE HAM and he feels sure that the story can be extended
as a serial to run indefinitely, for years; well,-- at least
for one year. All he wants now is two sketches to run fifteen
minutes each to introduce the saga of LITTLE HAM.

Please tell me that you will do it and soon at that! Send me
a wire of assurance so that I can wave it in Gale's face as
evidence of your enterprising nature.

Mr. Langston Hughes
Hollow Hills Farm
Monterey, California

Langston Hughes
% Mrs. Meredith Hatcher
New Negro Theater
Mayan Theater Building
11th and Hill Streets
Los Angeles, Calif.

Copy of letter sent to Los Angeles

December 9, 1940

Dear Langston:

As ever,
Machin

Langston Hughes
Mrs. Meredith Hatcher
New Negro Theater
Mayan Theater Building
11th and Hill Streets
Los Angeles, Calif.

Hollow Hills Farm,
Monterey, California,
December 17, 1940.

(Written at Los Angeles)

Dear Maxim,

Not dead. Nor down with flu---as is half Los Angeles. But merely
entangled in that unprofitable thing known as the show business---
going out to Hollywood or Beverly Hills or Hollywood every morning
and not getting back to the hotel until 12 or 1 or 2 o'clock at night---
since those remote districts are from where I live just about like go-
ing from Harlem to Philadelphia---and in this charming democracy of
ours there seems to be no place for Negroes to live in Hollywood even
if they do work out there occasionally.....I have been intending to
write you for ages and let you know how the revue is coming along, so
here goes:

1. Henry Blankfort is (or should be) now in New York arranging to open MEET THE PEOPLE there Christmas. Address, c/o The William Morris offices. Do get in touch with him and straighten out our business.

2. We have enough material for two or three revues, both sketches and music, which we have been cutting, changing, and editing for the past six weeks. It is now only a matter of finally making up the collective mind as to just what stays in, what comes out, and how strong the social note be emphasized. It is apparently very difficult for a collective mind to make itself up. Some days it is very socially minded and most of the non-social or mildly social skits are removed from the script. A couple of days later it is somewhat more commercial and leans toward more nearly pure entertainment so the love songs go back in and the lynching numbers come out. Last night a very important audition of the material was held for about 150 writers and theatre people in Hollywood and the general opinion was that the show was too heavy, too much on the social side and not enough Negro geniality and humor for a revue that would be box-office--so today I presume we'll swing back to entertainment. (Much of the more entertaining stuff was not done last night as the current revue committee is very socially minded and tends to insist on putting content into every last love lyric.) So

3. While the collective mind is being made up, I have decided to return to Carmel this week-end for the holidays and remain there until the general line is settled and they want to start rehearsals when, if they need me, I'll come back, providing they vote a continuation of the $25.00 per week expense money advanced on royalties---which after this week will be down to the last $25 of the two hundred voted anyhow---and it would all have to come before their board again.

4. Personally and confidentially (to you) I do not enjoy this collective way of writing very much as I feel that when too many people are involved in the preparation of scripts, the material loses whatever individual flavor and distinction it might otherwise possess. That is probably what was the matter with ZERO

Hollow Hills Farm,
Monterey, California,
December 28, 1940.

Dear Maxim,

Here is a copy of AMERICA'S YOUNG BLACK JOE, lyric by myself, music by Elliott Carpenter, based on an idea of Charles Leonard's (in charge of HTA Negro revue) for which, if anything comes of the song, we want to cut him in 25%.

Since the revue is so slow coming into being, and since if and when it does, we want to release the song coincident with the opening of the show, it seemed to us a good idea to start it moving now, as, judging by its enthusiastic reception at the monthly NAACP program in Los Angeles, it stands a good chance of becoming a kind of Negro GOD BLESS AMERICA, expressing their patriotic and democratic sentiments (and at the same time having in it, "My head AIN'T bending low" as the OLD BLACK JOE song made us out), Leonard has given his permission to start it moving. A couple of Negro schools have already for it to use at their mid-year commencement exercises, so it is something that ought to have a good sale to Negroes.

John Hammond has written me for the music, expressing an interest in it for Columbia records. Would you kindly follow that up: Columbia Recording Corporation, 799 Seventh Avenue, New York.

I thought you might also ask Moe Gale if it is anything any of his various Negro units can use as his bands play a great many Negro male dance halls, etc.

Also I read by the papers that the Negro Playwrights Group at the Lincoln Theatre, West 135th Street, is planning a revue. Might see if they'd be interested (just in case HTA's show never comes off.)

But do not do anything about publication (merely recording) as, if the HTA show starts, they want to publish all the music under one imprint.

The composer's address is: Elliott Carpenter, 3529 London Street, Los Angeles, California.

The song should be played as a syncopated march. Try it on your piano. Might also try it on Rady of the Labor Stage for their Negro Choir.

Charles Leonard's address is: 326 North Kilkea, Los Angeles, Calif. on whose idea the skit and song came into being. The song is, however, copyrighted in our name, mine and Carpenter's.

Hollow Hills Farm,
Monterey, California,
December 30, 1940.

Dear Maxim,

A few days ago I sent you a copy of the words and music of AMERICA'S YOUNG BLACK JOE, and also the revised versions of the ballads that went to you sometime ago. I trust you have received them O.K. I am trying my best to get my desk cleared by New Year's so I can plunge into the serialization of LITTLE HAM immediately thereafter.

Here is something I wish you could do for me, or advise me about. In its issue of December 21st, very prominently placed, (and no doubt as a result of Aimee's doings) THE SATURDAY EVENING POST published without my permission, and certainly in violation of copyright, an old poem of mine entitled, GOOD-BYE, CHRIST, which I had withdrawn from circulation years ago. As a result, I have issued the enclosed statement which I would like for the editors of the POST to see and publish, entirely or in part, particularly the last paragraph, if that be possible. What do you think? And would you be in a position to call it to their attention for me? I certainly do not choose to have Aimee and her sound trucks picketing all the lectures which I give from now on. Nor do my various sponsors.

Also would you be so good as to get from ESQUIRE the copyright to SEVEN MOMENTS OF LOVE, and from the NEW YORKER, to HEY-HEY BLUES, poems which Blanche Knopf wishes to include in my new book---sending same direct to her?

I have almost a dozen short stories outlined which I shall send you in due time. And I also want to get off to you copies of all my revue material. Did Henry Blankfort get in touch with you, or you with him, in New York? How did MEET THE PEOPLE fare at the hands of the Broadway critics? If it flops I see no cullud show in Hollywood. After Moe Gale, no more show business for me--- only literature. Would you not advise so, dear Maxim?

Happy New Year to you and Minna! And peace!

Hollow Hills Farm,
Monterey, California,
January 10, 1941.

Dear Maxim,

I do not recall whether I sent you some weeks ago a copy of
Charles Leonard's wire to me regarding terms for working with
the HTA. (Charles Leonard is director of the Negro revue.)
The portion regarding money reads as follows:

HTA guarantees 25 dollars per week up to opening date
against MMYMIIIIMMMM your sketch directors royalty of 1/2 per
cent of gross. Your material will be paid for separately
on standard royalty basis according to numbers you have
in show. Unless you come this week will have to appoint
other sketch director who can do preliminary work with
material committee.

Signed; Charles Leonard

It was on the basis of this agreement that I went to Hollywood.
You will recall that a previous letter from Bernard Vorhaus had
stated the royalty for this work would be 1% of the revue. Now,
as you will note from the Henry Blankfort letter of January 7th,
the per centage is not mentioned at all, and it is proposed to
pay me, apparently, a salary of $25.00 per week, not deductible
from royalties---which is a new angle. Therefore, I think it
most important that all this be settled definitely add on p aper
to you before I move another peg. I await your answer.

What's the matter with theatre folks, left, right, or colored?
Or do I just get mixed up with the wrong ones? Or can't they
remember what they said yesterday? I am still awaiting clarifi-
cation from you on numerous points that your wide experience in
the theatre qualifies you to speak upon.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

January 17, 1941

Mr. Langston Hughes
Hollow Hills Farm
Jamesburg Route
Monterey, California

Dear Langston:

I feel like sitting down and moaning, "Where is my wandering boy tonight, today, any time, any day?" It is true that I have been a little slow in replying to your recent letters but then you are the greater culprit as a general rule. My excuse is that you sent me a batch and each one had about a dozen problems which had to be checked before I could give you any answer.

Meanwhile there is another letter from Blankfort, enclosing a copy of his letter to you dated January 14 clamoring for your presence in Hollywood. His letter makes clear that you will have 1/2 of 1% of the gross as your fee for directing services. In as much as you put so much effort and time into this review it would be ill-advised if you did not continue and give them a chance for a successful production, especially if it can do as good business as MEET THE PEOPLE did in Hollywood and is doing here.

Apropos of your lyric AMERICA'S YOUNG BLACK JOE, set to music by Elliot Carpenter, this is now in hand.

On phoning John Hammond, I was told he is now in Chicago and not expected to return until next week. I am writing him. I next phoned Lindsay of the Nego Playwrights Group, who came in to see me yesterday. He likes AMERICA'S YOUNG BLACK JOE, and hopes, perhaps, to be able to use it in his revue. He would also like to have the material you have available, and which you do not propose to use for the H. T. A. revue. Lindsay's story is a sad one, and an all too familiar one, to wit, an absence of money. Unless this is raised their revue seems destined for limbo.

On January 8, you wrote that you would be waiting at Holly Hills Farm until Blankfort wrote a satisfactory letter, meanwhile devoting yourself to some sketches for Moe Gale. I am still desperately anxious to see those sketches, but now that Blankfort has written the desired letter, I suspect I may have to wait too long unless you actually lived up to your resolve. The "Mad Scene", by the way, is grand stuff, and I can see Fannie Brice or Beatrice Lillie having the audience in stitches. I am putting the material in my file, hoping I won't have to use it because the H. G. A. revue will be a success.

I hope you are fully recovered from the flu, which seems to have victimized all of my friends including Minna.

With best wishes.

ML:EH

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

January 20, 1941

Mr. Langston Hughes
Grace Deere Velie Foundation
Carmel-By-the-Sea, California

Dear Langston:

I am sorry to learn this morning that you are confined to a hospital bed. I wonder whether you have received my letters of January 14 and 17, sent to you at the Holly Hills Farm.

Couldn't germs have left you in peace until you had completed several sketches for Moe Gale, or did you decide to get sick on me because you figured that a couple of germs were preferable to my harassing? Get well in a hurry, old man! There is no time to dawdle in bed. We need you. Moe Gale needs you. The Hollywood Theatre Alliance needs you.

Best wishes for your hasty recovery.

ML;EH

Hollow Hills Farm,
Monterey, California,
February 28, 1941.

Dear Maxim,

I have just received a letter from Mr. Rumsey concerning MULATTO and asking for further information from me regarding it. The enclosed is a copy of my reply to him. I really do not see what there is to argue about at an arbitration. The terms of the contract are clear. You, Mr. Rumsey, Mr. Douglas, Miss Preister, the Guild and all of know we have never received the stipulated full statements and checks from Mr. Martin Jones as the contract requires. It is therefore clear that Marjones has not lived up fully to its agreement---and that is all we are asking.

Finally and at last I have some $. (You will bawl me out no end when I tell you what I did, but I had to pay hospital, doctor, and some other debts before my creditors knocked me into another relapse!!) So, under separate cover BY TRAIN I am sending you a check due you for $17.50 on the $175.00 I received from the HTA in Los Angeles. (Airplanes have been falling down with my mail of late---and I want you to get this.) I am also paying the Guild $10.00 due on the last arbitration, and current dues. I have not yet been billed for this arbitration. But trust it will pay for itself.

I have a number of things to write you about, and will by TRAIN. I did not write you up till now, having nothing creative or renumerative to send you. But I am O.K. again and up and around and shortly shall be working.

Moe Gale is in Hollywood I see by the papers.

Henry Blankfort is in New York. He wrote me he would get in touch with you. Did he? From Hollywood I learn they are still writing and re-writing the show---from what line at the moment I do not know---but I have no desire to return to work with them. They seeming found it impossible to make up their minds when I was there how they wanted to slant the show---quite social, medium-social, very Negro, half-Negro and half-white unity of groups idea, or just pure box office. Since there were about a dozen people actively concerned with varying minds, I couldn't make them up for them either---and for $25.00 a week that didn't cover hotelx and transportation to Hollywood, it was too hard a job. Since HTA seemed to have neither money nor unity---what to do???????

Best to you and Minna.

Sincerely,

March 12, 1941.

Dear Maxim,

Moe Gale called me from the Beverley-Wiltshire last week and urged me to get busy on LITTLE HAM. I've just sent him the enclosed outlines with the promise of sample sketches to follow through you as he is returning to New York almost immediately. So I'll turn out something and send you shortly.....How did the MULATTO arbitration that was taking place last week turn out? Dying to know.....Called Charles Leonard the other day in regard to the HTA revue. It's still held up for some reason or other, but expects to go into rehearsal "shortly". They've discarded the song, AMERICA'S YOUNG BLACK JOE from the snow so we are free to use it elsewhere.....The Los Angeles Federal Music Projects got the infrapop appropriation cut and had to drop half the unit which makes it impossible to produce our opera, TROUBLED ISLAND which they had in rehearsal. Usual slip twixt theatre cup and lip. Which is why I'm on the way back to literature hard as I can get there......The short story, ONE FRIDAY MORNING which THE ANVIL had but didn't use, I've just sent off to Bernard Smith at Knopf's. Tell him if he uses it to PAY you. I've given it to the CRISIS free for magazine use. Smith's is for an anthology.

.....Best to you,

Hollow Hills Farm,
Monterey, California,
March 20, 1941.

Dear Maxim?

Re AMERICA'S YOUNG BLACK JOE: Charles Leonard of HTA writes that Arthur Piantadosi, west coast representative of Robbins Music Corp., is completely sold on the number and is communicating with Jack Robbins in New York as to the possibility of publishing it. Would you care to follow that up in New York by perhaps talking with the Robbins office and seeing if they have received a copy and what their reactions are?

(The song, you will recall I wrote you, is based on an idea of Charles Leonard's, therefore he has a cut in on it.)

Also, would you think it wise to perhaps phone John Hammond at Columbia Recording Corp., (Circle 5-7300), 799 Seventh Avenue, New York, and see if, as he expressed to me in a letter, he is interested in recording the song? It ought to be a good seller on the juke boxes in Negro districts---particularly if one of Hammond's bands like Count Basie made it. (Hammond was sent a copy of the song.)

Is TAC still going? And would the New Theatre League be of any use to us in starting such a song out? Would Moe Gale be interested?

In any case I am sending you a couple more copies of the number which you might use to advantage. More copies are available if you should need them.

DECCA records or BLUEBIRD, who put out lots of Negro stuff, might be interested.

Thanks for your check from McBride's. Did POETRY and NEW YORKER pay for the two maximum poems? (Thanks for those you returned.) And did you get the $17.50 I sent you due on HTA? Both above magazines should be advised the book appears in May.

Best to you,

BULLETIN

The following corporations and individuals are those who have already signed the Screen Writers' Guild-Producer Basic Agreement:

Columbia Pictures Corporation      Frank Lloyd Productions
Samuel Goldwyn, Inc. Ltd.            Principal Artists Productions
Loew's Incorporated                   Alexander Korda Films, Inc.
Paramount Pictures, Inc.             Globe Productions, Inc.
Republic Pictures Corp.               David L. Lowe & Albert Lewin, Inc.
RKO-Radio Pictures, Inc.              Frank Capra Productions, Inc.
Twentieth Century-Fox Film Corp.     Darmour, Inc.
Universal Pictures, Inc.               Mercury Productions, Inc.
Warner Bros. Pictures, Inc.           James Roosevelt

The Executive Board suggests that before writers sign with corporations not signatory to the Agreement that they first check with the Guild office to ascertain the standing of the corporation involved. The Guild office keeps a record of those corporations who attempt practices in contradiction to the Minimum Basic Agreement and Guild members should avail themselves of this information.

* * * * *

The Hollywood Theatre Alliance is now preparing another revue. They are looking for skits, songs, black-outs, sketches, ideas and one-act plays. Inasmuch as the Hollywood Theatre Alliance pays royalties in keeping with the Dramatists' Guild Minimum Basic Agreement, the Executive Board feels obligated to inform members of this opportunity.

* * * * *

Free lance writers have, in previous years, paid Federal Social Security at a number of different studios. A recent Government decision has ruled that the Federal Social Security can be paid only once a year. Those writers who may have paid this sum in excess of the maximum thirty dollars a year may receive refunds for the year of 1940. The Guild office has the request forms and necessary instructions.

* * * * *

The Executive Board advises members of the Screen Writers' Guild that in the event they sell any material for radio broadcasting they first check with the Radio Writers' Guild (GL 4181) to secure information pertaining to their rules and regulations, contracts, etc. The Radio Writers' Guild, which is affiliated with the Screen Writers' Guild, maintains market information for members only, which is available also to members of the Screen Writers' Guild.

* * * * *

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

March 27, 1941

Mr. Langston Hughes
Hollow Hills Farm
Jamestown Route
Monterey, Calif.

Dear Langston:

Moe Gale just telephoned me to say that he liked your outline very much, and what's more to the point, that people at NBC considered it very promising. Now Moe Gale wants to have at least two sketches-- each one to run about half an hour with music. Moe Gale is getting the music ready for the skits, and he hopes you will be able to rush the material no later than some time next week. When that is in hand, Moe Gale will prepare two programs, audition them, and make wax recordings. And if they come off satisfactorily, he will discuss the possibility of sustaining or sponsored programs.

I phoned Jack Robbins of The Robbins Music Corporation, and learned that they were not keen on AMERICA'S YOUNG BLACK JOE, and it already has been returned. I telephoned John Hammond's office to find out whether he would be interested in recording the song. He was engaged, but his secretary told me he would call me back and let me know.

The New Theatre League is practically out of business, and as a matter of fact they're now dickering with me to take over some of their clients. At this time, I don't want to inject the song into discussions with Moe Gale. One thing at a time, I say.

New Yorker paid for the poems they used; those have already been published. The Poetry Magazine has not paid us, as yet, for the three pieces

(cont'd)

April 1, 1941.

Dear Maxim, [Lieber?]
Enclosed herein you will find all the original material, sketches, skits, and song lyrics as prepared and submitted to HTA for their proposed Negro revue. However, since the revue seems no nearer production than it did six months ago, and since HTA has not made any arrangement with us for the use of any of these sketches, I see no harm in offering them for sale elsewhere if we can dispose of them. (You might, if you wish, ask HTA what is their pleasure regarding the four sketches they seemed most disposed to insert into the revue, and if they wish to give us a contract and advance for them: namely---

MAD SCENE FROM WOOLWORTH'S, HOLLYWOOD MAMMY, MADAM HOW CAN I FALL IN LOVE, and THRID FLOOR AIRSHAFT BLUES. The other sketch that was well liked but went in and out of the revue line-up because some felt it might be too strong racially was: AMERICA'S YOUNG BLACK JOE. So those five HTA may or may not be still considering, since I do not know what the situation is in Hollywood now or what group of HTA'ers are at present in charge of the Negro revue. Each time the committee shifted, the revue line-up of material changed. So it would seem to me wise to dispose of this material elsewhere, if we can, before it becomes outmoded and stale.

For your convenience I have divided the material into three groups:

RUN, GHOST, RUN---Material for a Negro Social revue.

HEY! HEY! HEY!---Material for a Negro non-social revue.

Third Group---Material for white man's revue.

Since during my period with HTA they were never fully decided as to whether the revue would be entirely social or not, entirely Negro or mixed cast, several kinds of sketches were submitted. Some are good only for a Negro cast show. Others do not depend on racial situations or humor and may be done by whites as well. (These I've placed in a third group which I will send you in a few days. Still being typed.) Most of the sketches are built around social-protest situations. But a dozen or so are not, so these I've grouped under the title HEY! HEY!....There is some duplication in the various groups as a few sketches fall into all categories. But I made the division because there would be no point in offering those grouped under HEY! HEY! to Labor Stage, although they might be used by a commercial producer.

Much of this material could be utilized for radio, I should think. And several of the social Negro sketches might not be too social for a commercial revue, since producers are using such material more and more.

Probably the most successful piece of the lot is MAD SCENE FROM WOOLWORTH'S---Going Mad With A Dime---which can be done by either a Negro or white commedienne, as a straight song, or as part of the sketch. So I am sending you a couple of extra copies of it that you might try on the radio people. Also such artists as Fannie Brice, Bea Lille, Gracie Allen, are frequently looking for special material. (The HTA people felt this would be a swell number for Fannie Brice.) Or you might be able to spot in some coming summer revue in New York. The music is by Elliott Carpenter and I'll secure it for you if you need it. Or you may write him direct: 3529 London Street, Los Angeles, California.

Hope we can sell some of this. Best of luck. Sincerely,

Hollow Hills Farm,
Monterey, California,
April 17, 1941.

Dear Maxim,

The two letters enclosed will indicate to you what seems to
the present status of the proposed HTA Negro revue. (KINDLY
RETURN THESE LETTERS.) Seemingly Henry Blankfort has left HTA,
and Charles Leonard, their producer of the Negro revue from whom
these letters come, is on the verge of doing so. (Kindly keep
these matters to ourselves, though.) Since these are the two
HTA members under whom I worked and with whom all my contacts
there were, it seems to me that probably what Leonard proposes
to do with our material is as good a bet as is left us. What
do you think? And do you have any information about the situa-
tion yourself?

Note what he says about Robbins and YOUNG BLACK JOE.

John Velasco, 29 Hamilton Terrace, New York, writes me that why
they are actively preparing a Negro revue social revue there,
and are interested in my material. I have advised him to contact
you.

What ever happened about MULATTO?

Did you get by air the two LITTLE HAM continuities for Moe Gale?

Do you like Chinese puzzles? Or are they tame in comparison with
show biz? If you prefer Chinese puzzles, I'll send you a couple
next time I go to Frisco's China Town. Just lemme know.

My best to Minna? Going to the country this summer?

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

April 21, 1941

Dear Langston:

I want to acknowledge your recent letters, and to assure you that I have received all of your HTA material, as well as several articles, and poem, TO WISDOM REFUGEE.

I was hoping to contact some of the people you suggest with a view to selling a portion, if not all of the revue numbers. But then came your last letter of the 17th with Leonard's letters to you, and I confess I am completely bewildered. There are so many loose ends, and so many complications that it would take a Houdini to disentangle himself, and Leonard's letters don't help one bit, because if anything, they tend to tie our hands. In as much as he is your collaborator on some of the numbers, and in as much as he insists he will not release any of his material or collaborated material, that means we're not free to peddle any of it here...not at least until Leonard is prepared to permit it. You have no idea to what extent you complicate your life by working with this amazing crew...And to think that everything appeared so smooth on the surface. This experience will at least tend to make you suspicious of all these unorthodox projects hurled at your head. I hope your metabolism is sufficiently resistant to this disaster.

Meanwhile, I hope I have some good news as a result of the two sketches you've sent me for Moe Gale. Gale telephoned me this morning. He sounded rhapsodic; and if he can be trusted, he probably has something extremely promising under way. Gale is enthusiastic, and assures me he will make every effort to build a successful show around your material, and secure a sponsor. For the moment, he may be obliged to get a sustaining program on the NBC network. Such a program will net you about seventy-five dollars a week for your fifteen minute script. How many of these will have to run before a sponsor is hooked, it is difficult to predict, but Gale seems certain to succeed in the end. He now asks me whether you can be inveigled to come East, so that all the details of a program can be discussed with you, instead of by letter or wire. Aside from the seventy-five dollar weekly payment for your fifteen minute sketches, Gale felt he could assure you of $250.00 per program, if he managed to get hold of a sponsor. That would be the weekly rate for the first thirteen weeks. For the next thirteen weeks, he thought we could get $300.00. Then $350.00 for the third quarter of the year, and $400.00 for the final quarter.

I don't think that Gale is a marijuana addict, and strictly speaking, these terms are normal for a program, but because we've been stuck so often, I'm inclined to be a little cautious, and won't regard a deal finished until we've a sealed contract with a sponsor.

(continued)

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

Mr. Hughes

Page Two

April 21, 1941

I'll first know that Gale means business if he gets to the point of arranging a sustaining program for several weeks. I tried to sell Gale the idea of Johnson for the music, but he told me he had his own set-up.

The arbitration is still hanging fire because Martin Jones' arbitrator, Courtney Burr, had taken time off to produce a play. What are Chinese puzzles? Not knowing a thing about them, I can't tell you whether I would prefer them to the show business, except that almost anything is better than the kind of show business we've been up against. And aside from the show business, Minna and I are having farmer trouble. But perhaps you know all about farmer's trouble, and I'll spare you all of the gory details. Anyway, I hope to be seeing you as the summer rolls closer. Then we'll be able to discuss these things vis à vis.

With my best wishes to you.

P.S. Will you tell me whether HOLLYWOOD MAMMY is not tied up with the HTA revue, and can be submitted for possible sale? And as for WHAT THE NEGRO WANTS, I'm afraid you are doomed to disappointment, because with the possible exception of New Masses, I feel certain no other publication will venture it.

April 23, 1941.

Dear Maxim,

Metabolism intact. Mere success deferred. None of my material is
committed to anybody since we have no contract with HTA and they never
made up their minds what they wanted to use of mine or made any ar-
rangements with you or I about using it. And as you can see from the
enclosed letter, it looks like they'll just about never have a show
now, at least, not a professional one, if any. So from that stand-
point, I think we can feel quite free to peddle the stuff elsewhere.
As to the few sketches in which Charlie Leonard is involved, I have
just written him asking him to permit you to offer them for sale, and
I am sure he will be willing to do so. However there only one or two
such sketches, the main ones being YOUNG BLACK JOE which Leonard some-
time ago gave me permission to peddle elsewhere as HTA turned it down
during their last committee change. So that one is clear. He has an
interest in the sketch part only of MAD SCENE FROM WOOLWORTH'S, the
lyric and the song being mine with music by Elliott Carpenter. And I
gather he is as anxious as I am to dispose of that material now. In
case you would care to write him for confirmation yourself, his address
is: Charles Leonard, 326 North Kilkea, Los Angeles, California.

Now, as to MOE GALE and the radio business. I would be delighted to
come East, of course, if an advance comes forth sufficient to cover the
trip. Otherwise, I am please to collaborate as best I can from here.
You know and I know it is folly to ride any horse too hard until you
get the bit in his mouth. The bit is $$$$$$, so you have been telling
me low these many years. I begin to believe you. In fact, I go farther:
I do believe you. (And I know from experience that $ is the only thing
that buys a train ticket.)

Re WHAT THE NEGRO WANTS, I recall that you used to write me every time
I sent you a short story that nobody would publish any one of them but
THE NEW MASSES. And it turned out that they never saw one to publish
because YOU MENTION always sold them elsewhere. So?

Next time I go to China Town I will send you a Chinese puzzle and you
will see how delightful and simple they are to work compared to getting
me into show business.

The government, thank God, helps out farmers, but nobody cares about
playrights. From now on I write dramatic monlologues and deliver them
myself under my own direction. Since you have never seen a show of
mine, I will come down and give one in your office.

Metabolism intact, Jack.

Sincerely, as ever,

KINDLY RETURN ENCLOSURE.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

April 30/41

Dear Langston:

I have had a letter from Leonard authorizing me to represent
him in the sale of the material in which he collaborated with you.
So that's all set. The only thing that now remains is to find a
bidder.

I have just been speaking with Moe Gale, and he is very keen
about his prospects. Some people at NBC have apparently been encourag-
ing. But we'll take nothing for granted, and only bona fide written
assurance will get me to persuade you to make treks eastward.

My dearly beloved Langston, short stories are one thing, and
articles are, such as *WHAT THE NEGRO WANTS*!, quite another thing!
Especially now when we're in the midst of a war... And even the so-
called 'favorable decision' handed down by the Supreme Court, which
will now provide equal accommodations for negro and white when tra-
velling interstate, still leaves you holding the short end. By the
way, did you notice the joker in that decision?

ML/eh

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

May 29th 1941

Dear Langston,

Under separate cover, I am sending you a copy of
Poetry magazine.

The session with Ivan Black merely led to another
with his boss, Josephson, who runs Cafe Society. He was impressed
with the material, and wanted some time to study its possibilities
for him. His idea, if he does a Negro Revue, is to avail himself
of the talent now engaged at both of his uptown and downtown night-
clubs. I have just tried to reach him on the phone, but he slips
in and out like an eel.

I suppose you know that Charles Leonard sent me
a good bit of his own material. This, I have taken the liberty
of incorporating with yours, and it is all now in the hands of
Josephson. As soon as I have some favorable word from Josephson,
I shall write Leonard and ask him for the scores.

The arbitration has finally come to a conclusion, and
we are to have a decision some time next week. Martin Jones is un-
questionably a scoundrel, and he made sure that his arbiter would be
of his own kidney. His arbiter managed to be sick or away on busi-
ness each time a new meeting was called for. In the end, Maltz had
to go West, and it was decided to leave the arbitration in the hands
of the one arbiter appointed by the American Arbitration Association.
If all goes well, there will be several hundred dollars for you.

Congratulations on the Rosenwald Fellowship. I suppose
that means some cash. This really ought to provide you with the
opportunity to write that novel you've been promising for years.

With best wishes to you.

As ever,

June 22, 1941.

Dear Maxim,

The following persons have asked to republish poems or other
work of mine, including the play DON'T YOU WANT TO BE FREE in
anthologies or otherwise:

AN ANTHOLOGY OF PROLETARIAN LITERATURE: Samuel Sillen, 31 Vis-
ta Terrace, Mahopac Hills, Mahopac, New York.

AN ANTHOLOGY OF NEGRO LITERATURE: Sterling Brown, Howard Uni-
versity, Washington, D. C.

AN ANTHOLOGY OF POETRY FOR CHILDREN: Arna Bontemps, 703 East
50th Place, Chicago, Illinois.

REPRINT SECTION OF THE LIVING AGE: Tom Boggs, 14 Christopher
Street, New York, N. Y.

I have submitted various material directly to them and have asked
them to indicate to you what they may use and to pay payment
through your office in the case of any selections not from Knopf
books over which the publishers control the rights.

Also, Edward Lawson, Director, THE NEGRO RADIO WORKSHOP, has in-
dicated an interest in DON'T YOU WANT TO BE FREE as a possibility
for the new Norman Corwin series of Free Company dramas. And also
in the CAVALCADE OF THE NEGRO THEATRE script which Arna Bontemps
and I did together. I have asked Mr. Lawson, in case either of
these are used, to make payment through you.

Have you a script of DON'T YOU WANT TO BE FREE to submit to Nor-
man Corwin in case the Negro Radio Workshop doesn't since, come to
think of it, with some cutting it might very well fit into the
Free Company series?

Also, I have noticed the very attractive Poet Of The Month series
that New Directions are bringing out every month. Do you suppose
they would be interested in a selection of my poetry, either lyrics
or Negro treatment? I have dozens of unpublished poems not so far
included in any book. Infact, hundreds, and have recently had them
all freshly typed and bound in a manuscript of Collected Poems---
some three hundred not yet ink book form, and a number that have
not appeared in magazines, either. Then, too, since they publish
poetry in translation, they might be interested in my translations
from the Latin American poets: Nicolas Guillen of Cuba, Jacques
Romain of Haiti, and Francisca of Mexico. Of Guillen, I could fur-
nish enough for a complete pamhlet and, since he is the leading
Cuban poet today, such an idea might appeal to them. Would you
care to broach it to McLaughlin?

What about the Dramatist's Arbitration and MULATTO. I needs!

I shall shortly have portions of my new book (2nd half of BIG SEA)
ready for the magazine market.

Sincerely,

["MAXIM LIEBER", "AUTHORS' REPRESENTATIVE", "Murray Hill 2-3135-3136", "CABLE: FERENC • NEW YORK", "545 FIFTH AVENUE\nNEW YORK CITY", "June 26th 1941", "Dear Langston,", "Having had no word from Edward Lawson, I am taking the bull by the horns and writing him to say I have a copy of DON'T YOU WANT TO BE FREE, which I shall be very happy to have him use on a radio program, for consideration of $$$$$$$$$$$$$$ ččččččččččččččččččččččččččččč

MAXIM LIEBER

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

AUTHORS' REPRESENTATIVE

545 FIFTH AVENUE

NEW YORK CITY

July 8, 1941

Dear Langston:

According to your letter of June 28th your HOLLYWOOD MAMMY is included in Duke Ellington's review. According to Charlie Leonard's letter to you dated June 30th, he has been talking with a certain Charlie Sherman about this song for another production now in rehearsal at the Hollywood Playhouse. In any event, I have had no word about it either from Blankfort or from Leonard direct.

As for GOING MAD WITH A DIME, if you are not bound to Elliot Carpenter by virtue of the absence of any and all agreements whatsoever, then what in Heaven's name do you wish to have a collaboration contract for? According to the script you have sent me, this number is originally authored by yourself. Where does Leonard came into the picture? Let me know in precise terms and if Leonard does have a share, just how much of a share is he entitled to?

And I guess it is fair to give Leonard, in event he does effect a sale of any of your material to other shows, a cut, but certainly not beyond 10% of your earnings. After all, that is what I would charge him if I sold any of his material.

And thanks for the two poems you have just sent me. I have forwarded them to Louis Adamic in addition to some others submitted to him several days ago. Maybe he will find one that suits his fancy.

Finally there is a carbon of a letter from the National Education Department to Mr. Arthur P. Davis, which I do not quite understand. By what right does the National Education Department grant permission to Mr. Davis to publish the BALLAD OF OZIE POWELL or LET AMERICA BE AMERICA AGAIN? Let me have the dope on this. Also tell me whether either of these two poems are included in any of your volumes published or soon to be published by Knopf. When I have this information, I will get after Mr. Davis and wring a few dollars out of him.

Dear Langston: I'm in the office this week as Miss Hollander is on vacation and I must say it is delightful to be writing to you again. When Max told me about the Rosenwald Award I did intend to sit down to congratulate you. This is somewhat late but nonetheless sincere. I hope every year will bring you some such distinction. Are you planning to come here for a visit? Perhaps if one of the many projects break you'll feel the urge to see us all for a few days.

With my very best wishes and warm regards,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

July 24th 1941

Dear Langston,

Gradually, I'm closing in upon the enemy, which is
to say I'm getting places with your translations of Latin American
poets.

Laughlin of New Directions suggested my getting in
touch with Bishop, who is Director of Publications for The Council
of National Defense for Cultural Relations between American Republics.
Bishop recommended me to Dudley Fitts, acting Spanish Editor of the
same organization, and he has just written me as follows:

'I shall be glad to consider the translations of Langston Hughes. The project is still in the State Department, but, as Mr. Bishop wrote you, there is little doubt that it will go through. Only Spanish and Brazilian verse is being included, and that would rule out Jacques Romain. I should, however, be very much interested in Mr. Hughes' versions of Nicolás Guillén. I should be even more interested in translations of Luis Palés Matos, who seems to me the best negro poet of the Antilles. Perhaps Mr. Hughes has rendered some of his poems.'

I have on hand several poems of Francesca; I could begin by
offering these, unless you thought you had others more suitable. And
what about Matos, who apparently impressed Fitts more than some of the
others you mentioned?

Yours for cultural relations,

ML/eh

P.S. I also have some poems by Nicolás Guillén.

MANUSCRIPT SENT: 8/4/41

DAYBREAK IN ALABAMA--------24 poems
DREAM DUST-----------------25 poems
IN SEARCH OF NEON ROSES----30 poems
                          79 poems

Hollow Hills Farm,
Monterey, California,
August 3, 1941.

Dear Maxim, LIEBER

Enclosed herein are three collections of poems for you
to submit to James Laughlin and NEW DIRECTIONS for their
"Poet Of The Month" series.

DAYBREAK IN ALABAMA is a selection of Negro poems.

IN SEARCH OF NEON ROSES and DREAM DUST are selections of
lyrics of varying moods.

The titles and groupings are, of course, tentative. This
should be made clear to the NEW DIRECTIONS editors, as I
am perfectly willing to augment, cut, or rearrange, or combine
any of the groupings. Or a selection from all three
could be made for the booklet, in case that were desirable.

Now that these poems are together, I shall begin to get my
various Latin American translations typed out.

Best to you,

P. S. None of these poems have appeared in book form.
Most of them have been in magazines. A few are
unpublished anywhere.

333

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

September 8th 1941

Dear Langston:

A small group in Newport News, Va. is anxious to
produce DON'T YOU WANT TO BE FREE. Edgar B. Holt of the
group, writes: 'I can't find anyone who knows or remembers
the tune of the last song, "Who wants to come and join hands
with me and make one great unity?"'.

Mr. Holt asks me to send him the music to the
above song. Inasmuch as he desires an immediate response,
perhaps you can send this material to him directly. His ad-
dress is 3600 Roanoke Avenue, Newport News, Va.

And how was your vacation?

ML/eh

-over, please-

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

P.S. I've just received your note of the fourth informing
me that you are back at the farm.

I feel a bit ashamed to say that I didn't listen
to JUBILEE, but I would have, had I not been confined to
bed with a mean cold, and of all places at Montauk, on Long
Island, where we had gone to spend the Labor Day weekend, in
the hope of getting some swimming in. The nearest I came to
it was watching the surf break, through the window in my room.

We're trying to sell MOTHER AND CHILD to a magazine,
right now. It was first declined by Woman's Home Companion
and is now being considered by Good Housekeeping. Perhaps
we'll make a second copy to send on to Cornelia Otis Skinner.

You tell me that you've had a letter from a Mr. Smith
at Canal Zone, requesting permission to produce MULATTO, but
you don't tell me whether you've written him to say he might,
in consideration of a payment. If you haven't, don't do so.
I'll want to do that at the same time I send him a copy of
TROUBLED ISLAND.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

September 24th 1941

Dear Langston:

I send you herewith a check representing
royalty from THE JUMP FOR JOY REVUE, as well as Miss
Silcox's letter which explains why you aren't to deposit
the check until you verify that the amount is correct.
Actually, Miss Silcox expected me to check on this matter,
but I am so far away from sources that I thought either you
or Leonard would attend to this matter. Anyway, I assumed
the amount was correct, for I am deducting commission from
the second check enclosed, which represents the reprint fee
for some of your poems used in THE DEMOCRATIC SPIRIT, Bernard
Smith's anthology, published by Knopf. The amount they sent
us was $25.00.

I have written a rather long letter to Leonard concerning my conversation with Mrs. Robeson, and your collaboration with Leonard on a picture for Robeson. I pointed out to Leonard that I hoped you would persuade Miss Baker to raise the ante, both on your weekly salaries, $500.00 each, or $1000 for the team, and the ultimate sale price of the story. In view of Robeson's importance, the story should fetch at least $7500 or $10,000. Can I expect you and Leonard to be firm about this in your negotiations with Mary Baker? After all, since she represents you, and since she gets some commissions, she ought to try to secure as much as possible. I say this to you confidentially, and it is not to be passed on to the lady in question.

Finally, I have bad news from Moe Gale. After
long last, he lays an egg. It looks as if, the idea, can,
for the moment, be put in cold storage.

Meanwhile, I have your librettos, THE ST. LOUIS
BLUES, LA CONGA SE VA, ONE MORE HEAD, and CARMELITA AND THE
COCKATOO. I'll have to study them and see what's to be done.

With best wishes.

As ever,

ML:eh

#2754-$18.80

Jump for Joy Check-#1344-$37.03

THE DRAMATISTS' GUILD
OF THE AUTHORS' LEAGUE OF AMERICA, Inc.

6 EAST 39th STREET, NEW YORK, N. Y.
Telephone MUrray Hill 5-6930

September 19, 1941

President
ELMER RICE

Vice-President
GEORGE S. KAUFMAN

Chairman of the Board
EDWARD CHILDS CARPENTER

Secretary
RICHARD RODGERS

Council
GEORGE ABBOTT
MAXWELL ANDERSON
ROBERT ARDREY
LEOPOLD ATLAS
CLARE BOOTHE
MARC CONNELLY
RACHEL CROTHERS
RUSSEL CROUSE
OWEN DAVIS
PHILIP DUNNING
DOROTHY FIELDS
CLIFFORD GOLDSMITH
PAUL GREEN
LORENZ HART
MOSS HART
LILLIAN HELLMAN
ARTHUR KOBER
MELVIN LEVY
HOWARD LINDSAY
ELIZABETH MC FADDEN
GEORGE MIDDLETON
KENYON NICHOLSON
EUGENE O'NEILL
ARTHUR RICHMAN
ARTHUR SCHWARTZ
IRWIN SHAW
ROBERT E. SHERWOOD
GEORGE SKLAR
LULU VOLLMER
RITA WEIMAN

Counsel
WILLIAM HAMILTON OSBORNE

Executive Secretary
LUISE SILLCOX

Assistant Secretary
DON ANGUS DOUGLAS

Mr. Maxim Lieber
545 Fifth Avenue
New York, New York

RE: JUMP FOR JOY

Dear Mr. Lieber:

In accordance with our request, Henry Blankfort's office has sent us a check to the order of Langston Hughes for $37.03. They have sent us another check in a like amount for Charles Leonard. We have sent Mr. Leonard's check to him direct.

May we caution you not to deposit this check until you verify that the amount is correct. To verify that the amount is correct, you will have to get the box-office receipts from the American Revue Theatre for the weeks involved and you will also have to have the programs for those weeks. The authors of the sketches should be paid 2% of the gross. Mr. Hughes should receive whatever proportion of the 2% is represented by dividing the number of sketches into the total 2% payment for sketches. If the share for the sketch involved for those weeks sums up to $74.06 then the checks are correct.

I'd appreciate your dropping me a line if you check this up and find the amount is right and you deposit this check. Bear in mind that Mr. Hughes and Mr. Leonard never received their advances so that the $74.06 should represent the total amount due them and not the total royalties less an advance of $5.00

We have also cautioned Mr. Leonard not to deposit his check until he verifies that the amount is correct.

LMS:DK
enc

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

October 14th 1941.

Dear Langston:

The lamentations of Jeremiah are mild compared
with yours. Nevertheless, I must confess that yours are justi-
fied, and then must add hastily that we'll have to wait for the
millennium to rectify matters.

Certainly, as long as we enjoy democracy, and as
long as the picture industry is what it is, they'll only want
negroes to act as pullman porters, and there's damn little you
or I can do about it.

You may know that Leonard sent me a new outline
for a Robeson story, which I have just forwarded to the latter.
Before doing so, I had sent it up to Eve Ettinger at Columbia
Pictures, and she was very dubious, meaning that they still prefer
Rochester and pullman porters.

I telephoned the Dramatists' Guild, and I'm afraid
they will be unable to do anything with the backers of JUMP FOR
JOY. They regretted that you hadn't done something sooner about
this matter. In the light of their own advice, that strikes me
as humorous, because they made a point of stressing the need of
checking the accuracy of the account before depositing the check.

I have a rather dim recollection of having seen some
stuff by Chester Himes, but I don't remember that I ever gave him
the gate or discouraged him. Don't tell me I did, because if
he turns out to be another Richard Wright, I'll commit hari kari.
Is it too late to get Himes to send me this novel about which
Bromfield is so enthusiastic? Of course if I do miss out, the next
best thing is to get the five short stories which you tell me you've
recently completed. It's about time we began working toward a collection
of a volume of stories by Langston Hughes.

Indeed, the news from the Eastern front sounds dreary,
but I don't put much stock in winter and mud. I do, however, have
a tremendous belief in the power of the Red Army, and I agree with
Ehrenbourg that the Nazis will meet their doom on the Russian Steppes.
Here's hoping it happens soon.

With best wishes.

As ever,

Hollow Hills Farm,
Monterey, California,
October 16, 1941.

Dear Maxim, [Lieber]

Under separate cover I have this day posted you six short stories:
* THE BOTTLE OF WINE
* MYSTERIOUS MADAME SHANGHAI
* TWO AT THE BAR
* THE STAR DECIDES
* BANQUET IN HONOR
* SAILOR ASHORE

I would greatly appreciate your comments on these stories after you have read them.

As to a market, you are a wonder at figuring that out. But the first two might very well, I should think, be ESQUIRE material. Perhaps also THE STAR DECIDES and SAILOR ASHORE.

TWO AT THE BAR is really a short short. And BANQUET IN HONOR sort of a satirical sketch. This latter we will probably have to give away, although it might fit into COMMON GROUND or COMMON SENSE.

I had thought at one time to write a whole series concerned with the roomers of Mrs. Dyer's Rooming House---from whence came THE BOTTLE OF WINE and MYSTERIOUS MADAME SHANGHAI. Do you think that would be a good idea? Please let me know. Some strange people live in that old lady's house. And her curiosity about them is no greater than my own. I really hated to come out and shut that door on Madame Shanghai.

Kindly convey my best regards to Minna. And if you-all will invite me to dinner when I get back, I swear to arrive on time. In fact, if it is day-light savings, I will arrive one hour ahead.

HEY! Schirmer's have just published a song of mine---the one Marion Anderson sings! The last song they published of mine, BREATH OF A ROSE, I just got the statements for the past ten years---a full itemized sheaf---amounting to $1.01. However, the Lord has blessed me with ASCAP.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

October 23rd 1941.

Dear Langston:

I'm delighted to learn that you got a second check for your sketch used in JUMP FOR JOY. I hope that it doesn't bounce.

Naturally, I sympathize with Mrs. Robeson's point of view, for I think it's as much hers as Paul's, but I suspect that Robeson's will be a voice in the wilderness, until a strong Actor's Guild or Screen Writers' Guild insists that the movie industry alters its attitude.

I had a letter from Bernie Smith informing me that Alfred Knopf had sent you a copy of Smith's anthology.

I received the four poems you recently sent me, as well as a revision of DOMESTIC HAPPENINGS. Acting on your suggestion, I sent CONCLUSION and BIRTH to Ted Malone, in the hope that he'll like these better than others he has seen. The other two have gone to the New Yorker.

Finally, the six stories arrived. I read them last night and enjoyed particularly, THE STAR DECIDES, THE MYSTERIOUS MADAME SHANGHAI, and SAILOR ASHORE. On second thought, I liked them all, but I doubt if they'll all find a market. For one thing, BANQUET IN HONOR, and SAILOR ASHORE are, as you know, taboo subjects. Editors regard such pieces as 'controversial'. If the New Yorker or Esquire doesn't take SAILOR ASHORE, the chances are no other commercial magazine will want them.

Mrs. Dyer's rooming house must be a very delightful place, if its other inmates are anything like Madame Shanghai or Carl. The only magazine that would go for a series of stories, is, of course, the New Yorker. If they like MADAME SHANGHAI or THE BOTTLE OF WINE, I would suggest that you try your hand at others.

You speak of getting back to New York, and I wonder when you plan your hegira. You know that you'll be more than welcome. 'In fact,' Minna said, 'even if you come an hour late for dinner.'

Meanwhile, I enclose a letter from Dudley Fitts, which requires your attention.

With best wishes.

ML:h
enc./1

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

October 30th 1941.

Dear Langston:

There is a good chance that the New Yorker might take DOMESTIC HAPPENINGS, because their poetry editor writes that they liked the idea in your poem, but, Unless we're being frightfully blind, it seems to us that the whole point of the poem is that the names rhyme, or rather should rhyme, as they don't. I wish Hughes would agree with us on this score and let us see another version of this one. One of the editors suggests that the last line might better read "Get either marriages or divorces." I think it makes a smoother ending too. I am, consequently, returning both versions to you, so that you can struggle with the muse, because the New Yorker is, after all, the best bet.

We have had no word yet from Laughlin of New Directions. We're going to jog his memory, and if there's nothing doing, in the end, we'll send the collection of your poems to Tom Boggs, provided it's not too late.

Meanwhile, I might send him some poems that we have here, but then I'm not sure that these aren't going into your collection, SHAKESPEARE IN HARLEM, since I haven't a table of contents. Will you, then, advise me at once whether the following poems are free for Boggs: BRIEF ENCOUNTER, MIDNIGHT CHIPPIE'S LAMENT, EARLY EVENING QUARREL, DAYBREAK IN ALABAMA, WEST TEXAS, FALSE DECEIVER, BRIEF ENCOUNTER BLUES.

Many thanks for letting me have the whereabouts of Chester Himes. I shall drop him a note, and maybe if Bromfield doesn't place his book, it can be turned over to me, and even if Bromfield does place it, it might be advantageous to Himes that someone get him a decent contract. Why don't you suggest that possibility to Himes, even though I am writing him, now?

Finally, I enclose a small check in payment of reprint fees for some of your poems that appeared in Bontemps' anthology, published by Harper's. By now, I hope you received the copy we sent you, several days ago.

With all good wishes--

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

November 6th 1941.

Dear Langston,

Your revised version of DOMESTIC HAPPENINGS is off to
The New Yorker. Let's hope they'll like it well enough to accept it.
And, of course, I shan't bother Tom Boggs, in the light of your remarks.
And to save us some headaches, I shall follow your instructions and con-
sign to the wastebasket those poems which are being included in SHAKESPEARE
IN HARLEM.

I shall owe you several votes of thanks if you get Himes
in a receptive frame of mind.

I shall now write to Katherine Dunham, and dun the lady,
(no puns intended) for an option payment. Incidentally, I'm stumped to
know what royalties to ask. I have no idea of the royalties paid for
the performances of ballet. I assume the same rates apply as to any other
theatrical production. Am I right? Please advise.

Finally, I read PASSING, and I think it should make a successful story for The New Yorker, but I suspect they'll raise some objection to the introductory paragraphs. The story begins like an essay, and of course, it rubs certain whites the wrong way. Inasmuch as you can achieve your effect more subtly, why not do so? I would suggest beginning the story with the second paragraph on Page 2, namely, 'We met Caleb one night in Small's.' Then you can mention a few things about Caleb, which will give a picture of the gentleman, and then you bounce right into the story. I think it will improve the piece, and perhaps get us an acceptance. Knowing that you keep copies of your stories, I'm not sending this along.

I wish I could help you on your lecture tour. Unfortunately,
I don't know how, unless you would want me to get you a first rate lecture
agent. If you say the word, I'll see what I can do.

With best wishes.

MI:eh

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

November 14th 1941.

Dear Langston:

Since you seem to be anxious to have The New Yorker reaction to your story, PASSING, I am, against my better judgment, sending off the piece to them. The thing I fear most is that they may not like it, and then decline to see it a second time. But these are the chances of war.

Meanwhile I have had a letter from Katherine Dunham, who is scandalized at the thought of paying a fifty dollar advance for CARMELITA AND THE COCKATOO. She writes: 'Actually, in ballet, one purchased the idea only, embroidering upon it in the course of composing the music and the dance coreography. Under these conditions, the fee which you ask for Mr. Hughes as an advance against future royalties is unusually high. In any case, I would certainly have to know what royalties you propose before making any advance against them. As a matter of fact, it would be very much more preferable to me to purchase the right outright, and I would like to know what your fee for such rights would be.'

Well, the lady had me stumped up a tree, and so I phoned our friend, Douglas at the Dramatists' Guild, only to discover to my dismay that he knew as little about it, as we did. He will try to find out what the procedure is, but I'm afraid we'll not get far that way. Can you, perhaps, find out, from some of your many friends, what arrangement is made for the sale of sketches or poems to dancers?

We have also heard from Felicia Sorel, who has asked to see CARMELITA and LA CONGA. I'm sending her a set now, but we may face the same problem we did with Miss Dunham.

We also had a note from Jas. Laughlin, to the effect that he could not work you in until 1943 for his Poet of the Month series. He wanted to know if you would be willing to wait. I replied in the affirmative, if that was the best he could do, but I asked him to substitute your work, int he event that one of the scheduled poets for 1943 should drop out, which is quite likely, from what I infer from Laughlin's letter.

With best wishes,

ML:h

ML:h

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

January 17th 1942.

Dear Langston:

I just got this from Rumsey. It's another effort to secure
a more binding judgment. Whether we can get any money is another matter, but
since we've gone so far, we might just as well go the whole hog and sign this
as well as the affidavit, which has to be witness before a notary.

Please return it to me, and we'll call it a day.

ML:h
enc.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

February 2nd 1942.

Mr. Langston Hughes
C/o Harper
634 St. Nicholas Ave.
New York City

Dear Langston,

I've been out for almost a week with a bronchitis, hence
this delay in acknowledging your letter of the 27th of January.

Mr. William Alexander, who treated you to a whiskey sour
before flying back to Washington, did not give you a complete picture of
the situation. The fact is that although Schoenfeld tries to get scripts
grats, some authors who are not too well off do get paid up to $70.00 for
each script used on the KEEP EM ROLLING program.

This arrangement is in the hands of Arthur Kurlan in the
New York Office of OEM at 122 E. 42 Street, and I have just spoken with him
about it. Here's the layout. Kurlan has the final okay on scripts. Even
though Schoenfeld may order them, Kurlan can reject them. If, however, Kurlan
accepts a script from you, even though it is the one you already agreed to do,
you'll receive $70.00 for it. You can, perhaps, even do others, so I suggest
you contact Kurlan, and go to it. His address is above and his phone number
is Mu3-6810.

With best wishes.

ML:h

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

March 2nd 1942.

Mr. Langston Hughes
c/o Mr. Arna Bontemps
703 East 50th Place
Chicago, Illinois

Dear Langston,

I enclose a letter from The Paebar Company, who are
eager to secure prompt permission to reprint a couple of your poems.

I have spoken with them and told them they would be
expected to pay for reprint rights, and apparently they are quite
resigned. Inasmuch as SEVEN MOMENTS OF LOVE appears in your new
collection published by Knopf, I assume Knopf controls these rights.
Will you, therefore, ask them to make the necessary arrangements?
As for AIR-RAID: BARCELONA, I don't see that in the volume, and if
it hasn't appeared in any other, I'll be happy to sell it, but let
me know first.

Finally, if I am to take care of this, send along the
data requested in the postscript.

With best wishes.

P.S. Did you receive our last letter, in which we told you we
were holding a check in the sum of $40.00 for a reprint of SLAVE ON
THE BLOCK, appearing in NEGRO CARAVAN, published by Dryden Press?
What I'd like to know is, does Knopf control the rights to this since
it appeared in THE WAYS OF WHITE FOLKS?

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

August 19th 1942.

Mr. Langston Hughes
Yaddo
Saratoga, New York

Dear Langston:

Believe me, Minna and I were very anxious to see you at Yaddo.
After we had spent some time with Nathan and Carol Asch and Franz and Greta
Weiskopf and realized you were in the midst of creation, we knew we didn't
have a chance and so with a great deal of reluctance and no little sadness
we moved on to New York.

I hope you didn't grieve too much and that whatever task you
were at turned out successfully.

With best wishes,

ML:eh

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

October 6, 1942

Mr. Langston Hughes,
Yaddo,
Saratoga Springs
New York, N. Y.

Dear Langston:

I like your new series, MADAME TO YOU and since there's a better chance for Esquire to use it than the New Yorker, I am shipping them out, first, to Chicago. Unfortunately, your little poem CHRISTMAS CARDS comes too late for the monthly magazines that have their Christmas issues made up in August and some even in July. Perhaps the Post will take kindly to it.

I, too, wish that you could have been down at Rembao's the other night. How in hell did you find out we were there in the first instance? Our visit would have been pleasanter for your presence. For one thing, you could have acted as interpreter between Ramon Sender and myself. He doesn't speak a word of English and execrable French. I could see he was anxious to communicate with me but linguistic difficulties made that damned hard.

Your very fine poem on Stalingrad was declined at the New Republic and the Nation. It seems that both Bliven of the former and Margaret Marshall of the latter, while appreciating the sentiment, did not take kindly to the poetry. Consequently, the New Mass now has the piece for consideration.

ML:AW