MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

545 FIFTH AVENUE
NEW YORK 17, N. Y.

February 25, 1944

Mr. Langston Hughes
Hotel Grand
East 51st Street & South Parkway
Chicago, Illinois

Dear Mr. Hughes:

The enclosed check covers the fee from the British Broadcasting Company for your script, THE MAN WHO WENT TO WAR. Incidentally, the playback of this broadcast will take place on Monday, the 28th, and Mr. Lieber is planning to be at the studios to hear it.

I have your card with the notation to contact Mrs. Sulzberger and the University of Iowa to try and get engagements for you. I'll follow through on this after I have the decision of Mr. Feakins of the Feakins Lecture Bureau. If it is negative (God forbid) I'll go after them myself, otherwise I'll turn these leads over to him. I spoke with Mr. Feakins (if your ears burned today it was because I was eulogizing you to that gentleman) and he was sufficiently interested to want to have more information about you, though of course he was familiar with your career. I have sent him the mimeographed sheet you left with me and also the postcard giving some of the organizations before whom you have lectured. I made a point of the fact that the East was practically virgin territory as far as you were concerned, and as I know that to be a lucrative field, it may be the bait which will catch him. I'll keep you advised on how matters progress. Although I myself was with a rival bureau, I concede, as does everyone else who knows anything about the matter, that the Feakins Bureau has the best reputation. Nothing but the best, for the best, say I.

Station WLW of Cincinnati asked for permission to broadcast your poem NEGRO SPEAKS OF RIVERS on February 27 for the program of Wilberforce University. This is a sustaining educational program and so there is no fee, more's the pity. In giving them permission we made the proviso that they must mention your book of poems from which this one is taken, and also the name of the publisher.

William B. Feakins, Inc.

500 FIFTH AVENUE, NEW YORK 18, N.Y.
AT FORTY-SECOND STREET

CABLE: FEAKINS, NEW YORK

PHONE: LACKAWANNA 4-4975

March 18, 1944

Miss Grace Smith
c/o Mr. Maxim Lieber
545 Fifth Avenue
New York 17, New York

Dear Miss Smith:

Confirming our telephone conversation of
a few days ago, I hope you have written to Mr. Langston
Hughes letting him know I would be glad to talk with him
on his return from his present lecture tour in regard to
managing his platform work for the future.

WBF:dob

Dear Mr. Hughes:

I think the above note is tantamount to a decision on
the part of Feakins to add you to his list of lecture "attractions".
I have acknowledged this letter informing Mr. Feakins that you
would call on him upon your return to N.Y., but I suggest that
you drop him a note advising him that you are aware of how
matters have progressed, that you are pleased at the prospect
of coming under the Feakins banner - oh, you know, just a sort
of good-will note, to keep the issue alive, and to inflate
his ego. We all love that. Hope you are having a swell tour.

ALL QUOTATIONS ARE SUBJECT TO CHANGE IF NOT ACCEPTED WITHIN 30 DAYS. ENGAGING PARTIES ARE TO FURNISH STEREOPTICON OR MOVING PICTURE MACHINE AND OPERATOR AS REQUIRED FOR ILLUSTRATED LECTURES UNLESS OTHER ARRANGEMENTS ARE MADE.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

489

July 20, 1944

Dear Mr. Hughes:

This week Mr. Lieber tried to contact Mr. McDonagh on the telephone but was unsuccessful. He therefore wrote him a note asking for a settlement of the matter. This morning's mail brings Mr. McDonagh's reply, as follows:

"This is an explanation of the delay in the Langston Hughes matter; after I spoke to you last on the telephone and had heard from you, to my surprise, that one of our production directors had accepted the script from Mr. Hughes and had told him it was O.K., I put a tracer on the script and found where it was. Contrary to your understanding, it had not been accepted as approved, but had merely been accepted for submission to Mr. Wright of our Production Department. I spoke to Mr. Wright about it, and he felt that the script was not right in all respects yet. I then called Langston Hughes and was informed that he was out of the city attending a music festival and would not be back for fifteen days. I left word to have him get in touch with me as soon as he returned. He has not called me yet.

Meanwhile, Mr. Wright is on vacation, and his vacation ought to end just about the time that Mr. Hughes returns to the city. Before Mr. Wright left, I discussed the script with him once more, and I think we have come to the conclusion that there is not a great deal more that can be done with it. The tentative plan now is that as soon as Wright and Hughes are back on the job, we will audition the material, at which time we should like to have Mr. Hughes in the studio for purposes of necessary changes to bring some of the copy into line with the highspots he hits in several places in the script.

To sum up, the project has not been abandoned. It is just that a group of circumstances have combined to mix up the situation a little bit and delay the audition. I have no doubt that once Mr. Wright and Mr. Hughes return to the city the matter will be settled quite promptly. Thank you so much for your consideration and cooperation."

In Mr. Lieber's letter to Mr. McDonagh he asked for the $200 which had been promised for the work you have done to date. Mr. McDonagh ignores that little item entirely. Mr. Lieber will be back in the office on Tuesday and perhaps you had better call him then to talk the matter over. I'm sending you this so that you may see how matters stand at the moment.

GS

August, 1944.

THE POEMS OF LANGSTON HUGHES
as
Recorded
for
Asch Album

Side Number: Poems: (31) Where Found:

<table>
  <tbody>
    <tr>
      <td>1.</td>
      <td>PORTER</td>
      <td>Fine Clothes To The Jew</td>
    </tr>
    <tr>
      <td></td>
      <td>BRASS SPITOONS</td>
      <td>Fine Clothes To The Jew</td>
    </tr>
    <tr>
      <td></td>
      <td>KU KLUX KLAN</td>
      <td>Shakespeare In Harlem</td>
    </tr>
    <tr>
      <td></td>
      <td>MERRY-GO-ROUND</td>
      <td>Shakespeare In Harlem</td>
    </tr>
    <tr>
      <td>2.</td>
      <td>HARLEM SWEETIES</td>
      <td>Shakespeare In Harlem</td>
    </tr>
    <tr>
      <td></td>
      <td>Sylvester's Dying Bed</td>
      <td>Shakespeare In Harlem</td>
    </tr>
    <tr>
      <td></td>
      <td>Wake</td>
      <td>Shakespeare In Harlem</td>
    </tr>
    <tr>
      <td></td>
      <td>LITTLE LYRIC</td>
      <td>Shakespeare In Harlem</td>
    </tr>
    <tr>
      <td>3.</td>
      <td>NEGRO SPEAKS OF RIVERS</td>
      <td>The Weary Blues</td>
    </tr>
    <tr>
      <td></td>
      <td>MOTHER TO SON</td>
      <td>The Weary Blues</td>
    </tr>
    <tr>
      <td></td>
      <td>MA LORD</td>
      <td>The Dream Keeper</td>
    </tr>
    <tr>
      <td></td>
      <td>I, TOO, SING AMERICA</td>
      <td>The Weary Blues</td>
    </tr>
    <tr>
      <td>4.</td>
      <td>FLORIDA ROAD WORKERS</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>GOOD MORNING STALINGRAD</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td>5.</td>
      <td>TO CAPTAIN MULZAC</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td>6.</td>
      <td>THE WEARY BLUES</td>
      <td>The Weary Blues</td>
    </tr>
    <tr>
      <td></td>
      <td>TOO BLUE</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>COULD BE BLUES</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>LATE LAST NIGHT</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td>7.</td>
      <td>LITTLE SONGS</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>SILENCE</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>BURDEN</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>HAVANA DREAMS</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>THE BREATH OF A ROSE</td>
      <td>The Big Sea & Schirmer's</td>
    </tr>
    <tr>
      <td></td>
      <td>PRAYER</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>BORDER LINE</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>IN TIME OF SILVER RAIN</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td>8.</td>
      <td>STILL HERE</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>BALLAD OF THE LANDLORD</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>BIG BUDDY</td>
      <td>Manuscript</td>
    </tr>
    <tr>
      <td></td>
      <td>NOTE ON COMMERCIAL THEATRE</td>
      <td>Manuscript</td>
    </tr>
  </tbody>
</table>

August 24, 1944.

Mr. Maxim Lieber,
489 Fifth Avenue,
New York 17, N. Y.

Dear Max,

Asch Records wishes to release this fall an album of my recorded
poems in a limited edition, recorded by myself. I would appreciate
your taking care of the agreement with Mr. Moe Asch.

The album will contain thirty-one poems, fourteen of which are in
various Knopf books. I have sent Mr. Lesser at the Knopf office
a list of these poems, enclosing a carbon herein for you.

Of the other seventeen poems, these are in the booklet published
by The Negro Publication Society, JIM CROW'S LAST STAND, copyrighted
in my name, and now out of print. The firm is out of business, and
I do not believe we would need a release on these poems:

GOODMORNING, STALINGRAD
TO CAPTAIN MULZAC
STILL HERE
BALLAD OF THE LANDLORD
BIG BUDDY
NOTE ON COMMERCIAL THEATRE

Of the others unpublished in book form, the only ones on which we may
require a release is COULD BE BLUES published last year in ESQUIRE,
and LATE LAST NIGHT, both in the same issue.

THE BREATH OF A ROSE was first published ten years or so ago by
Schirmer's as a song with music by William Grant Still. It was later
used in my autobiography, THE BIG SEA, Knopf, who credit it to
Schirmer's, so I imagine the release would have to come from the latter.

All other poems listed on the enclosed list as "Manuscript", unless
your files prove otherwise, are free, the rights belonging completely
to us. I have asked Mr. Asch to get in touch directly with Knopf con-
cerning poems from my books. Whatever other releases are needed, you
can no doubt furnish him. Mr. Asch has promised an advance of $100.00
as soon as the records are processed. I am to write the notes for the
booklet accompanying the album.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

489 7845 FIFTH AVENUE
NEW YORK 17, N. Y.

December 27, 1944

Dear Langston:

Many thanks for your kind greetings for the New Year
extended to Minna and myself.

This morning I got a different greeting from the
Hon. Newbold Morris who told me all about the opera
which William Grant Still had written based upon
your libretto and which Stokowski would presently
produce at the Center Theatre. In order to assure
production, the Hon. Newbold Morris asked me to under-
write it to the tune of $30, without, however, offer-
ing me a share of the proceeds. That, I submit, is
the most unique kind of invitation to participate
in a limited partnership enterprise which has ever
come my way. Is it possible that the aforementioned
"honorable" in any event confused me with Thomas Lamont,
Esq.? Now in view of this circumstance I haven't even
the courage to ask for the privilege of seeing the
production. Perhaps you can throw some light on this
whole business.

Meanwhile, I am wishing you and yours a very Happy New Year.

ML:GS

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

February 9, 1945

Mr. Langston Hughes
c/o Mrs. T. B. Harber
Apt. 1D
634 St. Nicholas Ave.
New York, N.Y.

Dear Langston:

This letter which acknowledges your letter of February 6th will be
awaiting your arrival from the deep south.

I must report to you that Alfred Knopf has decided to reject
TROUBLED ISLAND for the reasons stated in the enclosed letter from
Bernard Smith.

At this moment it might be inadvisable to submit the script to
another publisher. However, once the opera is produced and makes
any kind of a stir some other publisher might feel differently
about it than does Knopf. Robbert Edmund Jones' letter to Newbold
Morris would indicate that there should be every reason to expect
a success.

Simone Tery finally secured her visas and departed a week ago for
France via London. If the London officials are no more accomodating
than were our own, Simone may be cooling her heels for some time in
London.

The Blue Network got word through devious ways that there is a
possible radio program in LITTLE HAM. The work was recommended
to them by some people on the War Writers' Board. The Blue Network
is casting around for some Negro scripts treating Negro life with
distinction and dignity. To be sure, when the project was first
discussed with Moe Gale it was on a slightly different and perhaps
more commercial scale. Consequently, if any project materializes
the script will probably have to be altered. I may have more to
say about this when you return. to the City.

With best wishes,

ML/lalm
enc.

March 27, 1945

Dear Max,

Erik Barnouw, 601 West 115th Street, New York 25, writes
that he wishes to publish a radio script of mine entitled:

BOOKER T. WASHINGTON AT ATLANTA

which was a CBS-Pursuit Of Happiness show four or five years
ago, to now be included in an anthology of radio plays Mr.
Barnouw is editing for Farrar & Rinehart. Payment to be $25.00.

He says the script should be copyrighted. Was it ever, do you
know? If not, can you send it to Washington in my name? I have
asked Mr. Barnouw to furnish you with a copy for that purpose.

I am signing the release and sending it herewith to you, as I
have referred him to you for the business.

He asked about my other scripts, so I made out a list. here
is one for your files, too, in case other such anthology re-
quests come in.

QUESTIONS ABOUT YOURSELF:

Where were you born? Where did you live, go to school, etc? What did your people do?

What did you do before getting interested in radio? What other occupations have you followed?

How did you happen to become active in radio?

What do you chiefly want to do in radio?

How do you feel about radio? Do you feel it is serving the public interest? Do you foresee a growing role for radio drama in public-service radio?

How did you happen to write the script or series being used in the anthology?

QUESTIONS ABOUT THE SCRIPT:

How did it come to be written?

What organizations, such as advertising agencies, sponsors, government agencies, social agencies, educational institutions, special interest groups, were involved in the script or series?

Was the script designed to have some particular impact on the public?

Can you tell anything of the reasoning, planning and thinking behind the program, and the way it is written?

Can you give further details on the story-behind-the-script?

How often has the program been broadcast? Was it broadcast over a network, locally or via transcriptions? Was it broadcast to the Armed Forces overseas?

Who were the performers? Was there anything of special interest about the production?

Have there been particularly interesting reactions to the program?

Erik Barnouw
601 West 115
New York 25, N.Y.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

489 FIFTH AVENUE
NEW YORK 17, N. Y.

April 17, 1945

Mr. Langston Hughes
c/o Mr. A. Holland
P.O. Box 121
Witchita Falls, Texas

Dear Langston:

I have written to Mr. Barnouw asking him to send me
a copy of the script which he wants to use in an
anthology for Farra and Rinehart. As yet I have not
had a reply from him. I have also asked Dr. Logan
to please remit your payments to me. I have tried
to get in touch with Shapiro but without much suc-
cess as he is out of the office most of the time.

Minna and I both read all of MY SIMPLE MINDED FRIEND'S
columns and enjoyed them thoroughly. In order to
make a successful book, it would be necessary to inte-
grate them into a cohesive whole. Whereas no continuity
is needed for a newspaper column, it is needed in a
book. The columns as they now stand are excellent
pamphleteering material and were they given integration
and continuity would make a very powerful book, with
wonderful humor and irony - a book such as THE GOOD
SOLDIER SCHWEIK.

I'll keep the columns until you return and maybe at
that time you will want to weave them into a book pattern.

Have a good trip and I shall look forward to seeing you
in June.

ML/alm

P.S. I have sent my check to the amount of $18, to your
home. This is in payment of the two poems which TOMORROW
bought. ML

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

May 10, 1945

Mr. Langston Hughes
Hotel Grand
504 South Parkway
Chicago, Ill.

Dear Langston:

I have a letter addressed to you from Whit Burnett, the editor of *Story Magazine* informing you that he is preparing a text-book for high-school students in collaboration with Mr. Charles Slatkin, a high-school teacher, to be published in 1946 (probably) by Ginn & Company, Boston.

I have referred him to Alfred Knopf for the permission he requests to reprint several of your poems in this book, namely: POEMS AS I GROW OLDER, THE WEARY BLUES, APRIL RAIN SONG and DREAMS from the book THE DREAM KEEPER.

Burnett says that the text-book will be designed to bridge the gap between the greatest living American authors and high-school students who may not be as familiar with these authors as the general public is. He hopes to obtain from each contributor a short commentary of a paragraph or two about his piece or about his own early school approach to writing or reading or any other commentary that may occur to him which would be suitable to preface and introduce his work to this young audience.

He will pay $25.00 for the commentary in addition to the reprint fee of the same amount. Would you prepare such a commentary and send it on to me. He also wants a snap-shot or studio photograph, which I can supply from those I have.

ML/alm

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

July 24, 1945

Dear Langston:

I am delighted to learn that Covarruvias seems to be
definitely inclined toward illustrating your Lorca poems.

I have looked through my card index and for the life
of me I cannot find a record of the Lorca poems which you
claim I submitted on your behalf, so I'm afraid I cannot
help you very much.

As for the copyright situation, that will really be a
problem because Reynal & Hitchcock, who are seeking to
publish the collected works of Lorca, are getting nowhere
fast with Lorca's brother and sister who live in town. They
answer no letters and no 'phone calls, and since they are
obviously the executors for the Lorca estate I don't know
what one can do about it. You may have more pull with them
and they may be more friendly toward you than they are to
either Reynal & Hitchcock or myself. As a last resort I
suppose one could just proceed with publication and pay
them a nominal sum for the copyrights since, obviously, the
poems have long since fallen in the public domain and, at
best, paying the Lorca heirs would be merely a courtesy.

ML: gcs

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

August 7, 1945

Mr. Langston Hughes
c/o Mrs. T.B. Harper
Apt 1D
634 St. Nicholas Ave.
New York, N.Y.

Dear Langston:

Here is the report of GOUVERNEURS DE LA ROSEE which I spoke to you about yesterday. Don't be surprised at the differences in this one, but Minna was not yet through when I spoke to you yesterday and this is her final reaction.

I would go ahead on the polishing up of Mercer Cook's translation. He tells me that he has already sent a rough draft of the translation to Donald Mercer at Doubleday, Doran. Inasmuch as they also have a very capable French reader there, I think I'll also send them the French version. Maybe we can press them into quick and favorable action.

ML/alm
enc.

P.S. The original of this report has gone off to Mercer Cook who spoke to me just before he went to Baltimore.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

August 21, 1945

Mr. Langston Hughes
c/o Mrs. T. B. Harper
Apt. 1 D
634 St. Nicholas Ave.
New York, N.Y.

Dear Langston:

I have been asked to participate in a project with which I know you are in sympathy and I want to take this opportunity to enlist your sponsorship of the Citizens Non-Partisan Committee campaign to secure the re-election of Benjamin J. Davis to the City Council.

I know you are more than familiar with the many progressive measures introduced by Councilman Davis during his twenty months in office, so I will not go into further detail.

Just sign the enclosed card and return it to me, indicating your willingness to lend your name to the list of sponsors of the campaign to secure the re-election of Benjamin J. Davis to the City Council.

ML/alm
enc.

September 4, 1945

Dear Max:

The gentleman who will be in charge of the proposed
production of "Mulatto" for the Elks in Philadelphia
is

Mr. Charles McClane
Mercantile Hall
1416 N. Broad Street
Philadelphia, Pennsylvania.

The production is to be on an amateur basis, so give
them the customary amateur royalty, and not too big a
one since they are a lodge. Mr. McClane says that he
will be in New York perhaps within a week and will drop
in to talk with you.

The gentleman who requested a copy of "Mulatto" for Brazil,
and who intends to translate it himself and see that it is
presented by a newly organized theatre group there, is

Senor Raymunda Magalhaes, Jr.
Praia de Botafogo - 48--ap.15
Rio de Janeiro, Brazil.

He is said to be the leading playwright of Brazil, and has
had a play there which has been running for a year or more
now, I believe. Last year he was in New York on the staff
of the Coordinator's office here. I do not know whether this
production is to be on an amateur or professional basis, so
you will have to write him to find out.

I have sent both of these people a copy of the script
directly, several days ago.

Mr. Maxim Lieber
489 Fifth Avenue
New York City

P. S. Do you suppose that Leventhal,
or any of the subway circuit pro-
ducers, might be interested in re-
viving "Mulatto"? If so, I can give
you a copy of the script.

LH

October 14, 1945.

Maxim Lieber,
489 Fifth Avenue,
New York, N. Y.

Dear Max,

I am enclosing my check for $61.09 to cover STREET SCENE and WHAT THE NEGRO WANTS (which Mr. Crouch says he ain't gonna get!).....I've finished two more lyrics for the former opus, which makes me seven up on the nine. But I will do about a dozen so they will have plenty to look at......To-night I am just finishing putting together a WONDERFUL anthology of Whitman's Negro and Indian poems: WALT WHITMAN'S DARKER BROTHER which ought to sell to every library, white and cullud, in these States, also to many other good souls interested in interracial themes and the good life for all. (This is my last collection of *other* folks' poetry for a while, what with Lorca and Guillen, we now have ENOUGH!)

October 23, 1945.

Dear Maxim,

I am submitting, all told, fourteen lyrics to Elmer Rice and
Kurt Weill, as you will see by the enclosed list. A copy of
my letter to Mr. Rice is herein enclosed, too. Also here are
a few of the lyrics for you.....I know, of course, that all of
this first-draft work is subject to extensive revisions, and
that the main work will come with the composer in fitting the
ideas up to his music.....I trust you will know by November 15th
whether I am to go ahead with the work, as Mr. Feakins must
know around that time if he should continue my spring lecture
bookings or not. If I am to work on the show, no more lectures
will be taken than those now booked, so that I can keep late
winter and spring clear for its completion......I'll be back in
town probably a few days before the 15th. At the moment my last
date is November 11 in Indiana, but a couple of others are pend-
ing. At any rate, I'll be here by the 15th.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Nov. 5, 1945

Mr. Langston Hughes
c/o Mrs. T. B. Harper
634 St. Nicholas Ave.
New York, N.Y.

Dear Langston:

If you will recall, when you sent along your introduc-
tion to the Whitman volume, I indicated that they might
want it a little longer and you said you would be will-
ing to expand it somewhat. Well, here is a letter from
Young World Books asking you to do just that. As you
can see, they like what you've done and have accepted
your editorial suggestions for the volume. All they
want it an additional four pages.

I've just spoken to Landshoff and he is going to have
a decision for us on the project you intend doing with
Miss Palfey and also on the Guillen poems within a day
or so. With regard to this latter, what is the copy-
right situation? Have you obtained an assignment of
copyright from the author or the estate? Is there to
be any payment for such assignment to the estate or the
author? Just what is the situation with regard to per-
missions?

ML/alm
enc.

P.S. Here's a copy of your STREET SCENE agreement.

Young World Books

INTERNATIONAL PUBLISHERS, 381 FOURTH AVENUE, NEW YORK 16, N.Y. MURRAY HILL 5-2864

November 21, 1945

Dear Mr. Lieber:

The selections from Walt Whitman for young people have just been sent to the printer to be set in type. I have held out Mr. Hughes's introduction which can be set up when I get the galley's. However, as you can see, my time schedule is growing tighter. I am most anxious to get the additional pages for the introduction very quickly, so that I will not have to hold up the whole book.

I hope you will tell Mr. Hughes how helpful his suggestions were. I reorganized the whole book (making some additions, some cuts, and some drastic changes in order) in the light of them. It is tremendously improved.

I'll hope to hear from you in the very near future. Thanks for everything.

November 24, 1945

Dear Max:

I have your note regarding the introduction to the Whitman book. I am sending someone to the library today to look up the necessary additional material for me, and will try to add this to the introduction on Monday, and send it to you. God forbid that I should ever attempt such a job again since it is so much easier and simpler to make up things out of my own head!

The Negro Digest Publishing Company of Chicago has just written me that they wish to publish my "Simple Minded Friend" columns in a paper bound book to sell for 50%. I personally like this idea very much and will type and arrange the columns for them shortly. The Editor wrote: "We are definitely interested in publishing your 'Simple' stories in a pocket-book size, and can meet you with your percentage allowed in such cases. Please send us copies of the 'Simple' stories and have your agent send us the necessary contract and blanks to be signed."

Could you attend to this matter for me and see if we can get an advance of $100 from them? The Chicago Defender, where these columns first appeared, has only the rights to weekly newspaper publication, and no control over my other rights. The Negro Digest wishes to have the book illustrated by Ollie Harrington.

Sincerely yours,

Mr. Maxim Lieber
489 Fifth Avenue
New York 22, New York

Howell, Poskin, Publishers, Inc.

17 EAST 45th STREET, NEW YORK CITY, 17

Mr. Maxim Lieber
489 Fifth Ave.
New York, N. Y.

Gentlemen:

We are planning to publish an anthology
of poetry for children to be illustrated by
Marjorie Torrey. We would like to include
the following items:

"City" by Langston Hughes

May we have the necessary permission and
may we know on what terms it is granted?

December 29, 1945

Dear Max,

Leon Leonard, formerly musical director of Bloomer Girl, now musical director of Arna Bontemps' St. Louis Woman, has recently become very enthusiastic about my poem, Freedom's Plow, which Musette published. He is composing a musical background for it for radio presentation and says that his good friend, Edward G. Robinson, he is sure, will do it over the air. When he spoke to me I told him that all business matters concerning Freedom's Plow should be taken up through you. However, he sent me direct by special delivery, the enclosed memorandum which he wishes me to sign. I have just written him a note telling him that I have signed it and sent it to you, subject to your approval, to be forwarded to him if it is ok. If it is not ok, simply tear it up, and you may phone him at the Hotel Times Square and tell him what sort of memorandum agreement you will draw up with him concerning radio use of Freedom's Plow with his background music.

I am flying to the West Coast on New Year's Eve to begin an eight-week lecture tour there. I have turned over to Kurt Weill and Elmer Rice lyrics for the entire first act of Street Scene with the exception of one aria, which I have written twice, but still it needs a new version. So Mr. Weill has 17 lyrics with which to work while I am away. I expect to be back in New York by the 23rd of February. I am enclosing for you a list of most of my lecture stops in case you wish to reach me by air mail or wire.

A Happy New Year to you.

Sincerely yours,

Enclosures

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

January 22, 1946

AIRMAIL

Mr. Langston Hughes
c/o Mrs. Tom Richmond
453 East Seventh Street, South
Salt Lake City, Utah

Dear Langston:

While you have been having fine flying weather, we have been having all sorts of sleet and snow and rain. O for the life of a lecturing man!

Of course you have written me that you mailed off your SIMPLE menu-
script to the Negro Digest Publishers. We had sent them several copies
of the contract for the publication with a provision for an advance
of $100.00. So far we have tried to jog them twice, and have been
met only with a frigid silence. Of course, we are going to prod them
some more, but are they going to prove as recalcitrant as that other
syndicate of sad memory?

There was a brief note from Buck Moon returning your Walt Whitman
collection. Moon just could not prevail on the powers that be, and
his alibi is that the firm has had too many anthologies. I'll see
what can be done with it elsewhere.

Arna Bontemps is in town, paying close attention to rehearsals of his
musical. He is leaving Friday for a brief visit with his family and
his job in Nashville, and then plans to return here within a fortnight.
I told him where he could reach you and give you all the news about
Cullen's death.

With kindest regards,

Mmm

March 4, 1946

Dear Max:

I have just had a note from Mercer Cook, Howard University, Washington, D.C., saying that Reynal and Hitchcock feel that they would like to publish Jacques Roumain's novel, *Master of the Dew*, in case I can do the rewrite job on Dr. Cook's rough draft translation. I am enclosing a carbon of my answer to Mercer Cook.

Did I write you from New Mexico that the University of New Mexico Press would be interested in seeing the Nicolas Guillen poems for possible publication. If the manuscript is free now, would you send a copy to the Head of the University Press: Mr. Dudley Wynn, University of New Mexico Press, University of New Mexico, Albuquerque, New Mexico. Erna Ferguson, who lives there, is a great friend of Guillen, and has expressed her enthusiasm for his work to Mr. Wynn.

Through a friend of Lorca's family, I have succeeded in getting word from them that they will talk with me regarding my translation of Lorca's poems. I have two more weeks of lectures to do shortly, but as soon as I get back to town I will try to get this matter straightened out for Knopf.

Did you ever hear from the *Negro Digest* regarding the manuscript of "My Simple-Minded Friend" which I posted to them in late December?

Do you have the manuscript of my Walt Whitman anthology at your office? If so, kindly hold it, as I do not think it should be submitted until it is carefully arranged.

The work is going along fine on *Street Scene*, and Kurt Weill has finished almost all the music for the first act, and I have only two more lyrics to do to complete this act.

It was nice seeing you and Minna the other night at that play about going back to Hitler's Dixie.

Sincerely yours,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

April 9, 1946

Mr. Langston Hughes
c/o Mrs. T.B. Harper
634 St. Nicholas Ave.
New York City

Dear Langston:

As you may have doubtless read or heard, your erstwhile lecture agent, Feakins, died quite suddenly, a week ago. There is talk around town that Colston Lee has tried to buy Feakins' business. Actually, there is nothing for him to buy, because contracts are not transferrable. Lee is a high-pressure gent, and I don't know whether you would be particularly happy with him.

However, there is a very decent lecture agency run by Charles S. Pearson. He numbers among his clients Carl Sandburg, Carl Van Doren, Ilona Rolf Sues, and of course, some unsavory characters as well, but then that is true of almost every lecture bureau. Pearson functions on the usual booking commission of 30%, the speaker paying the cost of his publicity which the agency will prepare, and which includes circulars, glossy photographs, press stories, news mats, etc., and the speaker also paying the costs of travel and making his own reservations.

Since I was responsible for your going to Feakins, and the move was not regrettable, I hope you will view favorably my present suggestion of entering into an arrangement with Charles S. Pearson.

Best wishes,

MLmm

EXTRACT FROM PUBLISHER'S CONTRACT

MEMORANDUM ON CONTRACT FOR TRANSLATION OF MASTERS OF THE DEW

THIS AGREEMENT, made this March 29, 1946

by and between Madame Nicole Jacques Roumain, Bois Verna, Port-au-Prince, Haiti party of the first part, the Author and/or Proprietor (hereinafter in either case termed "the Author"), and REYNAL & HITCHCOCK, Inc., of 8 West 40th Street, New York, N. Y., part of the second part (hereinafter termed "the Publisher").

## Section 9

The Publisher agrees to render semi-annual statements of account as of December 31st and June 30th of each year and to make settlements in cash on or before March first and September first of each year. The Publisher further agrees to pay to the Author in advance and on account of all income accruing to her under the terms of this agreement, the sum of $750.00, payable as follows: $500 to Nicole Jacques Roumain on the signing of this agreement, receipt whereof is hereby acknowledged; and $250 to Langston Hughes, 634 St. Nicholas Avenue, New York 30, New York, on receipt and acceptance by the Publisher of the complete English translation.

## Section 19

It is further agreed that after the advances of $750.00, specified in Clause 9 of this agreement have been earned, the Publisher will deduct one-quarter (¾) of the Author's earnings and pay these sums to Mercer Cook, 127 W Street, N.W., Washington, D.C. for his basic English translation of the work, up to a total sum of $500.00. Thereafter no further payments will be made to Mercer Cook.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

June 5, 1946

Mr. Langston Hughes
634 St. Nicholas Ave.
New York 30, N.Y.

Dear Langston:

I'm quoting the Chicago people $25.00 for use of portions from JUBILEE. If they should squeak, I'll taper off the sum.

I telephoned Perry of Current Books to tell him I was about to send him your copy of MY SIMPLE MINDED FRIEND. At first he told me that perhaps it was futile to show it to him, since you were insisting on a dollar book, and they, like most trade publishers, were geared to think in terms of a book to sell at $2.00 or $2.50. His idea was to publish it as a regular trade edition at the higher price, and then 6 months later to try to get a reprint at a dollar or $.49, or even less.

It seemed to me, however, that before we discussed production and sales, he should read the text and decide whether he wanted to do it at all. And that's how matters stand.

Meanwhile, I'm sending you my check for $22.50, which represents the $25.00 fee from *Story Magazine* for ON THE WAY HOME.

MLmm

Enc. $22.50

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135—3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE

NEW YORK 17, N. Y.

August 8, 1946

Mr. LLangston Hughes
c/o Mrs. T. B. HHarper
634 St. Nicholas Ave.
New York City

Dear Mr. Hughes:

Mr. Lieber, who is out of town on one of his long weekends, has asked me to let you know that as of Friday of last week, Mr. Perry of Current Books is still considering MY SIMPLE MINDED FRIEND. There should be a final decision some time this week.

In the meanwhile I am taking the liberty of enclosing a copy of a letter which has just come in from Dr. Dudley Wynn, the Director of Publications of the University of New Mexico Press. You will recall that this spring we sent them, in accordance with your request, the Guillen translation of the collection entitled CUBA LIBRE.

I assume that you will be able to answer Dr. Wynn's query about bringing the material up to date. Will you let us know how you feel about this. Thanks for your attention.

Mildred Mervis:m

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

September 4, 1946

Mr. Langston Hughes
634 St. Nicholas Ave.
New York City

Dear Langston:

On Tuesday, September 24th, the Literature Division of the Independent Citizens Committee of the Arts, Sciences and Professions will hold its annual membership meeting. Among other things on the agenda is the election of a new Executive Board, and the outgoing Board, of which I am a member, will suggest a slate.

We should be happy to have your permission to announce your name as a candidate for this Executive Board. Some of those who are on it now and who may continue on it are Mark Van Doren, William Rose Benet, Quentin Reynolds, and Richard Lauterbach. There will be some thirty members of the Executive Board, just to assure ourselves that there will be a quorum for meetings. We want the Board to be fully rounded to represent all aspects in the field of literature.

Since I presume you are quite familiar with the activities of the I. C. C., and in sympathy with its objectives, I hope you will accept and allow us to propose you. Awaiting word from you, we are,

MLmm

September 25, 1946

Dear Maxim:

I hope that you are not still mad at me because I could not join that ICCASP (and I hope that you will still work to help keep poor Negroes from being lynched). But if you knew of how many committees I am on already, and if you could see the great tons of mail I am trying to answer this afternoon, along with getting "Street Scene" finished, completing the translation of Jacques Roumain's novel, keeping my weekly column going, and arranging my forthcoming lecture season, as well as trying to see all of the visiting out-of-town Latin American and European writers who call up almost every day, you would understand why one more committee would be the straw that would break this camel's back. But since you are one of my favorite people in the world, I do not like to hear you holler as if you were mad. Besides it is not good for your blood pressure.

I have just completed the translation of Roumain's novel, *Masters of the Dew*, for Reynal and Hitchcock, and I have phoned Mr. Monroe Engel that we will transmit the manuscript to him by October 1. It is now being typed.

"Street Scene" is now about to reach the frantic stage. I have two more lyrics to complete, but have sort of been waiting for Elmer Rice to finish the book, but he has been tied up with "Dream Girl" and unable to work of late, which is worrying Mr. Will and I.

Mr. Antonio Ghirelli, Via Mose Bianchi 47, Milano, Italy, writes me saying that he has written you concerning the rights for the Italian production of "Mulatto", which he has translated and which he says a company in Milan is prepared to produce this coming season. But he says that he has received no answer from you. Would you be so kind as to write him granting him the customary foreign permission....He has also translated my *Big Sea* which Einaudi is publishing in Italian, so I presume he is a reputable person.

I shall this week send Mr. Perry of Current Books, additional material for their contemplated publication of "My. Simple. Minded Friend."

Thank you very much for the check from *Bedside Esquire*.

Sincerely,

September 26, 1946

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

Dear Maxim:

I just sent the enclosed note to Mr. Monroe Engel of Reynal & Hitchcock and I expect to have the manuscript ready on Monday to bring into your office so that one of your covers may go on it, and it can go over to their office.

In reading over the contract and the supplementary memorandum agreement of April 25, I do not see any mention made of---as they say in the theater---the "billing" for this novel, but I trust it is to read:.

MASTERS OF THE DEW
by
Jacques Roumain

and on the title page: "translated from the French by Langston Hughes." Is that our understanding with the publishers and with Dr. Mercer Cook? For the sake of the prestige of your estimable office, and my own, I hope you have gotten this little matter straight, si'il vous plait!

Then when we get our check for $250 everything will be okay.

My best regards to Minna and a kiss to that adorable baby of yours.

Sincerely,

LH:HHS

September 26, 1946

Mr. Monroe Engel
Reynal & Hitchcock, Inc.
8 West 40th Street
New York 18, New York

Dear Mr. Engel:

I am happy to report to you that I have completed
my version of the translation of Jacques Roumain's
beautiful novel *Masters of the Dew*. It is now be-
ing typed and the manuscript will be ready for you,
as I promised, on October 1.

I have gone over the novel word for word with the
Haitian writer, René Piquion, who is now in New York
and with whom I read through the entire book, so
we certainly have an accurate translation. The very
few minor changes which I made in meaning were done
either for the sake of carrying over into English
the poetic rhythms of Roumain's prose, or for great-
er clarity to American readers, and to eliminate en-
tirely the footnotes and shorten the necessary gloss-
sary which I believe we will have to have for some
of the Haitian terms.

I have attempted to synthesize the talk of the Hai-
tian peasants, but to keep at the same time its ar-
chaic and folk-like quality---since, according to
M. Piquion, their speech is a mixture of Old French
and Creole.

Of course, after you read this manuscript, I would
appreciate from you any comments or suggestions for
improving its English version, in case you have any.
And I hope that I shall have the pleasure of seeing
and talking with you again. Perhaps I may be able
to bring the book to you in person.

Sincerely yours,

LH:HHS

September 26, 1946

Dear Maxim:

Sincerely,

LH:HHS

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

October 1, 1946

Dear Langston:

Your translation of Roumain's MASTERS OF THE DEW is going forward to Reynal & Hitchcock with the reminder that $250 is due on acceptance of the script. I note that you have inserted a page stating that the translation is by yourself. Just what is Mercer Cook's contribution? If he did make the original translation and you polished it, he would have a justifiable grievance. I never made any arrangements with Dr. Cook, but we had better have this clearly adjusted before hell starts breaking loose.

You know that I have been calling the playwriting office without much avail trying to get a contract for STREET SCENE. Surely now that the musical is now about to go into rehearsal or has already done so they should let us have a piece of paper which will define the position of all involved. I shall continue raising cash with them until they satisfy us.

About a week ago I received a letter from Mr. Ghirelli in which he stated that he was getting MULATTO to translate for a theatrical production. Since you assure me that he is a reliable person, I will, of course, discuss a contract with him. But you know that it is practically impossible to get moneys out of Italy. Are you satisfied with kudos?

Do let us have the additional material for Mr. Perry as soon as possible. Once you have cleared your desk of this task, we will feel free to turn our attention elsewhere. Surely there is that famous novel lurking in your mind itching to be typed.

Of course I'm not angry with you, though I am a little peeved. One of the failings of intellectuals has always been a distaste for participation in political activities. All the committees you are on may have fine-sounding names. But collectively, do they fight for a sound OPA--for a working FEPC--for a world dedicated to peace and security? And you can achieve that only through political action. But why in hell should I have to lecture you. You know it as well as I do. There are millions of people in your enviable position--enviable, that is from my point of vantage. Lenin once said that a lot of people are in the revolution, but they would like to be on the express train and wait for the conductor to ring the bell and shout--"All out, last stop--Revolution!" We Americans sum it up in the phrase "Let George do it." All this isn't intended to raise your blood pressure.

Affectionately, as usual,

MLmm

C O P Y

December 2, 1946

Dear Max:

I am enclosing for you the list of musical numbers
as prepared today for the printed program of STREET
SCENE. The ones which I have circled in red are
those on which Elmer Rice would like to have co-
credit on published music and records for his hoped-
for ASCAP rating. The one circled in blue is the
one which Aurt Weill and I agree, since Elmer is
asking for co-credit on some of the others, should
be co-credited to Charles Friedman.

I am also enclosing a copy of a letter I have just
written to Forrest Herring, which is self-explanatory.
However, for our own protection, I would appreciate
it very much if you would check with Forrest Herring
and also with Dr. S irma to see that
everything is legally in order in relation to both
the Julia Richman High School song, and the portion
of the Walt Whitman poem which is used in REMEMBER
THAT I CARE. Buck Moon told me that his firm owned
the copyrights on Whitman's poems, so this had better
be cleared. Insofar as I as the lyricist am concerned,
there was no choice but to use the Whitman
poem since it was a part of the original Elmer Rice
play.

STREET SCENE
for
PROGRAM:

MUSICAL NUMBERS

ACT I.

<table><thead><tr><th></th><th></th><th></th></tr></thead><tbody><tr><td>INTRODUCTION</td><td></td><td>ORCHESTRA</td></tr><tr><td>1.</td><td>AIN'T IT AWFUL THE HEAT</td><td>MRS. FIORENTINO, MRS. JONES, MRS. OLSEN, KAPLAN</td></tr><tr><td>2.</td><td>GET A LOAD OF THAT</td><td>MRS. JONES, MRS. FIORENTINO, MRS. OLSEN</td></tr><tr><td>3.</td><td>WHEN A WOMAN HAS A BABY</td><td>BUCHANAN, MRS. FIORENTINO, MRS. JONES & MRS. MAURRANT</td></tr><tr><td>4.</td><td>SOMEHOW I NEVER COULD BELIEVE</td><td>MRS. MAURRANT</td></tr><tr><td>5.</td><td>GET A LOAD OF THAT</td><td>MRS. JONES. MRS. FIORENTINO, JONES, OLSEN</td></tr><tr><td>6.</td><td>I GOT A MARBLE AND A STAR</td><td>HENRY</td></tr><tr><td>7.</td><td>ICE CREAM</td><td>LIPPO, MRS. JONES, MRS. FIORENTINO, HENRY, JONES, OLSEN, MRS. OLSEN</td></tr><tr><td>8.</td><td>LET THINGS BE LIKE THEY ALWAYS WAS</td><td>MAURRANT</td></tr><tr><td>9.</td><td>WRAPPED IN A REBBON AND TIED IN A BOW</td><td>JENNY & ENSEMBLE</td></tr><tr><td>10.</td><td>LONELY HOUSE</td><td>SAM</td></tr><tr><td>11.</td><td>WOULDN'T YOU LIKE TO BE ON BROADWAY</td><td>EASTER</td></tr><tr><td>12.</td><td>WHAT GOOD WOULD THE MOON BE</td><td>ROSE</td></tr><tr><td>13.</td><td>MOON FACED, STARRY EYED</td><td>MAE & DICK</td></tr><tr><td>14.</td><td>REMEMBER THAT I CARE</td><td>SAM & ROSE</td></tr></tbody></table>

- 2 -

STREET SCENE

for
PROGRAM:

ACT II.

INTRODUCTION

ORCHESTRA

1. CATCH ME IF YOU CAN. CHARLIE, WILLIE, MYRTLE, JOAN, GRACE, JOE, SALLY and ?

2. THAT'S WHERE OUR HOROSCOPES LIE. MRS. FIORENTINO, BUCHAWAN, MRS. OLSEN, OLSEN & KAP-LAN

3. BOUN GIORNO, SIGNORE. LIPPO & MIKE

4. ITALY IN TECHNICOLOR. ROSE & LIPPO

5. THERE'LL BE TROUBLE. MAURRANT, MRS. MAURRANT & ROSE

6. IT'S YOU. MRS. MAURRANT

7. WE'LL GO AWAY TOGETHER. SAM & ROSE

8. THE WOMAN WHO LIVED UP THERE. ENSEMBLE

INTERLUDE

ORCHESTRA

9. LULLABY. NURSE MAIDS

10. I LOVED HER, TOO. MAURRANT, ROSE, & ENSEMBLE

11. I'LL LIVE FOR THAT DAY. SAM & ROSE

12. AIN'T IT AWFUL THE HEAT. MRS. FIORENTINO, MRS. JONES, MRS. OLSEN & KAP-LAN

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

Cable Address: MANUSCRIPT

December 19, 1946

Mr. Langston Hughes
c/o STREET SCENE Company
Shubert Theatre
Philadelphia, Penna.

Dear Langston,

Thanks for sending me the reviews on STREET SCENE. They were rather mixed, but that is the way of critics. Of course, a clever advertising man would be able to lift the most flattering statements from all the reviews and make a very impressive ad.

I don't want to pat myself on the back for having maintained during the rehearsals that certain of the arias were overlong. That seems to be the unanimous opinion in Philadelphia, but I understand some further work is being done.

The thing that irritates me most, however, is that not a single critic had one sentence to offer about the lyrics. Is this a form of boycott?

With my best wishes for a Merry Christmas and a
Happy New Year,

ML: ji

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

January 24, 1947

Dear Langston:—

I'm writing this to you--a writer who has managed to remain at once successful and anti-fascist--on behalf of a group of young writers whose ideals and aims I know you share.

Early in 1946 a number of writers, some already prominent, and some comparatively unknown, formed an organization which you may have already heard about--Contemporary Writers. All members shared the common dismay at seeing in books and magazines everywhere the kind of output guaranteed to confuse the facts and to divert a war-weary public from the issues profoundly affecting it. All of these writers, and they were a miscellany of veterans, workers, negroes, whites, Jews, and Gentiles, knew that each had something vital to say. So they formulated a plan of cooperation to help each other appear in print.

These writers know that craft is a weapon, and so the operation of CW is based on workshops for each craft: short story, novel, poetry, drama, and non-fiction. These groups of from four to twelve people meet, and continue meeting, periodically, to read individual pieces. A form of cooperative criticism has been developed which gives each participant the benefit of the background, experience, and reaction of the entire group.

General meetings are held monthly to which qualified writers and editors are invited to speak. Among those who have led forums on practical writing problems are Ben Field, Arnaud D'Usseau, Dr. Samuel Sillen, Charles Humboldt, Lloyd Brown, and Dr. Herbert Aptheker. An "Authors Meet Editors" series has been initiated where editors are invited to come and answer questions about their editorial requirements.

An anthology, representing the best work of CW, will be ready for publication shortly. Its success will make CW the publishing channel for the works of anti-fascist writers.

Contemporary Writers is still growing. Its members range from such writers as Howard Fast and Arnaud D'Usseau, whose work has already "arrived," to men and women whose writing is on the way. At home, workshops and chapters are becoming affiliated in the south, the mid-west, and the west coast. Abroad, links are being formed with writers' groups in France, England, Canada and Australia.

I've gone into all this detail because I would like to urge you to lend your name as sponsor. Contemporary Writers has now enrolled some two hundred aspiring writers. The organization hopes, with the forceful help of a list of prominent sponsors, to grow and spread its influence. Will you let me know that Contemporary Writers has your consent to list you as one of its sponsors? There is no obligation other than the lending of your name.

Mr. Langston Hughes
c/o English Dept.
Atlanta University
Atlanta, Ga.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

February 24, 1947

Dear Langston:

Here are the three copies of the corrected contract from
Current Books. Will you be good enough to sign and return
all three?

As you can see, the unsatisfactory sections have been fully
deleted.

My best wishes to you,

MLtes
Enc.

March 2, 1947

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

Dear Max,

The Current Books contracts came but, after reading them and Bernard Perry's letter of February 14 outlining what they would like to have me do with the book, just about the last thing I would like to do is sign the contracts. There isn't any really good reason why I should sign them, is there?

In the first place, I don't believe Current Books has the least idea what the material or the character is about, judging from the list of sketches which they suggest eliminating.

In the second place, this impression is further confirmed by the suggestions for new sketches which they offer, such as "Simple at a Black and Tan Radical Party"---which Simple has never been at and would hardly likely ever be at, but if he were I would not want to make fun of it; "Simple and the Civil Liberties Union", also "Simple and the PCA"---neither of which he ever heard of; and "Simple and the Turkish Bath"---when there are just about two Turkish Baths in the whole of the U.S.A that colored people can go into, and only folks with money go to those. Such ideas are way off the beam.

In the third place, there is no way for me to completely revise the book by April first (or May first either) with my teaching four days a week here, and the week-ends mostly taken up with out-of-Atlanta lecture trips to Birmingham, Mobile, New Orleans, etc. I have a busy enough spring as it is without adding a dead-line like that to my schedule. Since they've had the manuscript for the last six months, why such a rush all of aK sudden?

Certainly the manuscript as it now stands needs a lot of work, condensation, arrangement, and revision---but along the lines of its own character and subject matter. It does not seem to be the kind of book for Current Books, and I would find it difficult, I am afraid, to make it to their liking. I greatly appreciate their interest in it, but I would be delighted to NOT have them publish it, if it's O.K. by all concern. Is it O.K. by you?

P. S.

Max, I have drafted the enclosed (copy) letter to Bernard Perry which, if you agree, I will post to him soon as I hear from you.

And lest we get to drawing up more contracts that will be impossible to start filling immediately, Mack David and his show idea had better be let drift for awhile, as I don't see where I could work on it here at Atlanta as he indicated he would like were we to come to an agreement. It really does take most of my time keeping up with my teaching work here, especially since I go off lecturing week-ends. It would be July at least before I could seriously put my mind to any new job, as classes are not even until June. Besides, if David was so sure of getting Duke, looks like he would have had him signed by now.

PLEASE, sir, could your office send me for my in-come tax report, how much was paid to me during the year of our Lord, 1946, from all literary sources, Jew, gentile, cullud, and heathen.

MAINSTREAM looks swell, huh?

According to the papers, our late ally, the British Empire, is collapsing.

As ever,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

Cable Address: MANUSCRIPT

March 4, 1947

Dear Langston:—

Here is my check covering "Street Scene" royalties for the week ending Feb. 22nd.

Am I to expect back the signed copies of the
corrected Current Books contract? I sent them
to you on the 24th,

Speaking of contracts, the Italian firm, Ghirelli,
which wanted to produce "Mulatto" is taking its
good time about returning the signed contracts
for the production. I know that you have already
received the translations. We airmailed the
contracts on November 15th. I have written them
repeatedly to return the contracts, but with no
results. They didn't by any chance send them to you?

Best wishes,

MLmm

Enc. $610.80

March 10, 1947

Mr. Maxim Lieber
489 Fifth Avenue
New York 17, New York

Dear Max:

Thank you very much for your letter of March 4, 1947 and
for the "Street Scene" check which you enclosed. Would
you be so kind as to stop those heavy snowfalls and blizzards
which you are having in New York as you see, they seriously
effect our royalties.

I wrote you a long letter about the "Current Books" contract
and indicated to you why I did not think I should take on
this obligation since that firm does not seem to have the
least idea as to what the character of Simple is about.

I had a letter from the Italian translator of a Mulatto, in
which he says that it is difficult for them to meet the
financial obligations of the contract which you sent them.
I thought perhaps we were asking too high an advance, and
I certainly do not mind lowering the amount if it would
help achieve an Italian production, from which we can expect
no money anyway. However, I do not see why he did not write
directly to you as he should have because I have indicated
to Mr. Ghirelli several times that I do not handle the
business end of this matter myself. I will tell him one more
time and maybe it will impress itself upon his mentality.

With all good wishes to you.

LH:wmb

P. S.

And lest we get to drawing up more contracts that will be impossible to start filling immediately, Mack David and his show idea had better be let drift for awhile, as I don't see where I could work on it here at Atlanta as he indicated he would like were we to come to an agreement. It really does take most of my time keeping up with my teaching work here, especially since I go off lecturing week-ends. It would be July at least before I could seriously put my mind to any new job, as classes are not usual until June. Besides, if David was so sure of getting Duke, looks like he would have had him signed by now.

PLEASE, sir, could your office send me for my income tax report, how much was paid to me during the year of our Lord, 1946, from all literary sources, Jew, gentile, cullud, and heathen.

MAINSTREAM looks swell, huh?

As ever,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

March 10, 1947

Mr. Langston Hughes
English Department
Atlanta University
Atlanta, Ga.

Dear Langston:

As a fully responsible agent, exercising my trust seriously, I was obliged to forward
to you the Current Books contract. However, I must assure you I'm relieved to have
your unequivocal reaction. Your letter to Perry is in the best diplomatic tradition.
As our Mr. Vandenberg would say, 'its fair and firm'. Seriously, Perry's letter to you
displayed the naivete of his class -- the middle class. We are surely far from the
millennium, at least in these United States. Our so called best friends, here, the
liberals, have no idea how late it is, and how fascism, which they are helping to usher
in by their stupid and ill-advised red baiting, will soon strangle them.

By all means, send Perry the letter you've prepared, and maybe some day, in your own
good time, you'll have a finished script of SIMPLE that will satisfy us all; and rest
assured I'll not be cajoled into tying you up into other assignments.

Yes indeed, Mainstream looks swell, and so does your contribution in it. I hope the
magazine is here to stay, and you can help, of course, by submitting a piece from time
to time.

Miss Mervis has prepared the enclosed statement of monies paid to you. I blushed to see
how little it all amounted to in '46, but '47 will really be a red letter year; and we
won't weep tears over the British Empire.

MLtes
Enc.

April 3, 1947

Dear Max:

I have received a bill from the Dramatists Guild for "Street Scene" assessments to date amounting to $70.00, which I have just paid.

I have had a letter from Paul Peters asking if Kurt Weill and I might be interested in making a musical from his old play of New Orleans union waterfront activities, "Stevedore." I have replied that I would be interested in case Weill were, so if anything comes of this, you will know that it has my approval.

I am enclosing a letter for you from Elmer Rice relating to the maneuvers which he apparently considers necessary in order to be assured of a road tour. Please return this letter to me. I have replied that "I would be inclined to agree with whatever seems feasible" to him and Weill since they are co-authors. I said, however, that the details would have to be worked out with you. Therefore, I send you this letter and would appreciate your returning it soon.

Arna was here the other day looking fat and fine as ever and wanting to write a play with me.

I send my very best regards to you.

LH: wmb

Enclosure

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

April 7, 1947

Mr. Langston Hughes
English Department
Atlanta University
Atlanta, Georgia

Dear Langston:

Many thanks for your letter of April 3rd and the enclosure from Elmer Rice, which I'm returning herewith. I note that you have paid an assessment of $70.00 to the Dramatist's Guild. I hope, for your sake, you'll have to pay them at least $7,000, because that will mean that STREET SCENE shall have had to run for at least a hundred times as long.

Right now, of course, this seems to be a question, as Elmer's letter makes clear. For example, the week ending March 29th produced a gross of $25,565.50, and that is considerably below the breaking figure for a New York run. Whether Wiman can be prevailed upon to take this loss through April and May is a doubtful question. To make this a possibility, I would certainly favor cutting corners wherever possible, and a reduction of royalties from 10% to 6% would be desirable, because it would be still better than killing the goose that lays the golden egg. However, I have a strong feeling that this reduction should operate on a somewhat different basis than that outlined in Elmer's letter. It so happens that you are already at the short end of the receiving line. Elmer and Kurt are getting 8% while you're only getting 2%. A cut of 40% would mean that you would sacrifice 40¢ on every dollar.

Now, it is true that Elmer and Kurt would sacrifice a like sum, but they could afford it more easily. The situation is not unlike the proposed 20% income tax cut. The man who only has an income of $2,000. saves $40.00; but the man who has a $200,000. income saves $4,000. Now it stands to reason that the man in the higher bracket ought to have had a smaller reduction in his tax savings, or vice-versa, the man in the lower income bracket should have had a larger saving and paid no income tax. In other words, if there is to be a reduction from 10% to 6%, it should not, contrary to Elmer's proposal, be split in the same ratio as at present. There is plenty of precedent for reducing of royalty, but the method of reduction is arguable, and if you want to make an issue of it, I shall be glad to fight to the bitter end provided you support me. The least you should be entitled to is 1½%.

Now, when it comes to the road tour, I would be inclined to accept Elmer's proposal, waiving all royalties but taking instead 50% of the net profits. But I would insist on seeing a fixed budget before agreeing to a profit sharing arrangement; and here again I would need your support. Of course, in the final analysis, this type of arrangement would have to be approved by the Dramatist's Guild. Be that as it may, if Elmer sends you any more love notes like this in an attempt to short-circuit me, send them to me promptly at the same time that you notify him to treat with me when any problem arises.

I note the exchange of correspondence between Paul Peters and yourself. As I remember STEVEDORE, I think it would make an extremely interesting musical. Of course, Kurt Weill has yet to be heard from. Incidentally, I've had no further word from Mack David, from which I conclude that Duke Ellington has frowned upon the idea.

April 17, 1947

Dear Max:

My copy of "Little Ham" is, of course, in New York, but I will write and see if it can be located for you. However, this time I think I will have some copies made before I again turn over the only one to Moe Gale.

Arna Bontemps writes me that Bucklin Moon has agreed to publish our proposed anthology of Negro poetry. The terms seem very good to me and I would certainly be willing to accept them. Arna says that he is going to ask you to draw up the contract.

In regard to "Street Scene", I am perfectly willing to let you handle the business negotiations and to do whatever seems necessary and proper to meet the situation.

I note the amount allotted to me as my share of the lawyer's fees. Kindly deduct this amount from my next check and send it to the Playwright's Company.

With very best wishes to you.

H
W

April 21, 1947

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

Dear Maxim,

I am enclosing a list of the songs in the forthcoming Columbia album of the STREET SCENE music, as Kurt Weill outlined it to me on the phone. As I understand it, there are six sides. And on the sides on which there are songs underlined in red, there will be a Rice-Hughes co-credit on the record. Weill says that in some cases dialogue from the show is used connecting the songs, etc., which also accounts for Elmer's name being there. He also says Elmer gets equal division of record royalties on those sides.

How does this work? Is it between Chappell and Columbia? Is it written down anywhere? Have you an agreement on this? Do records count on Elmer's ASCAP rating, if he gets in?

Have you seen the five published songs? And heard the two records: (Capitol and Vigo, being played quite a little on the air now) Benny Goodman's and Freddy Martin's of MOON-FACED, STARRY-EYED? These have my name alone as lyricist.

It is agreeable to me to give Elmer credit on those songs underlined in red, plus the ICE CREAM SONG, since those are the ones we discussed before, and he seems to feel he should have.

Just now, while writing this letter, the morning mail has come, bearing the enclosed message from Kurt. Since I am not there, I haven't the lease idea what is happening. But I gather in re-reading your letter, that we agree to the 40%, but wish a rearrangement of the royalties division on the 6% basis. So Haring (as quoted by Kurt) would be wrong, wouldn't he? ...Anyhow, handle it so we will get as much as we can for as long as we can---which will be O.K. by me.

Please return Kurt's letter.

I am sure the Lord has nothing to with the theatre! It must be the devil's work!

Friday and Saturday I will be at Fisk, c/o Arna.

MAXIM LIEBER

Murray Hill 2-3135-3136

AUTHORS' REPRESENTATIVE

April 22, 1947

AIR MAIL
Special

Mr. Langston Hughes
c/o English Department
Atlanta University
Atlanta, Ga.

Dear Langston:

I am returning for your files Kurt Weill's letter and your reply. You can see from the carbon in my letter to Weill that I was really burnt up. You don't know what a herculean effort it cost me to hold myself in check, because I could have been ten times more devastating. It was really cheap of Weill to suggest that unless you agreed to a 40% cut on a pro-rata basis he was prepared to see the show closed down rather than to yield a tiny percentage from his own gain. I would say on the basis of Weill's letter that Forrest Haring was wrong, unless Weill simply misquoted him. In any event, the matter is settled as you can see. Perhaps I've gone soft.

Now, as for Elmer's getting a division of royalties to accrue from the sale of recordings, that is something entirely new. As I explained in my letter to Weill, it was my understanding that the only credit Elmer was to receive was the printing of his name as co-author of some lyrics. I'm convinced that I never discussed any financial compensation. They are certainly trying to pull a fast one. The Columbia recordings are outside of the contract with Chappell. I have no memorandum of agreement concerning recordings and I'm asking Weill for data on this subject. I would imagine that Elmer's name appearing on records would count toward an ASCAP rating as well as if his name would appear on sheet music. I don't see the logic of a differential. To my shame, it must be confessed that I have not yet seen the published songs. I've just spoken to Dr. Sirmay and he promised to send me a set.

I think you're well advised in having copies made of LITTLE HAM. There is no sense in risking the only one in existence with Moe Gale.

Now, as for the proposed anthology of Negro poetry which you are to edit with Arna, I've just heard from Bucklin Moon and Doubleday agreed to contract for such an anthology, but they will not pay more than $1000 advance. I would therefore like some expression of opinion from you. If this is satisfactory with both you and Arna, I'll ask Buck to have the contract drawn.

Last, but not least, is my check to cover royalties on STREET SCENE for the week ending April 12th.

MLtes

Enc. $446.76

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

May 2, 1947

Dear Langston:

I have finally had a reply from Kurt Weill to my letter, in addition to
which Kurt telephoned me yesterday. He seemed to assume you knew that
Elmer would have to receive financial compensation for the use of any
of his material either in sheet music or in recordings. Personally,
I feel Kurt acted in a lordly fashion by failing to consult you about
all the matters involved.

I now learn that Kurt had decided to publish in the pianoforte score all
of Elmer's book for the musical. Clearly, if that has been done, Elmer is
entitled to compensation for the use of his material, but it is a most un-
usual procedure. Having said this, I must add that the entire matter,
except for principle, is academic, because the return from the sale of
sheet music, or even of Columbia records, will be extremely limited. Not
only that, but STREET SCENE may be obliged to fold up because the gross
for the week ending April 26th was $20,001.50, and your royalty has in
accordance with our agreement been reduced by 40%. With everybody taking
a proportionate cut, the running expenses will still be in excess of $21,000,
so that I can't see why Wiman, being the astute business man that he is,
will continue producing a play that loses money every week.

MLtes

May 8, 1947

Dear Max:

I am enclosing a copy of a letter which I have recently received from Hubert T. Delany, a member of the "Troubled Island Production Committee." Perhaps it might be wise for you to telephone Mr. Delany and see whether or not they are now accepting investors for this production. Since he speaks of a radio chain being interested, it seems that this might indicate that the City Center is planning to produce the opera on a commercial basis, rather than by contributions. But this is not clear from his letter. If investors are being sought, perhaps we could be of some help in funding the production. At any rate, it would do us no harm to know.

In relation to "Street Scene," I am glad that you have finally heard from Kurt Weill. Since you say the matter of the music and the records is largely "academic," to keep the peace, I have no objections to Elmer sharing in the royalties where his material is used. However, unless my ears deceive me, he originally told me that he wanted only publication credits through which to achieve ASCAP membership.

At any rate, you do not tell me in your letter whether or not you have an agreement with Columbia Records on the matter. Or is this done through Chappell? Or did Kurt Weill make and sign the agreement for all of us? Or just how does that work?

Does the royalty cut go into effect immediately? I notice in last Sunday's ads that the box office prices have been lowered. I have not heard from Kurt again, so I do not know whether they plan to run the show beyong June 1 or not. Have you any information about that? I see in the papers that both Kurt and Elmer have sailed, one for Palestine and one for Europe. Is that true? Is Victor Samrock now the one in charge of the show for the Playwrights' office?

I have already begun work on some material for the anthology portrait which Arna and I outlined when I was at Fisk ten days ago. There is a very fine collection of Negro poetry here to which I have access.

I send all my good wishes to you.

LH: wmb

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

May 13, 1947

Dear Langston:

I've just written Judge Delany expressing our interest in promoting a successful production of TROUBLED ISLAND. I tried to speak with him over the phone, but he was sitting in another court out in Jamaica. I would gather from his letter that plans are progressing satisfactorily, and that while they may not be averse to finding some angels, this time at least they mean business. Well, if not concrete business, they mean to produce TROUBLED ISLAND.

The word business, this morning, gives me a sick feeling, because the latest word on STREET SCENE today is that it will fold up this coming Saturday. The gross box office take for the week ending May 3rd was $17029.50, which, at the reduced royalty, brought your share to $204.35. Unless a miracle happens, which means there is a sudden run on the box office within the next few days, this week's check will be the last for STREET SCENE; except of course whatever incidental pennies may dribble in from the sale of music or recordings. And apropos of the latter - Chappell's contract gives them the right to negotiate for recordings.

Well, as the saying goes, it was nice while it lasted, but too bad it couldn't have been BRIGADOON or FINIAN'S RAINBOW.

MLtes

May 21, 1947

Dear Maxim,

In honor of the passing of STREET SCENE I have composed the following ode:

Shows come
And shows go—
As does snow.

Thanks for the Doubleday contracts which have gone off to Arna.....MASTERS OF THE DEW (Reynal&Hitchcock) is due out June 16, I'm told. Do you have advance copies yet.....And can you discover when the Columbia STREET SCENE album is coming out. Due this month I heard a long time ago. Ask Dr. Simmay.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

May 21, 1947

Mr. Langston Hughes
C/O English Department
Atlanta University
Atlanta, Ga.

Dear Langston:

As I told you in my letter of May 13th, I wrote to Judge Delany and have now
received a reply which is rather vague as to the character of the production
contemplated. I telephoned the Dramatists' Guild to get their opinion on what
kind of a contract would have to be drawn, and for the moment they are as mysti-
fied as I am. I'm consequently writing again to Delany to discover whether its
proposed to have a regular run with a professional cast, etc., etc. If that is
their intention, they will obviously have to make a contract with The Actors'
Equity, and in such a situation we will then have to draw the minimum basic con-
tract provided for by the Dramatists' Guild.

I happened to see some of the editors of Mainstream and I told them, in response
to a question, that you and Arna were now editing an anthology of Negro poetry.
The editors wondered whether you would be writing an introduction to the volume
and, if you were, could they possibly have it for prior publication in Mainstream.
I took the liberty of assuring them that they could. I hope you won't feel I've
been too forward.

Enclosed you will find my check for $184.34 representing payment for STREET SCENE royalties for the week ending May 10th.

MLtes
Enc. $184.34

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE

NEW YORK 17, N. Y.

June 6, 1947

Mr. Langston Hughes
5044 S. Parkway
Chicago 15, Ill.

Dear Langston:

I urge you to read the enclosed petition carefully, and then to sign and return it to me. It tells a story of official blindness and heartlessness, the facts of which I have myself checked carefully. The fact remains that your young people cannot attend an important cultural conference of world youth at which the entire world of youth will be represented--and for which the Czech government has arranged the erection of a small city to house 40,000 young people from all over the world who are coming together in order to seek truth and brotherhood for the world of tomorrow. American boys and girls will be conspicuously absent from this important festival, unless we act quickly for a reversal of the State Department decision on their transportation.

Yesterday I spent an entire afternoon with a few young men from the American delegation to the World Federation of Democratic Youth. Their disappointment and shocked bewilderment at being thus arbitrarily cut off from the festival was something which profoundly disturbed me. Both as father and as citizen, I think we should prove to our young people that we are not asleep at the switch when our State Department tries to cut us off from the rest of the world.

Miles
Inc.

695

3 CENTS 3

Mr Langston Hughes
634 St Nicholas Pl
New York 30
NY

July 20, 1947

Dear Max,

I have just off a piece, 20 pages in length, requested by Sylvestre C. Watkins, 5909 South Wabash Avenue, Chicago 37, Illinois, on THE NEGRO IN AMERICAN ENTERTAINMENT for the anthology which he is editing for Henry Holt, WHERE THE NEGRO STANDS TODAY. (Pinch hitting for Arna who failed to do the piece.) It's to be on a royalty basis like the BEDSIDE ESQUIRE. I've requested Mr. Watkins to get in touch with you. Had to airmail the piece on since it was already late.

Dan Hammerman who does scripts for CAVALCADE OF AMERICA phoned me about doing the lyrics for a book-musical he has. I told him to find a good composer first, then we might consider it.

I'm trying to clear up odds and ends to take a VACATION.

Sincerely,

July 6, 1951

Dear Maxim,

Things are looking up a bit on the new Simple. Max Schuster likes it; almost as much as I do, I'd say. It's just the fact that (as mentioned before) it's a sequel, and sequels never sell as well as first volumes, plus the generally dreadful sales of works of fiction, these days, that is - or do I mean are; no, it is - delaying matters.

Maybe I'll have definite word for you some time next week.
I do hope so.

I'll send Langston a copy of this letter.

Mr. Maxim Lieber
253 West 101st Street
New York 25, N. Y.

ml:ms

P.S. We heard some time ago, as I think you knew, that a Mrs. Helen Peterson of the Denver Mayor's Committee on Human Relations reported she couldn't find any copies of the dollar edition of SIMPLE SPEAKS HIS MIND. Later, we learned, she did find copies, and bought a number, through a local bookseller - but probably you heard all this at the time.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

253 WEST 101st STREET
NEW YORK 25, N. Y.

September 10, 1951

Dear Langston:

I have been somewhat remiss about you, but
I had been hoping to hear from you and to
hand over these few things to you in person.

A. Mrs. Elliot Sullivan, Oregon-3-4148
Phoned several days ago to discuss a
dramatization of MASTER OF THE DEW; however,
a great many legal snarls are still in the
way of a realization of the project. She
claims to know you and in due course will
communicate directly with you.

By mistake I sent off the Doubleday state-
ment to Arna Bontemps without making a copy
for you. You can check somewhat from the
enclosed statement, which on second look
appears to be complete also.

I have numerous scripts of yours, Langston.
Do you have someone who could pick them up?
But give me a ring first.

Best wishes to you and the Family,
sincerely,

Greenwood Lake,
September 13, 1951.

Mrs. Maxim Lieber,
253 West 101st Street,
New York 25, New York.

Dear Minna,

I'm still up in the country battling with Battle's book, which I hope to finish this fall. He'll be here until October 1, so I probably will, too. But I hope to run in town a day or two next week, and will phone you a day ahead to see if I may drop in to see you.

Meanwhile, I thought it might be helpful to you to have a list of the contracts, etc., of mine that Max has made and probably has listed, or copies of, in his files:

1. "STREET SCENE"

Playwrights Company---Production Contract
Chappell Music---Music and records

2. "MULATTO"

Italy: Mondadori---Publication & production

3. "THE WIZARD OF ALTOONA"

Elie Siegmeister------Collaboration contract
(Max agreed that Elie's agent MCA handle this
work for the two of us)

4. "SIMPLE SPEAKS HIS MIND"

Simon and Schuster----Book contract now active
Italian (I believe), English, and Checcslovak contracts

5. 2nd "SIMPLE" book as yet untitled and unfinished
    Simon and Schuster----Recent book contract

6. "THE POETRY OF THE NEGRO"

Doubleday-----------Book contract now active

7. "THE FIRST BOOK OF NEGROES"

Franklin Watts, Inc.--Book contract, now being written

8. "THE BARRIER"

Production contract lasped. Rights now belong to authors.

9. ASBH RECORDS

to be
Recordings of my poems flat fee fully paid. Eponymous issued.

- 2 -

These seem to be all the things I can recall relating to
contracts made or outstanding. Except, of course for:

10. "BATTLES OF HARLEM"

Collaboration contract with Mr. Battle. Book
now being written.

Broude Brothers wish to complete a publication contract for
blue-printing rental scores of "THE BARRIER" shortly.

So the only two things that will require any activity this
fall are the Battle book and getting an O.K. contract on
the blue-printing of "THE BARRIER".

The other contracts pay off regularly, in the case of books
published, to your office. There should be a Doubleday
statement due about now, I believe. I think there's the
last half of the Siegmeister show advance due on turning in
the script and music which Elie is about ready to do this
month. And next month when I turn in the completed "FIRST
BOOK OF NEGROES" to Watts, the remaining half of the
advance is due.

There should be a couple of unsold stories of mine in the files
and probably an old play or two, including "MULATTO".

So, maybe this memo might be helpful to you, when we get
together for a discussion of the immediate future.

I certainly hope there is some good word as to Max. Mr.
Battle asks me to convey to you his warmest regards and his
regret that you are not carrying on the business yourself,
as he thought you handled him very well indeed the conversa-
tions with him a year or so ago, and has often spoken of
your patience and courtesy.

My very best to you, and I'll phone you as soon as I get in
town.

MAXIM LIEBER,
Apartado 235,
Cuernavaca, Morelos,
Mexico, November 24, 1951.

Dear Langston:

By this time it may be no news to you to learn that I've
found a sort of haven down here. If I could but function normally, this
would indeed be a paradise. Our house is on the outskirts of Cuernavaca
on a little rise of the whole valley which is itself a plateau surrounded by
mountains among which are Popocatepetl and Ixtaccihuatl. And the fact
that the plateau is over five thousand feet above sea level, makes this
mid-tropic area a paradise, for some wealthy Mexicans and the NorTEAMER-
ICANOS who live in varicolored houses, surrounded by luxuriant gardens
(except our own which is about two inches square) and translucent swimming
pools (except our own which is minus one). But the vast majority of native
Mexicans live in squaror, for their poverty is extreme.

I'm enclosing a letter from the Dramatists Guild and carbons
of an exchange of correspondence between the guild and Meyerberg regarding
the royalty still due you on the lli fated BARRIER. Perhaps you will be
good enough to inform Connelly that I forwarded his letter to you. And
of course, if you wish to pursue the matter, the Guild is apparently pre-
pared to serve you.

I've written a letter to Maria Leipser in reply to one from
her in which she asked for instructions on future payment of royalties.
I've informed Maria that it would simplify matters if she had royalties
sent to you direct and commissions to me for past services rendered. This
would assure your receiving your money promptly and relieve you of the ix
trouble of sending my commissions. Obviously I can not share in any of
the proceeds from the Battle book since I never got the opportunity of
negotiating a contract for it. Ditto the opera you've worked on with
Siegmeister, although if you wish to fight for a pittance for me, I wont
raise objections.

I can not close this without expressing my hope that despite
the fact I can no longer function as your agent, I can retain your friend-
ship which gave me so much pleasure for these past two decades.

With best wishes from Minna and myself,

MAXIM LIEBER
Apartado 235,
Cuernavaca, Morelos,
Mexico, December 1, 1951.

Dear Langston:

The enclosed statement and check from Chappell
& Company followed me down here, and I note that you are in
my debt to the tune of $1.019. Hurrah.

I think it best that you notify Chappell to
mail future statements to you direct.

Did you receive my letter of November 24th and
enclosures from the Dramatists Guild?

December 7, 1951

Mr. Maximilian Lieber
Apartado 235
Guernavaca, Morelos
Mexico

Dear Max,

It is so nice to hear from you at last and to know that you
are settled in so beautiful a place. I've just recently gotten
back from a lecture tour of the Carolinas as far down as Savannah,
and I find your letters awaiting me. Thanks for them, and the
Chappelle statement.

I am writing the Dramatists Guild to follow through in
collecting on THE BARRIER.

The Harold Ober office is negotiating the new Henry Holt
contract, and will handle my future books, including the Battle book
which is almost done. Leah Salisbury is handling my plays including
the Siegmeister musical on which we are still working.

Everybody was certainly sorry to see you go out of business and
we all hope that you will be quite well again soon. Miana was very
sweet about taking care of things and she certainly had a big job
closing down both the office and the house. Please give her and
the children my love and let me hear from you when you have time.
If you see Willard Motley there give him my regards.

All good wishes to you,

March 6, 1952.

Mr. Maxim Lieber,
Apartado 235,
Cuernavaca, Morelos,
Mexico.

Dear Max,

Just back from a month's lecture tour (that old annual Negro History Week trip) from Cleveland through the Carolinas to Texas this season. Nice audiences and sold lots of books. But got barred in Seattle. San Antonio—the Minuet Women threatened to smash the windows in the Municipal Auditorium so the city withdrew the Y.M.C.A.'s permit. Front page news! And check sent right on. So I didn't mind as it gave me an extra day at the Mardi Gras in New Orleans. They were trying to make it an interracial program—which doesn't work in Dixie.

And now here you are SOUTH of Dixie! Hope all goes well with you and Minna and the adorables.

Thanks no end for those SURPRISE checks. "Mulatto" must be a smash hit in Italy to get that much dough out! Hardly got that much when it was on Broadway, as you'll recall! Both your letters and checks were awaiting me on my return. Gracias!

Leah and von Auw haven't had anything much to sell of mine yet. Leah is working on a "Street Scene" contract for Germany with Samrock. And von Auw is awaiting the Battle book with which I'm still Battling. And Leah is awaiting the Siegmeister show on which we've decided to redo the Book. But all will get done in due time, as you know, all does!

Of course, I'm sending you a copy of the short stories. I should have them this week. Saw a copy and it looks fine! Publication date March 24th.

Tons of mial here and an N.A.A.C.P. show tonight on which they're doing my "Ballad of Harry Moore" which Josh White was here all day yesterday rehearsing. I'll send you a copy.

All for now. DON'T work! Rest and telax and come on back here hale and hearty because you sure are missed!

20 East 127th Street,
New York 35, New York.

Greenwood Lake,

May 16, 1952

Mr. Maxim Lieber,
Apartado 235,
Guernavaca, Mexico.

Dear Maxx,

I'm back up in the country battling with the Battle book again—last go round this time, I hope, since I'm somewhere down near the end. Had to stop for a lecture tour to Texas this winter, and various other little necessary jobs. And have written a few more songs and gotten a few more recordings, so maybe I am going to turn out to be a song writer. It seems to pay off about as well as book writing.

Ivan von Auv (Harold Ober Associates) is handling my literary output—not much new as yet as I'm still busy finishing up the old commitments. Leah Salisbury looks after "Street Scene" (a contract for Germany is about all so far). I'm to redo the Seigmeister show book. Everybody liked the music and lyrics, but as usual with a musical "the book was not right". So we'll probably be working together on that again this summer. After which, I will never again do anybody's show BUT MY OWN. Meyerowitz worried Mrs. Salisbury so that she gave up the Barrier", but Arthur Spingarn finally approved a rental agency contract with Marks. It's to be done on the radio in Holland.

Thanks for that nice little check. You know I was away in the DEEP South when my short stories came out, therefore no inscription on the book that came to you directly from the publishers. It's been getting very good reviews. How it's selling, I've no idea.

The Argentine translations of my poetry are finally coming out, Lautaro. And a woman in Germany who's VERY good is translating my poems for a book there. Japan is bringing out an Anthology of Negro poems for which I've been asked to do an intro. So I guess I'll be known around the world directly. Has anybody heard tell of me in Mexico yet?

And how do you like it down there? I hope it is warmer than it is here in Greenwood Lake where Spring seems late this year. I wouldn't mind being in Guernavaca my own self.

Certainly would love to see you-all. Give my best to Minna and the babies. I hope you're doing fine, and like it down there. Write when you have time.

Sincerely,

MAXIM LIEBER
Apartado 235,
Guernavaca, Mor.,
Mexico.

September 4, 1952.

Dear Langston:

The other day I received a letter from my Italian
agent informing me they had received some royalty on your ac-
count from Mondadori, but were somewhat disturbed by the fact
that Mondadori had received instructions from you to transmit
monies direct to you.

I immediately airmailed them a reply to assure
them it would be alright with you if they continued as in the
past to transfer the money to me. Now I have their answer to
the effect that they're perfectly willing to do so, especially
since the contract provided for this procedure; but that they
would be happier if I could transmit your assurance that they
would not be committing a crime if they sent me the money.
Since cash is involved, let me know what you wish done.

Incidentally, Simon & Schuster sent me a statement for SIMPLE SPEAKS HIS MIND, but alas no money because you had purchased books amounting to $570.63 thus eating up whatever royalties would have been due. Better luck next time.

I've begun reading POPO & FIFINA to our Ellen
and Butch. Each night before they retire I read them a chapter;
and you should see how fascinated they are. Of course they keep
asking me questions about Uncle Langston who is as exciting to
them as the story he wrote.

How are all your various projects progressing?
Are you still battling with Battle *ur* have you vanquished that
one? And what about the new project on the First Book of the
Negro? And what if anything gives with the sequel to SIMPLE?

How about taking a vacation down here? We'd
love to have you.

Minna joins me in warmest greetings,

MAXIM LIEBER
Apartado 235,
Cuernavaca, Mor.,
Mexico.

October 2, 1952.

Dear Langston:

Minna and I were delighted to receive your anthology of poems translated into Spanish. While we still struggle with the language and may not, for a long time, be able to say whether the translations do you justice, we can at least re-read the poems with pleasure.

But you should hear our Ellen carry on a conversation. She dazzles us with her perfect pronunciation and the rapidity with which she speaks. As for Butch who now attends a jardin de ninos, it is amusing to hear him jumble English and Spanish; but we're sure he'll get there sooner than we will.

Did you get my letter of September 4th in which I raised some questions about the Italian royalties on MULATTO from Mondadori? The amount is trifling, - some 3,000 Lire, which may mean 5 bucks. But protocol must be observed.

Best to you from us both,

MAXIM LIEBER
Apartado 235,
Cuernavaca, Morelos,
Mexico.

November 3, 1952.

Dear Langston:

Here we are three days away from election, and I wonder
what kind of a deal the poor folk will get come Wednesday following
the fateful Tuesday. Will it be a new deal, a fair deal or a raw deal?
My personal hope is that the Progressive Party will roll up such a sizable
vote that no matter which Dixiecrat gets in will think twice before push-
ing us into a hotter war.

But life must somehow go on, so I am pleased to enclose my
check which represents your royalty on the Italian edition of MULATTO as
per accompanying statement. The Italian agency deducted their commission
and there was a small bank transfer charge.

Far more important is the fact that I should like to enlist
your co-operation in a literary project I've been asked to undertake by
a couple of publishers,-- one in Prague, the other in Berlin,-- the editing
of an anthology of short stories, intended to cover the past quarter century,
and which would reflect the economic, social and political forces in the
U.S.A. I am of course anxious to dig right in, but am stumped down here
because the possibility for extensive research is very limited. Under the
circumstances, I mean to lean on the assistance of my friends.

Obviously, no anthology would be worth a damn without one of
your own stories. I should like you to let me have a choice of several
which you regard as your best. The reason I say several is because when
I begin compiling a table of contents I shall want the stories to present
a comprehensive and integrated picture of every aspect of life.

Aside from sending me a couple of your own stories I shall be
grateful if you call my attention to other material that can fit into the
scope of the project. The volume may contain about forty stories, more
or less depending upon the length of the average piece. I am reliably
informed that this anthology will find favor with Hungarian and Polish
publishers in addition to the Czechoslovak and German who have already
indicated their interest. And it may even result in some royalty.

May I count on your co-operation?

With best wishes,

As ever,

November 18, 1952.

Dear Langston:

Your the busiest man in six states and forty two
counties. I've never known a man who could cover as much ter-
ritory in as little time as you do. One day I read you're down
in New Orleans at some writer's conference; the next day you and
Margaret Bond and some one else is reported at some shindig in
Harlem; and now I've just received XIMEX the announcement of the
party given in your honor by Franklin Watts to celebrate the pub-
lication of THE FIRST BOOK OF NEGROES. Unfortunately, while Minna
and I can not be with you in person, we are all the way with you
in spirit.

Now while I'm on the subject of spirit, I'm waiting
for some manifestation of this on your part. I am, of course,
alluding to my letter of November 3rd, asking you for a contribu-
tion of one of your choice stories for my projected anthology.
And when you do get around to it please bear in mind to let me
have a couple.

By the way, what kind of a sale did the Watts out-
fit roll up for THE FIRST BOOK OF NEGROES. You will remember
they were enthusiastic about the prospects for the book when we
got the contract for it.

I've just received a nice note from Maria Leiper
telling me about the imminent publication of the new Simple
volume.

With best wishes,

As ever,

MAXIM LIEBER
Apartado 21378,
Sucursal 24,
Mexico 7, D. F.

March 9, 1953.

My dear Langston:

You are like the prodigal son, at least in one
sense: you hold forth the promise to, but actually never return.
I've been receiving invitations to attend receptions in your hon-
or; inscribed copies of your publications which are properly cher-
ished by all of us; reprints of articles by you or about you, etc.

Just now we received Arthur P. Davis' reprint of
The Harlem of Langston Hughes' Poetry; and the same mail brought
me a copy of a letter which Laurence Pollinger's office wrote you
on February 12th about a B.B.C. broadcast of I AM A NEGRO. And so,-
everyone writes me about you (even Maria Leiper), but you maintain
the silence of the tomb. Otherwise why have my past several letters
gone unanswered? I still want one of your stories, and unless you
have a better one to suggest for my projected anthology, I'll use
One Friday Morning which present an aspect of Negro life I'm not apt
to find elsewhere. Incidentally, Arna Bontemps wrote me to say I
could use his A Summer Tragedy which is an eloquent piece of under-
statement.

You will note, AND PLEASE DO, that we have moved
up from Cuernavaca to Mexico City because we were beginning to feel
dead in that American Colony. Since we're not ones to indulge in
cocktail parties or chewing the rag on the BellaVista or Hotel Maryk
terraces, we decided to taste a little of the cultural atmosphere of
the capital.

I notice that Arthur P. Davis quotes you as saying
you have lived in the heart of a number of capitals, including Mexico.
Well, old man, should you venture down these parts, rest assured of a
royal welcome. We have an extra room (my workroom which contains a
very comfortable matrimonio, innerspring beautyrest and all that) to
put up guests. And we're located right in the heart of town On Londres
near Chapultepec. So come on.

Salud y hasta luego,

July 8, 1954.

Dear Langston:

I was about to say it was good to hear from
you when I was caught up short by the fact that you hadn't
really written; that you had merely sent me a reprint of
a critique of the Semple books by Arthur P. Davis.

It made me feel damned good to see you quo-
ted as one of the many well-wishers of Mike Gold on his
60th birthday, (I hope you won't forget mine when it rolls
around in another three years!), for this brought home the
fact that despite your session before the McCarthy fascists
you had not abandoned your former friends and acquaintences.
In these days when so many weaken and turn tail, one wants
to embrace every one who stands up in human dignity.

I enjoyed reading Davis' essay, though I feel
he may be touched by (if he has not utterly succumbed to)
the poison of Myrdal's thesis that the Negro problem stems
from pigmentation. Myrdal may be a fine person at bottom,
but his liberal approach to the Negro question has had a
pernicious influence on the thinking of many Negroes. When
a Negro falls into the error of blaming all his woes on color,
when he can blithely state that "Ablack face in our color-
conscious world is the problem," he accepts all the concomi-
tants of this postulate deliberately propounded by white
supremacists, namely, that a Negro is lazy, thieving, igno-
rant, a baby who must be taken care of by a benevolent master
sipping mint juleps on the portico of his magnolia surrounded
mansion. And until the Negro recognizes this vicious lie
for what it is and fights for the correct position, namely,
that 15 million people, historically evolved, forming a
stable community of language in a contiguous territory through
a tier of Southern States, possessing an internal economic
bond, and sharing a common national characteristic, actually
form a nation and are entitled to the right of self-deter-
mination. Fifteen million people should not have to come
hat in hand to a white boss begging for a halt to Jimcrow,
a halt to lynching, a halt to segregation; or the right to
an equal job and equal pay with a white worker.

Gosh almighty but that's a long speech and it's
got me winded. I must take care of that especially inthis
high altitude. Let's hear from you once in a while. What
ever happened to the Battle project? And the Siegmeister
project?

Best from us all,

July 11, 1954

Dear Maxim, I did so write to you! But I had not heard
from you for so long I thought you had gone
to the moon!....Anyhow, it is a pleasure to have some word,
Maria asks about you all the time. The second "Simple" is
just out in England, and soon to be in Denmark, Belgrad, and
Milan, so contracts say.....I reckon you know just about
everybody at Holt's who had anything to do with "Montage"
or "Laughing" got fired a year or so ago, and those contracts
cancelled, books remaindered. That Texas oil money suddenly
found them on their list! All due to a few little poieties!
But they got editorial jobs elsewhere......Our POETRY OF THE
NEGRO has just about been translated all around the world—
used as a basis for anthologies in varying degrees—China,
Japan, Holland (pirated so they tell me), Yugoslavia, and
two in Germany—one East, one West, with a third there on
the way out. So, at least, we kind of helped to spread
culture.....Is there a theatre group in Mexico City that
might do MULATTO? I've a good Spanish translation from the
Argentine where it is due to be done any moment now. Eusebia
Cosme once wanted to do it in Cuba and Mexico, but she's no
longer in New York and I can't find hair nor hide of her
whereabouts. Is she, by any chance, in Mexico?......THE
BARRIER was given a fine production on the Dutch radio last
winter, full operatic orchestra and star cast, heard over
most of Europe. Meyerowitz is in Europe for the summer a-
gain, hoping to arrange other productions there.....The
producers of SHOLEM ALEICHEM have asked me to make a play
of Simple. Shall do......How are the children and Minna?
Give them my love.....I've just finished the third kids'
book for Watts. Dodds' FAMOUS AMERICAN NEGROES has sold out
the first printing in six months, which they say is something
of a record for that series. New edition soon. So I'm be-
coming a children's writer these days with, at the moment,
three more to do—simpler and simpler! And younger and
younger—one coming up for 8 year-olds! If you are bent,
bound, and determined to be sixty in another three years,
I won't send it to you as it will be over your head!......
That nice High Mexican altitude ought to keep you high,
anyhow, without drinking pulque!......Write soon again.

Sincerely,

July 23, 1954.

Dear Langston:

Minna and I enjoyed your letter; even Ellen did, and kept asking whether it was from Uncle Langston whom she is positive she used to know in New York. So even if your juveniles are apt to be over my head (though they say I'm getting old enough to start on my second childhood. Sheer calumny!) our Ellen and Butch will enjoy them.

It is quite possible that some Mexican theatre group might be found to do your MULATTO, especially if a good Spanish version is available. But if this version was prepared for an Argentine production, are you sure it would be available for a Mexican production? Do you have a contract that clarifies this point? And who negotiated it for you? If you control the rights for countries outside of Argentine, and you are free to use their translation, why don't you send me a copy and let me see what can be done?

No, I had not read about the housecleaning at Holt's. Indeed, nothing that happens in the publishing industry surprises me. To any clear thinking individual it must have been apparent for some years past that a precedent had been established, not only for publishing but for every other cultural medium, when the Hollywood Ten went to prison. As a matter of fact, I think it was Albert Maltz who made the prophetic statement at the time that the unAmerican committees would not stop with the attack on screen writers, but would invade - as they actually did - the theatre, radio, television and publishing. These mass communication media had to be forced to adopt the State Department policy of cold war in order to prepare Americans for an eventual hot war. Korea was no accident; it was part of a pattern: destroy dissident political organization, destroy trade unions, destroy, in brief, all civil liberties and thus educate the people to accept fascism at home, all for the greater glory of imperialism. Amen.

I think making a fine play out of Simple is an excellent idea. If you could arrange to work with Arnold Perl who was responsible in large measure for the success of Sholem Aleichem, I could almost guarantee a huge success. Not only in the U.S.A. but all over the world. Why don't you tackle it? Am I right in assuming that it was Perl who approached you on this project?

Are you planning to come down this way one of these days? I would even drink pulque with you, though I limit myself to an occasional nip of Ron Batey.

With best wishes,

July 26, 1954

Mr. Maxim Lieber
Apartado 21378
Sucursal 24
Mexico 7, D.F., Mexico

Dear Max:

Thank you for your letter. Julio Galer, Estrada
2546-"E", Olivos, B.A., Argentina, my official trans-
lator down there, who translated my collected BOEMAS,
and who is now translating LAUGHING TO KEEP FROM CRYING,
for Siglo Viente, sent me copies of his Spanish version
of MULATTO for production outside the Argentine, one
being specifically for Eusebia Cosme who said she wanted
to do it in Cuba. I cannot locate Miss Cosme of late,
but I am sure that Mr. Galer would be delighted to
have the play done in Mexico, as would I, and I would
be happy to have you make any efforts towards this end
in our behalf. Since the Argentine production was ar-
ranged through Ivan von Auw, Jr., of the Harold Ober of-
fice, I suppose you would have to split any commissions
we might get with that office. Mr. von Auw, Jr., is
agreeable to this. I include herein Mr. Galer's ad-
dress in case there should be any need for you or a
Mexican producer to write him. Mr. Galer tells me that
MULATTO will also be published in the Argentine this
coming winter, when he expects the play to be done there
as well. This is just a quick note to give you this
information and to tell you that a script is on the way
to you.

With best regards, as ever.

lh=hs

August 9, 1954.

Dear Langston:

Your note of July 26th arrived
several days ago, and the copy of the Spanish
version of *Mulatto* got here Friday. I shall
explore the possibilities for a Mexican pro-
duction, and will communicate with our mutual
friend, Ivan Von Auw as soon as there is any
reason. There will be no point of writing to
your translator in Buenos Aires, at least none
suggests itself to me at the moment, since Ivan
will be drawing the contract.

To my regret I am not yet suffi-
ciently conversant with la idioma española, so
I wonder how closely Señor Galer's translation
has adhered to the English. I raise this ques-
tion just in case any potential producer here
should wish to know. All I know is the script
appears mighty slim for a "full evening's en-
tertainment."

With best wishes,

As ever,

November 18, 1954

Dear Max,

I've been off in the Middle West for about a month and just back to find your kind note and the returned script of MULATTO in Spanish. The play has recently been published in Buenos Aires (although not yet produced there) and I've asked the translator to send you a copy of the published version which you may keep, in case any possibilities ever develope in Mexico. Eusebia Cosme, the Cuban actress, said she'd like to do it, but she's disappeared from New York and is said to be touring in Latin America. If, by any chance, you hear of her whereabouts, let me know. Or if she's in Mexico, show her the play, please, or tell me how I can send her a copy.

I'm delighted at the news of your anthology abroad. SIMPLE TAKES A WIFE has just come out in Denmark. And there's a beautiful new anthology of world Negro poetry just arrived from Germany, the Caribbean and U.S.A. sections largely based on our POETRY OF THE NEGRO, but many African poets I didn't know before.

No takers for the Battle book yet, although it's been all around. Eli's opera was redone 3 times. Now he wants a cullud version! But I've put it down for a while. It was too big a production for the original sponsors. At the moment I'm trying to get 3 books and a Simple play done! So have my nose to the grindstone as usual.

Could you send me this: "POESIA NEGRA", Juan Felipe Toruno, Edit. Toledo, Coleccion Obsidiana, Mexico, 1953, which I've just read about—an anthology that includes my poems? I'll send you a check for whatever the cost. Please.....Best regards to Mina and all the youngsters.

Sincerely,

SEPTEMBER
SEVENTEENTH

1
9
5
6

Dear Maxim:

I am delighted to have your recent letter and thought that I had written you but it might be that I did not since I have been behind the literary eight ball for the past several months and am more of a writer-sharecropper than ever. But at last things seem to be clearing up a bit and the two major jobs that took so much time are now at the printers; A PICTORIAL HISTORY OF THE NEGRO IN AMERICA (Crown), and the second volume of my autobiography, I WONDER AS I WANDER (Reinhart). Both will be out in November, and a new juvenile, THE FIRST BOOK OF THE WEST INDIES (Franklin Watts) has just appeared. But with all this work, bills rather than royalties fall out of publishers' envelopes. I have just gotten a bill from Simon and Schuster for $1080. and another from Watts for some $700. for books that I purchased in the past. So it is my intention never to sell or give away another book, only to write them from now on and let the volumes fall where they may.

Arna was in town last week, and said he would be delighted to receive whatever royalties you have for him. He may be addressed at the Fisk University Library, Nashville 3, Tenn. He never did finish his big book on Douglas, Washington and Du Bois. But I read some of the earlier portions and they were beautifully written. He seems to be increasingly burdened with academic duties and is a sort of right hand man to the President of Fisk, and he never did write very rapidly anyhow. But I shall pass on to him what you said about the book and its possibilities in Europe. I certainly hope he will finish it.

I would be delighted if I could get in American money whatever royalties are due me for Russian translations of my books, as the New York Times sometime ago stated that such royalties were now payable in Valuta. I find Ivan von Auw an excellent agent and am most grateful to Minna for having suggested him. The only thing is that if something is not sold, he does not bother to give it away for sheer pleasure of publication as we used to do.

Have you heard that McCarthy has lost 43 lbs recently and is slowly dying? In the third volume of my autobiography, since I am now through I WONDER AS I WANDER, I will record my TV show with him when he was certainly in full possession of his faculties. He asked me if I would consent to appear on TV and I said - "Delighted!" As figured I photographed as well as he did.

All my good wishes to Minna and the children, as ever,

Sincerely yours,

LH/g

Langston Hughes

Ulica Swietojańska 12ab/1
Warsaw, Poland.

October 24, 1956.

Dear Langston:

Your description of yourself behind
the eight ball as a "writer-sharecropper" gave us
both a big laugh. We saw you dragging that cumber-
some weight around, and wondered how, despite all,
you managed to maintain your exuberant sense of
humor. The $1780 total of the bills from your two
publishers would be enough to land most writers in
the poorhouse.

I'm happy to see that your PICTORIAL
HISTORY and the second volume of your AUTOBIOGRAPHY
are to be off press next month; and I'm no less
happy to see that you plan to send us complimentary
copies despite your highly laudable resolution to
give away free copies to your friends and once again
fall into debt with your publishers. The least I can
do in return is to offer your AUTOBIOGRAPHY to Polish
publishers with a view to selling Polish rights, that
is, if you wish me to do this for you. Who, by the
way, is publishing the german edition of THE SWEET
FLYPAPER OF LIFE and THE FIRST BOOK OF JAZZ?

I've arranged to have Arna's royalty
mailed to him; and you should be getting a second
check by way of royalty on the Panther edition any
one of these days. I'm also sending you a copy of
the Panther Books edition so that you will see what
your story looks like. And I'll be glad to have your
valuable comments on the contents of the entire volume,
bearing in mind that I edited the volume before the
Geneva Conference of the Heads of the Four Powers,
and bearing in mind that many authors I solicited for
contributions declined outright. Finally bearing
in mind my thesis as outlined in what was my intro-
duction but which Panther Books printed as a Postscript!

With all our best wishes to you,

20 East 127 Street
New York, N. Y.

November 6, 1956

Dear Maxim:

I would be delighted for you to see if a Polish publisher
would be interested in I WONDER AS I WANDER. Your copy
will be sent you directly from the publisher. As I may have
told you the BIG SEA was published in Poland in 1949 by
Czyżetnik under the title WIELKIE MORZE.

second

Thank you for the *Maxx* royalty checks which came a week or so ago. Now I await a copy of your anthology. I cannot tell you at this moment who the German publishers of FLYPAPER and JAZZ are, but I am expecting copies shortly and will let you know than.

Do you suppose a production of my play, MULATTO, would be possible
in Poland. It is being done on the French radio shortly, and
as you know was produced in Italy some yeats ago and, I think, is
still in repertory there. It is being done by various small
companies in the Argentine now and just a few weeks ago was produced
in Brazil. About two years ago the operatic version, THE BARRIER,
was performed with great acclaim, a full symphony and star cast
on the Dutch radio, so the play has been getting around the world.
If you think it at all suitable for Poland I will send you a copy.

With my very best wishes to all of you, as ever,

Mr. Maxim Lieber
Ulica Swietojanska 12ab/1
Warsaw, Poland

November 29, 1956.

Dear Langston:

It was good to hear from you, and to learn that you are sending me a copy of your autobiography, I WONDER AS I WANDER. I'm looking forward to it eagerly; and I'll be happy to offer it to Polish publishers for possible publication here, but not before I've had a chance to read it myself.

I doubt if I could find a producer for your MULATTO at this particular time. You may not know it, but there has been a very sharp swing of the pendulum from the left to the right as far as books, plays, etc. are concerned. How long this will last it is difficult to predict, but until the pendulum reaches midway between the extreme right and the extreme left, it will be mighty hard to place anything here that might show up Uncle Sam as a villain or even a distant cousin to one.

Have you already received the copy of my anthology which went forward to you about a month ago? I'm curious to have your reaction.

With very best wishes to you from all of us; and if I don't have a chance to write you soon again, the best from the Liebers for a HAPPY HOLYDAY SEASON.

MAXIM LIEBER

Ulica Świętojańska 12ab/1
Warsaw, Poland

January 17, 1958.

Dear Langston:

You added to our holiday cheer
with the gaily jacketed copy of TAMBOURINES
TO GLORY. Our appetites are whetted, but our
13¼ year old Ellen snatched it up, so we'll
have to wait our turn. Be that as it may, we
suspect that this is your way of answering my
letters, for there hasn't been a word from you
in many a month.

Incidentally, we got a notice
from M-G-M- Records, Bloomfield, N.J. advising
us that they had shipped a record, but that,
I suppose due to the Xmas rush, hasn't turned up
yet. Is this one of your poetry readings or
is it music set to some of your lyrics?

How is your health; and how are
you making out? By the way, Ellen has just
called out, "Who is Irene, Daddy?" I answered
I didn't know any Irene. Ellen said, "Langston
Hughes must be married." I asked, "Why, what
makes you say that?" Ellen replied, "Langston's
new book is dedicated to Irene!"

Well, Are you or ain't you?

Of course you knew that Paul Robeson
has set up his headquarters in London. We hear
he's coming to Warsaw next month for some concerts.

And when will we have the pleasure of greeting
you here in Warsaw? Everyone seems to be coming
this way. Just had a letter from Albert Maltz that
he plans to come in May. Dr. Duboise and Shirley
Graham, by-passed Warsaw, though they were in Prague
and then to Moscow.

I don't wonder that this part of the world is
attracting so much attention, for it is the place
where history is being made. Did you attend any
of the functions at which Mikoyan was the guest?
If one is to judge by the N.Y. Times Mikoyan is
making the U.S. business world sit up and take
notice.

Well, old man, let's hear from you when you
have a free moment. Meanwhile Minna joins me
in wishing you a happy and prosperous and suc-
cessful and peaceful New Year.

As ever,

February 27, 1958

Dear Maxim Lieber,

I should like to acknowledge the receipt
of DAS AMERIKANISCHE JAHRUNDERT which I am sure that
Mr. Hughes will be most happy to have.

At this time, he is away on a lecture tour.
I have heard him speak of you and this volume many times
and I know that he has been anxiously awaiting a copy
of your book.

Thank you very much.

To: Mr Maxim Lieber
c/o Paul List Verlag,
Strasse 22
Leipzig C 1, GERMANY

POLISH
PERSPECTIVES

Monthly Review

WARSZAWA - PALAC KULTURY I NAUKI - TEL.: 650-51; EXT. 22-06 - TELEGRAMS: PERSPECTIVES

Ulica Świetojańska 12ab/1...... Warsaw, Poland

September 23, 1958.

Dear Langston:

You change your publishers almost as often as some men change their wives. I've just come across a brief note in the September 16th issue of the N.Y. Times that John Day will publish your new novel, TAMBOURINES TO GLORY. What was the trouble with Rinehart? Or Crown?

Your note of April 2nd, in which you acknowledged the receipt of the German edition of my anthology, had been lying on my desk these many months, because I had expected to answer it when thanking you for the copy of your latest "Simple". But, alas, that never turned up. I may be way off the beam, but I do believe that some Polish publisher might be able to extract one decent volume out of your three "Simples." Furthermore, I think it might be possible to get Panther Books (now rebaptized Seven Seas Publishers) to put out a "Simple" book for English readers on the Continent. If you wished, I'd be glad to explore those possibilities. But I'd have to have the trilogy in order to do so.

Now that everybody in the USA is getting passports and traveling this way, why don't you make a European junket? a Poetry-to-Jazz program might go over big in this part of the world where every Pole, goes absolutely mad with Rock and Roll.

Write me when you're not "hurriedly" dashing off somewhere to give some lecture. We, that is, the entire Lieber clan, are always happy to hear from you.

As ever,

October 1, 1958

Dear Ivan:

A note from my former agent, Maxim Lieber
says that he thinks that a firm formerly
called, PANTHER BOOKS, but now reorganized
as the SEVEN SEAS PUBLISHERS, might be
interested in assembling a sort of omnibus
of extracts from my three SIMPLE books to
be published for English readers on the
Continent. He did not state where this
firm is located, but perhaps you know.
Mr. Lieber asked me if I would be willing
to have him negotiate this. He is doing
books for firms in Poland and Germany and
is living in Warsaw.

Naturally, before I write him, I would like
to know if this is something that one of
your representatives in Europe could handle
or whether you would be wise to authorize
Mr. Lieber to see what he can do concerning
it.

With cordial regards, as ever, I am

October 24, 1958.

Dear Langston:

The enclosed letter has just reached me. At first I thought the matter was to be arranged through the Berlin office, but I see that the Washington bureau of the Norddeutscher Rundfunk will take care of all the details. Under the circumstances there would be no point in my writing them to suggest that they communicate with you, since the simplest procedure will be for you to contact them.

I had a nice letter from Maria Leiper in which, among other things, she reported about your successes in these recent months. She's a swell person; I certainly took pleasure in dealing with her. I wonder why they didn't continue publishing your work.

Did you get my letter of September 23rd? It probably arrived during one of your barnstorming flights from New York.

All the best from your Warsaw fans,

Marszałkowska 10/16 m 71
Warsaw, Poland

December 15, 1959.

Dear Langston:

I was amused by the carbon of the letter you received from the Foreign News Editor of the New York Times. This only points up all the more sharply that the Times' foreign correspondents are not as trustworthy in their reports as readers may be led to assume. A very good case in point are Rosenthal's five articles on Poland which are written out of sheer malice: there is about 10% of fact and 90% of fiction; and even the mite of fact is twisted out of recognition. When this mendacious reporter tells the Times readers that Czechoslovakia and the German Democratic Republic are more advanced than Poland, he doesn't bother to explain that the former two were industrial countries with a large working class while Poland was a backward agricultural country. Nor does he bother to explain that unlike Poland Czechoslovakia is not plagued by a dominant Catholic Church. Right now you can see how abysmally backward that Church is in the struggle it is putting up in the United States in connection with the birth control problem.

More important is the copy of the letter from the Czechoslovak Theatrical and Lit. Agency re the production of your play, SIMPLY HEAVENLY. While it doesn't necessarily follow that a successful production in Prague would meet with a similar reception in Warsaw, it is nevertheless worth a try. And so, my dear Langston, if you have a spare copy of the script I'd like to have you send it to me. I might find ways and means of getting it to some theatre directors here, and this couldn't possibly hurt you. Of course, the currency situation is even worse in Poland than in Czechoslovakia, so that you might even

have to be content with receiving your royalties in
non-transferable Polish currency. That wouldn't be
so bad, since if you were planning a trip to this part
of the world you'd have the wherewithal for a nice
pleasant vacation in Poland. And I needn't add how
delighted the Lieber household would be to greet you.
How about it?

Best wishes for a Merry Christmas and a
Happy New Year from all of us.

Writing Ph. D. thesis on Negro Renaissance writers (Warsaw Univ.):
Mrs. Minna E. Lieber,
Marszalkowska 10/16 m 71,
Warsaw, POLAND.

July 15, 1961

Dear Minna:

To my horror, in going through various boxes of accumulated mail
that has piled up unanswered during the past two years that I've been
travelling half the time away from home, I took down from a closet shelf
a big box marked TO ANSWER ON RETURN FROM TRINIDAD which had been up
there in the dark since 1959! I've just come across your letter telling
me you were planning to study for a Ph.D. in material relating to the
Negro Renaissance period in the U. S. A. and asking about books and things.
Well, if you are a fast worker, you probably have half your thesis done by
now! But anyhow, to answer or comment on your queries:

Did you ever hear from Arna Bontemps, Librarian at Risk? He could
tell you about what borrowing arrangements American libraries may
have. I myself don't know.

My own autobiography, as I'm sure you know, THE BIG SEA, has lots
about the Renaissance and its writers therein. It's out of print
now, very hard to find, but if you don't have it or cannot get it
from a library, I'll lend you one of my last two copies.

Margaret Just Butcher, I hear, has been quite ill off and on the past
few years, so if you wrote her and got no reply, that would be the
reason.

If you need material about me, I can of course send blog sheets,
extra clippings, reviews of my work, etc., that I have on hand, or
may come across as I go through files and boxes from time to time.
This past winter a bibliographer and a Ph. D. researcher have been
here a lot going through my material, so some of it is in fairly good
order for locating quickly. Perhaps both men could be of help to
you, as well as a Japanese student in Tokyo and a Ph.D. researcher in
Strasbourg. So here are their addresses:

Compiling complete bibliography of Langston Hughes:

Donald Dickinson, Librarian,
Bemidji College Library,
Bemidji, Minnesota, USA.

Doing Ph.D. thesis on short stories of L.H. (Columbia):

Mr. James Emanuel,
195 Hoyt Street, Apt. 4E,
Brooklyn 17, New York, USA.

Doing M.A. thesis on poetry of L.H. (Int. Christian Univ):

Mr. Takao Kitamura,
Chuo Univ., Suginami High,
164, Nakadori-Cho, Suginami-Ku,
Tokyo, JAPAN.

Has completed (I believe) Ph.D. thesis on Am. Negro Poets,
a portion about me having been published in French in U.S.A.
magazine, INFORMATIONS & DOCUMENTS No. 135, 15 janvier, 1961,
Centre Culturel Americain, 4 Avenue Gabriel, Paris 8e, France:

Prof. Jean Wagner,
83, rue du General Conrad,
Strasbourg, FRANCE.
*omitted lines of
my poems they don't
like; cut out.*

Perhaps you-all might exchange information and material.....And if I
can be of further help, let me know. Abject apologies for this very

belated reply! Best to Max and the family. Sincerely,

For
students

Maxim Lieber
Marszalkowska 10/16 m 71
Warsaw, Poland

August 6, 1962.

Dear Langston:

Early this past May I answered our doorbell and admitted a shy young man and a shier young woman who looked as if she was about to pop any moment. They turned out to be Mr. and Mrs. Lisowski. He informed me he had been asked by you to secure the rights to translate some of your poems. His spoken English was, to say the least, execrable, so that I was naturally astonished. He as- sured me, however, that he was a poet, that he was studying English by himself, and, with the help of dictionaries, translating American and British poetry. I was anything but sanguine, and told him I'd first have to see some samples of his work. I was surprised to have him tell me he had already had some of your things published. He was, as you see, extremely naive, and had no idea that he had to secure permission first and also make some arrangement for compensation.

Anyway, he and his very pregnant wife departed, and some days later I received an envelope full of samples of his translation of T.S.Eliot and one of yours, THE NEGRO SPEAKS OF RIVERS, already published as you see from the enclosed. Oh, yes, also The BRASS SPITTOON. His accompanying letter told me, among other things, "I am feeling very happy for my wife has borne me the daughter in the hospital." Well, there you are. The amazing thing about it all is that, despite his quite impossible English, he has done a most creditable job of translating your

half dozen poems. I answered him at once
and told him he was free to translate more
of your poems and if any of them were placed
he was to share all proceeds with you. As
of this writing I've not heard from him again.
I'll be writing him soon to find out what if
anything gives.

Meanwhile I enclose a check for 8 bucks
as your fee for ONE FRIDAY MORNING which ap-
peared in a Hungarian Year Book. If you
are able to read Hungarian which I ain't,
I'll be happy to send you the book.

How was Lagos? And how are you?

All the best to you as ever,

P.S.- I've been informed that another of
your stories, "On the Way Home," will be
published in an anthology of American short
stories, and some royalty may be expected.
The Hungarian agency tells me the story
appeared in THE FICTION OF THE FORTIES, pub-
lished by Dutton. Could you let me have a
copy of this anthology?

Maxim L Lieber

December 10, 1962.

Dear Langston:

The copy of your story of
the NAACP arrived toward the end of Sept.
while I was enjoying the leisure afforded
inmates of a hospital. Yes, the operation
of my water works was being "observed" by
a couple of the best urologists in Poland.
A damned stone had lodged in the urethra
and, without consulting me, decided it was
a nice and comfy place from which to cause
me hours of annoyance and occasional dis-
tress. In the end the urologists, much to
my amazement, decided against surgery (who
ever heard of surgeons foregoing the ecstasy
of cutting one open?), on the grounds that
the stone was lodged in a delicate place,
and in the hope it will ultimately be dis-
solved. We're all still hoping.

Anyway, this explains why I'm
so late in acknowledging the book which I've
since read with a good deal of interest. I
won't deny I've certain reservations. In
describing the Scottsboro case you get in
a lick at the communists by saying they were
seeking "to exploit the matter for their own
ideological purposes," which is precisely
the kind of attack levelled against commu-
nists by American liberals of the Slessinger
stripe. When they fought for social security
during the depression, fought against eviction
of poor tenants or farmers from their mort-
gaged farms, they were, of course, doing ex-
ploiting the issues for their ideological
purposes. I wonder whether deep down inside

of you you really believe this. Do you really
believe that people like Ben Davis, Bill Patter-
son, Claudia Jones, Alpheus Hunton, Ferdinand
Smith, Paul Robeson, and a host of others whom
I might mention, struggled merely to exploit
their ideological purpose? And you don't even
mention these true heroes in the class struggle.
Believ me, people in the socialist countries do
not share your conviction about these awful com-
munists, nor do many of the Negroes in the new-
ly liberated countries of Africa or Asia, who
pursue a policy of non-alignment or neutrality,
a policy which, if I do not misread U Thant's
remarks at Johns Hopkins as quoted in the N.Y.
Times, would seem to favor these bad, conniving
communists. And U Thant is a citizen of Burma,
a neutral country. But enough of polemic.

Did you receive that little check for
the Hungarian reprint of one of your stories?
What were your impressions of your journey in
Africa? Last but not least, how is your health?

And since Christmas is practically round
the corner, Minna and I wish you a very merry
one and a very happy, creative and peaceful
New Year.

as ever,
Maxim

September 4, 1964.

Dear Langston:

Many thanks for the brochure on
Du Bois, the Address delivered by the Rev. Wm.
Howard Melish at Accra. Ditto for the program
announcing your new theatrical venture.

And since one good turn deserves
another - if you'll allow me to coin a phrase -
I'm enclosing a tiny check, all of $14.40, which
represents your honorarium for the use of your
story, ON THE WAY HOME, in an anthology of Am.
short stories published in Budapest, Hungary.
I insisted that this royalty be paid in the U.S.A.,
otherwise you'd have had to come to Budapest to
spend the 300-odd Forints there. Now I'll ask
the publishers to send along a complimentary copy
of their anthology, not that you or I will be able
to figure out what the Hungarian have done with
your story.

Minna and I have been toying with
the idea of returning to New York. The main,
and I might add the only, hurdle is simply eco-
nomics: what chance would I have at my age to
maintain a family of four? Maybe you have a
solution????!!!

Minna joins me in best wishes to you

January 14, 1965.

Dear Langston:

It is good that Christmas is universally accepted as the season when good wishes are almost de rigueur; and so we are the happy recipients of greetings from our dear friend Langston.

That's a pretty shocking story you tell about the NAACP charging *you* for revisions *they* made in the text of your book. I never heard of such behavior, but then everything is possible in this best of all possible worlds.

As for wishing me back in New York to protect your interest, I can only say that "Barkis is willin'", and to tell you the truth, Minna and I have been seriously considering the prospect. BUT (and I capitalize this deliberately) the economic problem must be carefully weighed. Could I, for example, set up a literary agency that would provide the necessary do re me for the family? Or could Minna get a teaching position in the school system? If one or the other could be realized, we would be ready to resettle in the States, perhaps not in New York which is doubtless the most expensive spot. Minna would, as a matter of health, prefer a milder winter climate because she suffers seriously from a circulatory ailment that plays hell with her fingers and toes when the temperature fall below 60 degrees. Any ideas? Suggestions will be welcome and fully appreciated.

Meanwhile Minna joins me in wishing you a happy, peaceful and creatively productive New Year.

as ever,

March 26, 1965.

Dear Langston:

Even though the footnote you scribbled
at the end of your N.Y.Post column of Feb. 25th sounds
ominous (when are bombthreats not ominous?) it is a
comfort to get it as a sign that you are alive and
kicking. Is this column a one-shot affair or do you
appear regularly in the Post under some sort of con-
tract? Incidentally, I doubt the correctness of your
assumption that if DuBois were living today he would
ask the same questions he asked as a young man in
Atlanta. DuBois had learned the answers and no longer
need a "good Lord" to explain the meaning of the white
man's burden, the meaning of imperialism as expressed
at home against dark-skinned Americans, or abroad against
the Vietnamese, the Koreans, the Congoese. It is ap-
palling to read the New York Times reports of world
reaction to American bombing in Vietnam, to the use of
napalm and poisoned gas! How ashamed we Americans
must feel in the face of such barbarism. The yellow-
and black-skinned people of the world will never for-
get or forgive us for this. I can sense this person-
ally when Poles look at me in discussing the dirty war
in Vietnam.

Minna and I feel so uncomfortable in
this atmosphere that we are seriously contemplating
returning to the States. The problem we're now
studying is a purely economic one: Can Minna find a
decent job of teaching in some secondary school or
junior college, or can I get some kind of job in the
publishing industry? We've had just about enough of
our self-imposed exile and yearn to be back in our
country, however dismayed we are with all the evil
its Establishment is capable of.

Have you any ideas?

All the best to you as ever

Maxim Lieber

May 29, 1965.

Dear Langston:

Maybe you're right about staying in Europe, what with the Birchites, the Ku-Kluxers and the 57 varieties of reactionaries the climate in my home country seems to recall the McCarthy period (did it ever die out?). And yet there is a nostalgic tug at my heart, and my expatriation has begun to tell on me.

By some curious concatenation the N.Y. Times carried an account of a dispute between Lewis Mumford and T.H. Benton. It may be nothing more than pure coincidence that Benton hails from Kansas. Me, however, unlike those picketers, was, after all, an artist who had been exposed for some years to European culture and that of our Eastern seaboard, and might have been presumed to have some conscience. To think that he could attack Mumford for having the courage to get up at a function of the American Academy of Arts and Letters and tell his audience that those who are devoted to the pursuit of arts and letters "have a special duty to speak out openly in protest when human beings are threatened by arbitrary power: not only as with the oppressed Negroes in Alabama and Mississippi but the peoples of both North and South Vietnam who must now confront our Government's cold-blooded blackmail and calculated violence."

I had the impulse to write Mumford (I had known him when we were both "house-owners" in Sunnyside, Long Island before that famous depression) and applaud his public stand, but I've no address for him. I feel that people who dare to speak up today against the lawlessness of the South, against our destruction of Vietnam, against our invasion of Santo Domingo, all in the face of the concerted attacks of the "peace" President, Bundy, Rusk, MacNamara et al are to be encouraged. Unfortunately the voices of protest are still altogether too few, the writers and artists, "the conscience of the people," continue blithely in their disinterested fashion, and we still wait for Sandburg's "The People-Yes!"

All the best to you

as ever

November 28, 1966.

Dear Langston:

Although we received your card in
which you reported your wandering (and Wondering?)
all over Africa "reading poetry to humans and ani-
mals" (if it was chuckfull of symbols it may have
gone over the heads of the humans) a month ago, I
held off acknowledging it, for despite the plain-
tive note on which it ended - that Paris was chilly -
I suspected you weren't in a hurry to rush home to
that paradise offered by New York. Anyway, the pic-
ture on the reverse of the card seemed to be at odds
with your description - book-and-picture stalls over-
hung with leafy trees and Notre Dame in the distance
made Minna and myself nostalgic.

If you wondered as you wandered through
Africa the chances are that you've absorbed enough
fascinating and exciting material for another volume
of vivid memoirs. Right?

If my present plans pan out I'll most
likely be coming to New York in late May to visit
with friends and perhaps (at the moment a rather
weak "perhaps") do some research for a book of my
own memoirs. I'll probably stay through July. Will
you be around? I sincerely hope so, for it would
be a disappointment to miss seeing you.

Best wishes from both of us as ever,

January 7, 1967.

Dear Langston:

If you didn't receive a "Season's Greetings" card from us it was because it looked as if there'd be no more new years for me. Two weeks before Xmas I collapsed with a beatiful combination of kidney-gallbladder attack. And Minna told me only a couple of days ago that if I didn't conk out to the count of ten it was only thanks to the timely attention and truly wonderful treatment of the doctor who attended me.

Well, that's all behind me now - for the time being, and it looks as if my main and perhaps only anguish will come from the continued dirty war Johnson is carrying on against those valiant Vietnamese. I suppose you've been following the splendid reports by Salisbury in the N.Y.Times. He's really stirred up a hornet's nest.

From the photo you stapled to your two poems Minna and I decided that aside from a bit more fat round the jowls you look like your grand old self. That was confirmed when we compared this shot with an old snap of you and Minna sitting on the steps of the veranda of our house in Bucks County. Remember? A mere thirty years ago.

We enjoyed reading "Crowns And Garlands" and "The Backlash Blues" We, that is Minna and I, are all for Stokely Carmichael's Black Power. He's raised a winning slogan, and it should rally all the "Black, Yellow, Beige, and Brown" folks, for only through intelligent political action can the American Negro become a real American citizen. Not that some white-skinned Americans (about 700 indicted for draft evasion) are not fighting civil rights, freedom and democracy and an end to Johnson's war. And where is Ralph Bunche and some of his colleagues in all that? I think Bunche would make a tough mouthful to "eat."

Did I indicate in any previous letter that I might be coming to New York in May-June. If I do get there I hope you'll be around. I'd hate miss seeing you.

All the best to you for a happy, productive and PEACEFUL New Year from both of us

as ever

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.
Chi.

were still in print.... I remember trying hard to buck
the S&S sales department, which said it wasn't selling quite
well enough (although almost) to justify the large-ish print-
ing necessary to keep it at its low price.

We think of you often -- our other New York friends, too,
but you most frequently. This bucolic life makes most
city doings seem pretty remote, but not old friendships.

Affectionately, always,