MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC · NEW YORK

SUITE 609

545 FIFTH AVENUE
NEW YORK CITY

July 13, 1933

Dear Langston Hughes:

Several months ago Mrs. Knopf sent me your story *THE BOY ON THE BLOCK* with the information that you had asked me to represent you. I enjoyed the piece and promptly sold it to Scribner's, and I now hold a check for you. I wrote you this to your Moscow address but apparently you had already left Moscow for your trip to Shanghai.

This morning I received your letter of June 10, written on the Trans-Siberian Express. In accordance with your suggestion I have communicated with Louise Thompson and Johns of Pagany about those stories of yours in their possession. If Johns maintains his usual taciturnity, I do not expect any reply from him.

By all means send me all of your material. I shall be very glad to represent you, and perhaps in the future we may make an arrangement to include your books as well as your magazine work.

ML:AC

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

October 20, 1933.

Dear Hughes,

Of course, if you are determined to write five more stories with an inter-racial situation, Nothing I can do will stop you. But you may as well know that editors are frightfully squemish and will not welcome such pieces. Some of the smaller ones like Story and Hound And Horn may be possible markets.

To be sure I handle plays and if you are writing any, I shall be delighted to see them.

I shall correct Menuhin's name in your story "Blues I'm Playing".

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

January 3, 1934.

Dear Langston:

The lynching story ( I assume you are referring to "Home" )
has been to Scribner's, Forum, Harper's and Mercury. It is now with
the Atlantic, though I am naturally dubious of its staying there.

I'm glad to hear that you are going to send me other stories.
Mrs. Knopf would naturally want your pieces submitted to the Mercury.
I feel nevertheless that it is to your interest to let me handle the
sale of your material with no strings attached, since if I succeed in
placing stuff with Scribner's or Harper's I can get you much more money
than the Mercury will pay. I hope that it is your intention to let me
handle all of your work for book publication as well as magazine. This
again I feel would be to your advantage. Publishers have a way of be-
guiling authors with smiles and fancy teas for which they charge you
plenty by attempting to get cuts of all sorts of rights on your books.
I don't want to sound elementary, except that authors are usually naive
when it comes to business matters so that a publisher sometimes gets from
twenty-five to fifty percent of foreign rights, motion picture rights, and
everything they can hog unless an agent is on the scene to prevent the
plunder. Of course the publishers would be outraged to hear this, but ...

I'm also interested in the play you're working on and hope I can
count on your sending it to me.

Yes, I did see the ad in Esquire. It's a swell piece of publicity
and ought to help.

Office of
The Editor

8 Arlington St.
Boston, Mass.

THE ATLANTIC MONTHLY

January 8, 1934

Dear Mr. Lieber:

Why is it that authors think it is their function
to lay the flesh bare and rub salt in the wound? The
Langston Hughes' story is both powerful and delicate, but
we cannot forget that most people read for pleasure,
and certainly there is no pleasure to be found here.

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

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC - NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

March 20, 1934.

Dear Langston:

That's a fine idea about trying "Rejuvenation Through Joy" with the movies, and I've already told Paramount about it. The Brooklyn Eagle will be bringing it out soon now, so I'll wait and show them a copy of it clipped from that.

"Mother and Child" is still with the New Masses. I phoned to try to hurry them about it and they said they liked it a lot and were hoping to use it so we'll have to wait and see.

Incidentally the appearance of "Why You Reckon" in the New Yorker has caused quite a furor of interest, and several magazines including Harper's Bazaar and Woman's Home Companion (!) have asked to see stories by you. So shoot some more out to me when you get a chance, and we'll see what we can do.

Mr. Langston Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

April 5, 1934.

Dear Langston:

I've now read all of the Soviet articles and they live up to my high expectations. So I'll start my campaign to sell them right away. They all take more or less of a crack at capitalist institutions and therefore won't be any too easy to get across to the bourgeois magazines, but two or three of them seem to have definite possibilities of breaking through. My feeling about such things is that it's better to get them into the big bourgeois publications to give a glimmer of what its all about to a large audience than to sell them to already radical publics. So I'll try the big boys first and hope for success.

The New Masses have decided to use "Mother and Child" but they want to end it on page 7 just before the italic line "ring a golden bell". Since there is so little time left before the book comes out I've taken it upon myself to authorize them to do that rather than wait for the transcontinental mails. That winds up all the stories except "Red Headed Baby" on which I fear we'll have to give up. It's been declined by Mercury, Scribner's, Story, Harper's, Esquire, New Masses, and Abbotts.

Mr. Langston Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

April 19, 1934

Dear Langston:

I hadn't answered your letter of the sixth because I was hoping to have good news for you every day on some of the Russian articles, and now I have it-- at least about IN AN EMIRS HAREM. The Woman's Home Companion is buying this for no less than $400--Whoopee!! and check will be along shortly. The only trouble is that they cannot use it until their November number, published October twentieth. I have told them that we can delay book publication until after that and so I urge you to agree with this. Not only is $400 probably more than you will get from the royalties from the book, but this means that other magazines will be more apt to succumb to other of the articles you have sent me. These big paying publications schedule much farther ahead of time than the smaller ones and I do hope that you give me time to do a good job on these articles, instead of rushing me the way you did with the stories.

FATHER AND SON arrived alright and is already with Abbott's Monthly for consideration. I hope to have news for you on some more of the Russian articles soon. Just now they are all over the lot for consideration.

P. S. Do you happen to have a snapshot of the heroine of IN AN EMIR'S HAREM? Woman's Home Companion is getting most of the photos from Soyuzphoto. But it occurs to me that a portrait of the lady in question would give it a nice human touch. Please let me know about this as soon as you can and also about how long you can defer book publication.

P. S. Yes, we do collect from Dashiell's Editors Choice. Long & Smith went on the rocks and I think the book is being taken by Farrar and Rinehart. It is still in the air but I will let you know about it soon.

Mr. Langston Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC • NEW YORK

July 17, 1934.

Dear Langston:

Apparently the copy of your letter to Blankfort went airmail because your note of the 12th, in which you threaten to enclose Blankfort's copy has just arrived. Again I repeat I shall be glad to handle the play for you and Ella Winter. And should the Theatre Union for one reason or another fail to show the necessary interest I'll make every effort to arrange for a production elsewhere. Having just arranged the production of Grace Lumpkin's TO MAKE MY BREAD with the Theatre Guild, I might even persuade them to do your play but I'm speaking out of turn now.

And don't worry about Russian rights until we come to it. As a matter of fact, all royalties on foreign productions are shared in by the American producer. This is according to the Dramatists' Guild's contract.

Mr. Langston Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MURRAY HILL 2-4337

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

July 23, 1934.

Dear Langston:

I suppose that things are tough but somehow
one never thinks in the terms of personal equation. I
hope nothing happens to you and that what you suspect
might happen was only an idle rumor. I shall naturally
keep silent about it and will of course be glad to store
any scripts you send me. Should you move from Carmel
keep me posted concerning your forwarding address.

I enclose a copy of a letter we have received
concerning your BALLAD OF ROOSEVELT. I assume you have
a copy of the poem. Will you let me know if you intend
following Cowley's suggestion? I should inform you
that the ballad has been to quite a few magazines inclu-
ding the New Masses so that if the New Republic offers
an opportunity of publication it may be well to take it
up.

Mr. Langston Hughes

Box 1582,
Carmel, Calif.,

August 9, 1934.

Maxim Lieber,
545 Fifth Ave.,
New York, N. Y.

Dear Maxim:

A friend of mine in Hollywood whose brother is con-
nected with one of the studios has just written me to say
that while reading my book, she was immediately struck by
the motion picture possibilities of "Rejuvenation Through
Joy", and says that she knows an agent there who might be
able to place the story with one of the studios. Would
this be O.K. by you? Or is there still some possibilty
of doing something with it in New York? And how would
my selling the story be with Knopf, since they own the
movie rights and share, I believe, fifty per-cent of the
purchase price with me.

I have just written Michael Blanksfort that the play
was on its way to you, and that you would submit it to
them. I have also written Paul Peters, who is a friend
of mine, and asked him to read the script and give us his
comradely criticism.

The New Masses owes us now for both a story and an
article, but it is alright if they cannot afford to pay.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

October 12, 1934.

Dear Langston:

I've just gotten your wire; when you sent me your article I took the liberty of sending it to the Mercury first thinking they might want it. Unfortunately, they declined it and then I followed your instructions by sending it to the masses where it is being considered at present.

I think you'll be glad to know that SPANISH BLOOD has been taken and I believe, is on the stands at present in the first issue of Metropolis, "New Jersey's Distinctive Weekly". They pay 3¢ a word (for distinctive writers!) or rather I persuaded them to offer that after they'd asked for you at 1¢ a word! When the check comes through I'll be sending you the shekels.

Thanks for the copy of NEW PEOPLE which I shall start on the rounds again. I talked to Margaret Larkin and she said she hoped there would be a chance for your ballad to be included in a revue that Paul Peters and George Schlaar (?) are doing and which the Theatre Union will presently consider. I'd like to see DEATH IN HARLEM set to music, too.

521 Elko Street,
Reno, Nevada,
"The Biggest Little
City In The World,"
November 3, 1934.

Dear Maxim,

Your recent kind letter received—but just as checkless as it can
be—and authors must eat! This particularly author must also send
money home to pay the rent of a family that strangely enough insists
on _not_ going on relief, having a son who is a "great" writer—al-
though I am about to go on relief myself. Not wishing to rush you
at all, but do you suppose you could maybe sell some of my Soviet
articles to the colored papers, CHICAGO DEFENDER, DEBATE, anybody
for seven or eight bucks so that I might with complacency greet my
landlady, until TRAVEL, METROPOLIS, or Death In Harlem bring in a
few dollars?

I have a half a dozen new stories all ready for you but the copying.
Most of them, however, are not very "commercial" in theme, leaning
mostly to the left, so they will probably end up in THE NEW MASSES
or THE ANVIL. Therefore, I have hit upon an idea. Tell me what
you think of it: to do every week one story with sentiment, love,
romance, and a happyending, _under a penname_; the race, the colored
race, conspicuous by its absence, and no problems involved except
the all-eternal problem of LOVE. Maybe we could even sell them once
in awhile to the movies. I have in my note book a number of themes
that do not need color or Negroes to make them true, and that could
work up into good American short stories about ladies and gentlemen.
I have already put down a couple and find them easy and amusing to
do, and probably salable. Would you be willing to handle them for
me? Give me your opinion on the project? And not tell anybody about
it? Etc. Wallace Thurman, as you probably know, has made a fairly
good living for years doing True Stories about people 20 shades lighter
than himself, writing under various names. Since I must make a living
by my pen—typewriter, to be exact—and since the market for Race
and Russian stuff is distinctly limited, I see no reason why I should
not weekly turn to LOVE, and Love in the best American Cussassman 100%
slick paper fashion. Do you? I shall await your reaction, and ad-
vice.

I suppose you have received by now a story called BIG MEETING that I
sent you last week.

Also I see that my article on Tamara Khanum has appeared in the THEATRE ARTS MONTHLY, and I wonder if you would do me a very great favor in regard to it. Since I cannot buy the magazine out here, would you kindly ask them (or your office) to send a copy to Tamara Khanum herself so that she can see what I said about her. The address is:

TAMARA KHANUM, UZBEK MUSICAL THEATRE, TASHKENT, UZBEKISTAN, U.S.S.R.
marking the page number on the front so she'll know what it's all about,
as she does not read English, but can get it translated there. Deduct
the cost from your next check due me—if they charge you for it.

Sincerely,

Mr. Langston Hughes
521 Elk Street
Reno, Nevada

December 5, 1934

Dear Langston:

I laughed myself sick reading three of Mr. David Boatman's stories and I can't for the life of me see why we couldn't kill off that rascal and why you couldn't plagiarize his stories and substitute your name instead of Boatman's.

In other words, I feel that EYES LIKE A GYPSY'S, HELLO HENRY, and
A POSTHUMOUS TALE certainly do you credit as a writer. The fourth one,
I could see was written with your tongue in your cheek. I'd readily
consent to having Mr. Boatman be its author.

I am rushing this letter out to you by airmail before I begin
selling the stories so you may consider the advisability of using
your own name and getting full credit for three humorous stories,
perhaps as good as any humorous stories I have read recently.

Langston Hughes

Recopied Dec. 13, 1934

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

December 24, 1934

Dear Langston:

I have your letter of the 19th, and by the time you get this note, you will have had my others of the 15th, 17th, and 18th, and our record will be complete.

I shall get the Boatman stories started, and will use my own discretion as far as name is concerned. I am completely at one with you when it comes to selling the stories. But if I go to an editor with a story by Boatman, it would't be half as effective as if the same story would be signed by Langston Hughes. That's a very curious psychological reaction on the part of editors and for that matter, on the part of many readers. They are impressed by names. And editors have had yours swinging past their eyes enough times to have some sort of impression in respect to it, whereas Boatman is a nonentity. So if you're interested in having these stories sold, leave me enough rope to hang myself.

DEATH IN HARLEM is giving me a hell of a lot of trouble, much to my chagrin. It's a perfectly swell ballad, at least I like it, but apparently its length seems to disturb most of the editors who have seen it. At least, so they've told me. It's been declined by Esquire, Vanity Fair, New Yorker, Harper's Bazaar, Redbook, Harpers and Scribners. I shall probably have to begin the round of regular poetry magazines. As for your piece on the Vigilantes, when it had been declined by Mercury, I

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135-3136

CABLE: FERENC - NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

June 11, 1935

Dear Langston:

As one of your warmest admirers I would hate to see you in
a padded cell, but what hope can there be for you if you persist in be-
lieving that the pieces you are translating are representative of the best
that the Mexican authors are capable of. Without wanting to throw any bou-
quets at you, I would say that not a single one of these people, judging by
the work you have sent to me, can hold a candle to you. You take that piece,
for instance, by Alatorre. It is very badly organized, beginning with the
wedding and tracing back to his youth to establish his cowardice, the story
ends with a tricky ending, a mechanical device of which our O'Henry was a
master but of which Alatorre is just a plodding pupil. The two Muñoz pieces,
I admit, are superior but at best they are just sketches, especially the one
about the Soldaderas. As for the Compobello sketches, they are, in my opinion,
inadequate, though they do show some talent.

Well, thank God you are out of Mexico and will be able to turn
to your own work instead of translations. And please do not put the cart
before the horse. If you will write me a masterpiece, I promise to get your
fare to New York and perhaps enough for you to eat on while in transit. How
about it, Langston?

Mr. Langston Hughes
10310 Wiegand Avenue
Los Angeles, Calif.

Box 1582,
Carmel, Calif.,
July 9, 1935.

Dear Maxin;

Had hoped to be in New York by now to talk with you about this matter
of children's books, but the sad fact is that I'm still right here
a block from the edge of the Pacific. Anyway, here goes:

L. Arna Bontemps and I plan to develope BON BON BUDDY into a series:
BUDDY AT THE FAIR, BUDDY IN THE BIG HOUSE, BUDDY GROWS UP,
etc., and would like you to handle all of them for us, both
as regards book and serial rights.

2. Macmillan had one option to be filled by us in the juvenile field. On the urgent advice of Louis Freedman, their West Coast representative who says that they are short on juveniles for their fall-winter list, we have air-mailed them a draft of THE PASTEBOARD BANDIT, our Mexican story. _Thus fulfilling our option._ An I right about this?

3. Which means that you can now submit BON BON BUDDY for book publication elsewhere, which we would be happy to have you do whenever you think it wise. (Question: But perhaps we should await the Macmillan decision on the Mexican story. _Should we or not?_ Or does that make any difference?)

4. In case Macmillans turn down THE PASTEBOARD BANDIT, thus terminating their option with us, we would like you to handle all our children's books. Perhaps submitting BUDDY there, which they might like better than our Mexican story.

5. In case Macmillans accept THE PASTEBOARD BANDIT and wish another option, Arna and I will fill it by offering them a book we have already more or less promised them months ago: and that is a child's story of Russia which they requested of me when I was in Moscow. And in case I go to Spain, should I do a child's story there, or one about North Africa, I might continue to submit to Macmillan's all our joint work with a foreign background, that is, should they continue as our publishers. But in any case, always leaving all the handling of the BUDDY books to you.

6. All the above refers to the joint work of Mr. Bontemps and I. In regard to our individual work alone in the children's field, Arna has an unfulfilled option with Morrow's, and I have one with Knopf's---which I think I shall shortly satisfy with a Negro fairy tale. Afterwhich you can handle all my work in that field. Meanwhile, both Arna and I wish to consult you and have your advice and guidance in regard to juveniles, and certainly we do not wish to glut our own market. So you will always know of everything that we do, and can space and guide your marketing of our books accordingly. As soon as I learn the Macmillan reaction on the XXXXXXXXXXXX PASTEBOARD BANDIT, I will let you know, so that you may use your own judgement as to its effect on the Buddy book you now have.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 11, 1935

Dear Langston:

These scorching days you are indeed fortunate to be just a
block from the edge of the Pacific. New York is a hot place to keep away
from and if you won't take my word for it, I will have the sworn statement of
at least one of the young ladies in this office who is just wilting away
as she writes you this note. Now to answer some of your questions.

I am delighted to learn that you and Bontemps are going to
develop BON BON BUDDY into a series. If one goes there is every reason to
believe the others will. But before starting the series I would await the
publication of the first and see the way the wind is blowing.

If Macmillan's had an option for one book which had not been
discussed with them, then I assume that sending them THE PASTEBOARD BANDIT
is all right, since they have no knowledge of BON BON BUDDY.

Assuming that Macmillan's accept THE PASTEBOARD BANDIT, then
what is to be gained in submitting BON BON BUDDY to another publisher. One
of the important factors in publishing from the author's point of view is the
concentration of his work on one publisher's list. It means that this par-
ticular publisher makes a concerted effort as well as a continuous one through
his sales people in promoting an author's books. If you go with a second book
to a new publisher, he is never interested in promoting the first book pub-
lished elsewhere. This is elementary, me dear Watson, and any little child ex-

cept BON BON BUDDY'S papa would know that. Ergo, Gobbo Launcelot, my ad-
vice is not to rush off half-cocked and offer BON BON BUDDY until we have
Macmillan's decision.

If Macmillan's do turn down THE PASTEBOARD BANDIT and thus seal
their death warrant as far as obtaining more splendid books from the dis-
tinguished Hughes-Bontemps atelier, then I say unto you, let's wander else-
where into greener fields. And while we are gamboling about, what's the
matter with our friend Alfred Knopf. He publishes some juveniles and since
he already has some of your work on his lists, he will be apt to want your
juveniles, unless you have had a previous understanding with him.

I say three cheers for your child's history of Russia. I think
such a book would go over big with Macmillan's or any other publisher.
Similarly with a book on Spain, and it goes without saying that I would
feel privileged to handle the sale of these as well as the forthcoming
BUDDY books.

You seem to intimate that all is not well with Knopf. Have you
had a falling out somewhere or is it just your way of taking it for granted
that Knopf will not want to continue to blend their destinies with yours, eh
verily what a blending!

A word about serialization. The juvenile serialization market is
extremely limited. Even so, or all the more reason for that, you have to
allow a sufficient lapse of time between serialization and book publication.
A brief serial may run in three issues of a monthly magazine. On the other
hand, a longer serial may take more time.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 26, 1935

Dear Langston:

JUICE OF THE CANE, THE SURVIVOR, and THE PROTECTOR are free if you wish to give them to the Pacific weekly. CRY OF WARNING, however, is at the Partisan Review and we are not yet certain whether it will be used. I will let you know as soon as we hear.

If your mail has been forwarded to you, you must by now of the good fortune that struck you, or struck us all. Anyway, I sold SHOT INTO SPACE to Esquire.

What the ding-ding do you mean by saying that the Pacific Weekly has some influence and that it helped greatly in getting Tom Kromer's book published. I want to say to you and to the whole world that I myself did it with my little hatchet, and even Kromer will vouch. Don't you know by now that I am the little miracle-man of the East?

Mr. Langston Hughes
 care of Arna Bontemps
10310 Wiegand Avenue
Los Angeles, Calif.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

July 30, 1935

Dear Mr. Hughes:

Literary America has accepted the revised version of NEVER ROOM WITH A COUPLE. I believe we have told you already that of the four Mexican stories the Pacific Weekly wanted, three of them, that is JUICE OF THE CAIN, THE SURVIVOR, and THE PROTECTOR, were free; but the Partisan Review is using CRY OF WARNING in this month's issue.

Thanks for the information about Munoz which we are sending along to Esquire. They saw and rejected GOLD, HORSE, AND MAN, to our surprise, for it is a much finer story.

I believe that Lieber, who is not here today, has answered all your other questions about the Hollywood agent, and lecture dates.

Mr. Langston Hughes
10310 Wiegand Ave.
Los Angeles, Calif.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

August 2, 1935

Dear Langston:

I've communicated with the lecture agent and confirmed the October tenth date at the University of Minnesota. I've also given her your address so she can get in touch with you to make arrangements with the Chicago people, etc.

Good Housekeeping's rejection of BON-BON BUDDY (see the attached note) just about finishes off the chances of magazine publication, so it goes down to Macmillan pronto. The consensus of opinion seemed to be that it was too young for adults and too old for the young 'uns.

By all means, send along the stuff by your prize-fighter boy. I'd be ready to risk a right to the jaw any day if I thought he'd turn out to be a writer of genuine promise.

The American Spectator has just accepted your short piece, HEAVEN TO HELL, but don't rejoice too soon for they pay on publication, which won't happen until late this month, and at the rate of 1¢ a word. I hope the new stories you promise to send me are the kind that can be sold for nice fat prices to some nice prosperous magazines.

With best wishes,

Mr. Langston Hughes
Clark Hotel
1820-24 So. Central Aven.

Los Ang

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

September 9, 1935

Dear Langston:

I have just received your letter of the fifth and I
am happy to see you have come as far East as Ohio. Any one of these
days I expect you to be popping up at this office. But unless you
do so soon you will find me gone, for I expect to be leaving for Lon-
don fairly soon. Of course, I assure you, you get a warm welcome from
the remaining staff. In the meantime I send you three checks, one
for the reprint of BIG MEETING's Fiction Parade, another for HEAVEN
TO HELL bought by the American spectator, and the third for the re-
print of SPANISH BLOOD. This last will probably be a shock to you.
You may recall that about a year ago I sold a story to a new magazine
called Metropolis. The dogs went into bankruptcy after the first
issue, paid no money for any of the material they had bought, and I
was involved in a law suit trying to collect from them. The sale of
SPANISH BLOOD as a reprint, therefore, gives you some return.

ETHIOPIA MARCHES ON! went forward to Mr. Handy, and he
apparently gave it immediate attention, if I am to judge by the letter
he sent you, a copy of which came to me. Since you may not have seen
the original, I inclose the copy for your attention, so you will see
how matters stand. BON BON BUDDY is with Knopf, who are giving it their
consideration. If nothing happens, I shall certainly take the script to
Miss Massey, where it is likely to get a warm reception.

Mr. Langston Hughes
212 S. Pleasant Street
Oberlin, Ohio

from
MAXIM LIEBER
545 FIFTH AVENUE
NEW YORK CITY

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC - NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

September 12, 1935

Dear Langston:

I am writing to Handy to persuade him that he's either to give us a contract for the publication of the song now, or we will try to peddle it elsewhere. This is frankly a field I have little experience in and I hope I don't bungle the matter for you. I shall try to find out the name of the company marketing the picture of Selassie and whether they would be interested in a song.

GET OVER, JOHN is an amusing piece, but not quite a story, according to editorial opinion. I shall however try to sell it.

The Armstrong stories are not bad, neither are they too good. In my opinion they are a bit crude and unfinished; despite this, they're infinitely superior to many of the Mexican stories you sent me. I shall write Armstrong and try to set him straight. Some of the pieces I shall hold for marketing.

I assure you I cannot tell you precisely when I am sailing, for this is a deep secret between God and myself, and even I am a little in the dark. And even if I knew, I

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

October 29, 1935

Dear Langston:

Perhaps Mr. Munoz will be interested in the in-
closed, sent on from Esquire. I certainly am, and I think
that we could sell Knight Publications a book, if Munoz had
one ready or had one in mind. Why don't you let me know how
to communicate with Munoz direct, unless you prefer to keep
him behind the scenes.

How is the play making out, and will you be get-
ting fat royalties?

Mr. Langston Hughes
Vanderbilt Theater
148 West 48 St.
New York City

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

December 2, 1935

Dear Langston:

Let alone your own trials and tribulations, I must add to them by having you translate the Munoz correspondence. Well, you did bring it on yourself. I have written the gentleman that if he has any quarrel, he must seek it with de Castro and not with you, and if worst comes to worst, you can always count on me as your second. Do they use pistols or swords in Mexico? Please remember I have some engagements, however, that will keep me in this country for the next sixty years.

I am sorry to learn about your troubles with the American Play Company. Box office statements are due every week; the American Play Company should insist on them. Unfortunately, I cannot see my way clear for stepping into the picture. If, however, you authorize me, I shall do so come what may. From a reading of Variety I doubt if there will be any money for you, for I judge the play has not made over $10,000 since it has been running, which means that you $500 advance has not been earned. I assume you have received the $500 advance.

Mr. Langston Hughes
212 S. Pleasant St.
Oberlin, Ohio

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC - NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

December 9, 1935

Dear Langston:

Of course I shall be happy to handle your new play and I am glad you decided to send it on to me. If I like it, I shall not hesitate to have six copies typed in the best play script manner. Are you sure, however, that your agents, the American Play Company, have no hold on you? You doubtless must have signed some kind of agreement with Mr. Rumsey. I cannot understand why he has been so lax in not sending you prompt information. On the other hand, you can rest assured that Variety usually increases the box office gross, so that their figure of $9,000 would probably be about $6,000 to $7,000. Even at that, you misinterpret the contract which, if you will examine it, will show you that the five, seven and a half and ten percent is based on each weekly box office gross. In other words, if your play should gross less than $5,000 per week, you would never get beyond the five percent royalty rate.

And you know, again, you were a little premature in engaging a lawyer. That will only set you back financially, and I would have been glad to see Mr. Rumsey or your producer without a legal fee. All you have to do is to send me authorization for this action, as I intimated in a previous letter. You are one of God's children all right - terribly naive.

And this brings me to another painful subject, Hollywood business. All along I assumed that in representing you I had full charge of Hollywood, and as a matter of fact my Hollywood agent lists you exclusively. Now you come along and tell me that Ivan Kahn is your Hollywood agent.

<table>
  <tr>
    <td>ADDRESS</td>
  </tr>
  <tr>
    <td>YOUR MAIL</td>
  </tr>
  <tr>
    <td>TO</td>
  </tr>
  <tr>
    <td>STREET AND</td>
  </tr>
  <tr>
    <td>NUMBER</td>
  </tr>
</table>

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

December 20, 1935

Dear Langston:

I just had a very pleasant chat with Rumsey of the American Play Company, and I learned that the fault lies at Martin Joneses' door, who have consistently promised and just as consistently broken their promise of showing Rumsey box-office statements. Rumsey assures me he cajoled and threatened and even went down to the Dramatists' Guild. He finally received statements up to the week ending December 14, showing a balance in your favor of some $85. These statements were forwarded to you yesterday to Chicago. Now Rumsey is going to attempt collecting the money due you, and this will no doubt be much more difficult than getting statements.

On the whole, I am inclined to believe what Rumsey has told me. His chief fault was neglecting to write you, but then you will find few agents as prompt as I am. I am now sending you your original and a new typed script of "LITTLE HAM". It looketh very neat and in its present dress seems to achieve full length. I am sure you will enjoy reading this very delightful comedy by one of America's great humorists, Langston Hughes, who I hope is a fellow of your acquaintance. And don't you worry your head about making any technical changes in the script such as you suggested. There will be plenty of time for that when we get around to a production.

With best wishes for a Merry Christmas,

ML:CMB
ENC. "LITTLE HAM"

Mr. Langston Hughes,
212 S. Pleasant Street,
Oberlin, Ohio.

212 S. Pleasant Street,
Oberlin, Ohio,
December 28, 1935.

Dear Maxim,

Since the promised check from the American Play Company has not yet
arrived, and the last mail for the week is in, I have written as per
the enclosed to the Dramatists' Guild asking them to aid me in the
matter of collecting from Mr. Martin Jones and MULATTO, and in re-
ceiving regular statements and checks when due. I would appreciate
it if, as my personal representative in New York, you would inform
Mr. Rumsey of my action, and also perhaps Mr. Arthur Spingarn. I
have belonged to the Dramatists' Guild and am a member of the Authors' League
for several years and this is the first time I have ever had occasion
to ask assistance of them, so I hope they come through with something
spendable.

2.

TINY, being large and sweetly dark. She said she would like her agent in Hollywood to see a copy, and gave me his address. I seemed to have neglected to get the first name, but it is Mr. McQuarrie, 8905 Sunset Blvd., Hollywood, California---in case you think it wise to have them see a copy. Miss Beavers said that there was a demand in Hollywood for Negro material, several good colored artists being under contract until there with very little to do for lack of proper material, and that the studios were sympathetic to such material just now.

I will write Mr. Trounstein at the time that the play is sent on, or perhaps before. Since he has placed two books for Mr. Bontemps, and gotten him good advances, Mr. Bontemps doesn't feel that he ought to change, although I told him you were the best Literary Representative in the world, and that you could probably even much sell his short stories—which Mr. Trounstein has so far been unable to do.

What is happening to BON BON BUDDY, our child's story?

This has been a hard year. If in 1936 I do not make my board and keep, I shall withdraw from the business of authoring and try to take up something less reducing to the body and racking to the soul. I'll just let ART be a sideline, like it used to be in the days when I was a bus boy and was at least sure of my means.

First, however, I shall write an opera! With Mr. Grant Still, who writes me that he has a number of melodic ideas for a situation which I outlined to him out in Hollywood, and that he is nowing waiting for some parts of the libretto I promised to send him (before I got mixed up with MULATTO and my mind was distracted). That's why I need my $126 so that I can work out the idea in January before I take up the Guggenheim and have to get busy on the novel. It's an idea I haven't unused on the American stage so far as I know, and Still, who used to be Paul Whiteman's arranger and who's music more recently was played by Philadelphia Symphony, has a fine sense of music-theatre, and I think what we would do might be good. Do you know anybody who wants to buy a piece of opera in advance? I'll sell 'em ten per cent of my rights in the libretto for $200 right now. This is a perfectly serious and ligetimate proposition. I ought to get it done while Still is in the mood for composing. Mr. Moe of the Guggenheim thinks he is among the very best of the modern composers. Find me a patron of the Arts for January, will you?

(You're the one who offered to handle all my business!)

70

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

January 2, 1936

Dear Langston:

This is a reply to your raft of letters from the 28th to the 31st of Dec-
ember inclusive. First of all, I retract the position I took in my last letter to
you wherein I advised you to waive royalties. I was wrong and you are right in
maintaining your point of view. Mr. Jones is quite impossible and the more I study
the case, the more convinced I get that he should pay up or ring down the curtain.
Of course you understand that if he is forced to ring down the curtain, you will
never see a copper of the money due you because Jones incorporated and the corporation
will show liabilities, but no assets. So at best you will get a judgment which you
may be able to frame and keep over your mahogany desk.

I have just been speaking with Mr. Douglass. He also is of the opinion
that Jones should be made to pay or close up. He is writing Jones today to put the
whole business on record and will then communicate with you. After Jones replies,
however, I will keep after Douglass so that he will keep after Jones. Aren't we
having a grand time?

LITTLE HAM has plenty of possibilities. I think I shall try to get the
maximum value out of the script, but you know how long it took you to get your
ill-fated MULATTO on the stage. I am just giving you this for my alibi.

BONBON BUDDY is languishing at the Viking Press. Due to the fact that you
yourself felt Miss Massie would be interested, I gave her the script. She seems to
be the busiest woman in creation and has a dozen excuses for not being prompt. I
guess I will have to be more severe and insist on an immediate decision.

-:2:-

Gosh, Langston, you will have me in the antique business or in Uncle Moe's Loan Shop! Now it's an opera. What next, pray? Seriously speaking, this request of yours comes rather suddenly, and I must beg you to give me some time to weigh the proposition. If you won't get impatient with me, I may surprise you by finding a backer. In the meantime, I suppose it would help me if you gave me a brief digest of the opera, since I could not just run up to a prospect and sell him a slice of something without knowing myself what it was, though I dare say that is the best type of salesmanship.

I do wish I could sell one of the two stories I have, but I begin to suspect it will be quite impossible. The long poem is now at Esquire and maybe Mr. Gingrich's heart will reach him.

With all good wishes,

Sincerely,

ML:CMB

I'll confer upon you a decoration. You have just about saved one member of the colored proletariat's life.

I am off tomorrow for Chicago where I have booked two lectures (at cut rates) to sustain myself while there gathering material for the novel which I shall do on the Guggenheim, and perhaps working on the opera libretto that I would like to finish before I sail.

If you still have occasion to talk to Mr. Ramsey, kindly ask him if he will please answer Mrs. Jelliffe's letters asking whether or not she can get to the rights to MULATTO for a Gilpin Players production in Cleveland. And since Mr. Jones has not taken up the foreign rights to MULATTO, ask him to send a script to his agent in London, if he has one, and also to Moscow. Managers in both cities have written me in the past for plays. A European agent might be able to place MULATTO there. In London with one of the experimental subscription theatres. I cannot now locate the letter I once had from one of them asking for a Negro play.

Thanks a lot, Maxim.

Sincerely,

-:2:-

light shed on this delicate subject.

I am glad you let me have Carl VanVechten's statement on LITTLE HAM.
In consequence, I at once got a copy off to Norman Bel-Geddes. I shall next
offer it to the other two likely producers VanVechten mentioned, since they
are decidedly worth while.

Finally, I enclose a check for $45. This is in payment for the first
fifty lines of your poem LET AMERICA BE AMERICA AGAIN. That is all Esquire
wanted. If you have no objections, pocket the check and that's that.

With best wishes to my most errant and charming withal friend,

ML:CMB
ENC.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

February 3, 1936

Dear Langston:

I have just received your one-act playlet SCOTTSBORO LIMITED and shall give
some thought to your bright idea concerning the possibility of combining this with the
other two one-act plays into either one book or three separate little brochures. This
will take me some time, but I shall keep you informed of what happens.

Emjo Basshe is not going to do the dramatization of NOT WITHOUT LAUGHTER, after all. He had thought of doing it in order to provide a play for the Negro Theatre, which is now part of the W.P.A. project, but the majority of the group were against the idea and Emjo did not feel, therefore, that he could speculate.

Bob Kincaid promised faithfully to send me the $50 due you for your prize play. I was to get it last week. Apparently promises are very cheap. Since I would feel your loss dreadfully and moreover would not care to have your death due to starvation on my conscience, I am enclosing a small check.

I have just come away from a conference with Miss Rumsey and Mr. Jones. He is, without doubt, a most despicable fellow. Even Miss Rumsey was annoyed when he flung about the office cheap epithets concerning you. The up-shot of our conference was that Martin Jones promised either to send half the money due or all of it to the Dramatists Guild. Now, the reason he said he would send the money to the Dramatists Guild was because he assures me he was served with a summons or lien against your account. I called up Spingarn to find out whether he knew of anyone who would be taking action against you, but Spingarn could not help me. Will you be good enough to inform me if you know of any creditor for

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

February 4, 1936

Dear Langston:

In reply to your wire I sent you one advising you against acceptance of the new offer made by Jones. I am thoroughly incensed by the chicanery of this unprincipled creature. As you will learn from my letter of February 3, he was to give us a decision with regard to one of two alternatives and now he has the cheek to come with an altogether different offer. I advised Miss Rumsey of the position I urged you to take. I was so burnt up by Jones' trickery that I fear I was a bit short-tempered with Miss Rumsey. The up-shot of it was that she sent him a letter, a copy of which is enclosed.

I am very happy to learn that you did not put your foot into it by answering Miss Rumsey, but instead consulting me with regard to the next step. I made it plain to her that you had no confidence in anybody else and frankly pointed out that her uncle had failed to communicate with you after repeated requests and consequently you would not commit yourself to any propositions she made on behalf of American Play. She recognizes the justice of this situation and will henceforth turn over all proposals to me for consideration.

With best wishes,

ML:CMB

Mr. Langston Hughes,
c/o Bontemps,
731 East 50th Place,
Chicago, Ill.

(copy of letter from Miss Rumsey to Mr. Jones)

Dear Mr. Jones:

When you left my office yesterday you said that in a half
hour you would let me know whether you intended paying the total amount of
royalty due Langston Hughes for royalty on "MULATTO" or whether you would pay
half of it now and waive paying the other half until the play was on a paying
basis. Later on in the day Mr. Haas called on the telephone suggesting a third
proposition, which was to pay half of the royalty now due and to waive paying
the other half entirely. I told Mr. Haas I would wire Mr. Hughes and then let
him know our answer. I did this, and now must advise you that Mr. Hughes will not
consider waiving any part of the royalty. We there fore must insist that the
royalty be paid in full to date within twenty four hours after the receipt of
this letter.

ALL MESSAGES TAKEN BY THIS COMPANY ARE SUBJECT TO THE FOLLOWING TERMS:

To guard against mistakes or delays, the sender of a message should order it repeated, that is, telegraphed back to the originating office for comparison. For this, one-half the unrepeated message rate is charged in addition. Unless otherwise indicated on its face, this is an unrepeated message and paid for as such, in consideration whereof it is agreed between the sender of the message and this company as follows:

1. The company shall not be liable for mistakes or delays in the transmission or delivery, or for non-delivery, of any message received for transmission at the unrepeated-message rate beyond the sum of five hundred dollars; nor for mistakes or delays in the transmission or delivery, or for non-delivery, of any message received for transmission at the repeated-message rate beyond the sum of five thousand dollars, unless specially valued; nor in any case for delays arising from unavoidable interruption in the working of its lines; nor for errors in cipher or obscure messages.

2. In any event the company shall not be liable for damages, or mistakes or delays in the transmission or delivery, or for the non-delivery, of any message, whether caused by the negligence of its servants or otherwise, beyond the sum of five thousand dollars, at which amount each message is deemed to be valued, unless a greater value is stated in writing by the sender thereof at the time the message is tendered for transmission, and unless the repeated-message rate is paid or agreed to be paid, and an additional charge equal to one-tenth of one percent of the amount by which such valuation shall exceed five thousand dollars.

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THE WESTERN UNION TELEGRAPH COMPANY
INCORPORATED
R. B. WHITE, PRESIDENT

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Accepted up to 2:00 A.M. at reduced rates to be sent during the night and delivered not earlier than the morning of the ensuing business day.

Night Messages may at the option of the Telegraph Company be mailed at destination to the addressee, and the Company shall be deemed to have discharged its obligation in such cases with respect to delivery by mailing such night messages at destination, postage prepaid.

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A deferred day service at rates lower than the standard telegram rates as follows: One and one-half times the standard night letter rate for the transmission of 50 words or less and one-fifth of the initial rates for each additional 10 words or less.

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Half-rate messages are subject to being deferred in favor of full rate messages for not exceeding 24 hours. Must be in plain language.

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4. Domestic messages and incoming cable messages will be delivered free within one-half mile of the company's office in towns of 5,000 population or less, and within one mile of such office in other cities or towns. Beyond those limits the company does not undertake to make delivery, but will, without liability, at the sender's request, as his agent and at his expense, endeavor to contract for him for such delivery at a reasonable price.

## CLASSES OF SERVICE

### SPECIAL TERMS APPLYING TO NIGHT LETTERS:

## FULL RATE CABLES

## DEFERRED HALF-RATE CABLES

## CABLE NIGHT LETTERS

## SHIP RADIOGRAMS

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### SPECIAL TERMS APPLYING TO DAY LETTERS:

A Day Letter may be forwarded by the Telegraph Company as a deferred service and the transmission and delivery of such Day Letters, is, in all respects, subordinate to the priority of transmission and delivery of regular telegrams.

## NIGHT LETTERS

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

February 5, 1936

Dear Langston:

You had better take a walk over to Bontemp's house, for the last
letter I sent you in care of him contained a check for $10.00. That was
merely an advance against futures, since, as I explained, I did not wish
to have your unnatural death laid at my door, and now that after long last
I have managed to collect $50 representing your prize money for the Herndon
play, I send the amount to you herewith, less said advance.

I wrote you a second letter in reply to your telegram, counseling
you against acceptance of the foul proposal made by Jones. There is no sense
in stringing along with him because he never means to play fair and if you are
not going to benefit from the production of MULATTO, it might just as well be
off the boards. However, I suspect that Jones is rather keen, for some reasons
unknown to me, to keep the play alive.

Thank you for the ballad. I shall get it over to Malcolm Cowley of
the New Republic and try every other possible magazine until I sell the thing.

ML: CMB
ENC.

Mr. Langston Hughes,
Hotel Grand,
5046 So. Parkway,
Chicago, Ill.

Hotel Grand,
5046 South Parkway,
Chicago, Illinois,
Feb. 8, 1936.

Dear Maxim:

Thank you for your various letters of the
3rd 4th and 5th, and for the checks inclosed. You
have really done wonders with the new theater, and my
life is again saved for further creative efforts. I
think I shall begin another play.

I have just received a long letter from the
Dramatist Guild in which they say that Mr. Jones has
agreed to place 65 percent, or my share of the royalties,
in escrow with them. (I hope that escrow and waive
do not both mean the same thing.) The inclosed carbon
is my answer to the Guild, and covers that little point
about the summons, too. Also about the fact that Mr. Jones
claims that he is going to demand arbitration for another
ten percent which he believes due him for some try-out.
No doubt, if the money ever gets in escrow, it will stay
there forever until these various points are settled.
Kindly let me know, however, if and when the money does
arrive in escrow. Also let me know whether or not "Mulatto"
has posted a closing notice. (I sort of wish it would run
about two weeks longer so that I could see it again before
it makes its final bow. I would also like to invite you
to see it, your office staff, the Knopf office staff, and
about a dozen other friends to whom I long since promised
tickets, but so far I haven't been able to buy them. I
wonder if Mr. Jones would place a couple of dozen seats
in escrow for us, too. If so, kindly get out about six
and send them up to Miss Florence Rubin for the nice
boys and girls in the Knopf office who forward my mail,
wrap my books, receive telephone calls, and do other nice
things for me.)

Gingrich of Esquire called me up and yesterday
I went down to see him. He is a nice fellow with a grand
office and he and his wife invited me to luncheon next
week and I am going to revise a story so that nobody
really gets sliced down in the end. And he said, "Shall
I give the check to you?" And I said, "I never handle such
matters. Art is my only field. Send the check to Mr.
Lieber." But you can no doubt imagine how delighted I was
at the very mention of the word check, and I immediately
went out and bought myself a shirt on Michigan Avenue so
as to have something to remember Chicago by.

Inclosed please find the final and corrected
version of the "Ballad of Ozie Powell." Please destroy the
other copy and use this one in submitting to editors.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

February 11
1936

Dear Mr. Hughes,

Have you ever thought of doing a dramatization of
NOT WITHOUT LAUGHTER? I've just read the book and was deeply moved,
for it is simply the story of all poor people, of any race or
creed, and so true that it is universal. It would make a fine
play, I'm sure, and worth a dozen "Porgy"s.

LITTLE HAM is now being read by the new firm of Mayer
and Queen, who have just produced the Lynn Riggs play, "Russet
Mantle." Another copy has gone to the RKO studio at the coast,
whom we are trying to interest in backing a stage production.
Personally, though I love Little Ham I do feel the third act could
be rounded out somewhat and thus give the story more substance.
Could you make more things happen at the Hello-Club Social and
get Little Ham into a few more complications with the ladies --
or something? With more plot, it seems to me the play will have
a much better chance.

Incidentally, Miss Jelliffe has a copy of the play.
Since they do not seem to be doing anything with it, would you
please get this from her and send it to us, together with extra
copies of SOUL GONE HOME? The New Theatre League wants to see
this for possible publication of a volume of three of your one-
act plays.

Mr. Langston Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

February 13, 1936

Dear Langston:

I have just received a letter from Mrs. Jelliffe in Cleveland making me an
offer of $50 for the rental of LITTLE HAM for a production of five consecutive nights.
I have acknowledged the letter and given her permission, making it clear to her that
this $50 was merely for rental and all other rights remained yours. I don't think
Mrs. Jelliffe particularly likes the title. Perhaps you can help her in finding some-
thing more suitable. I didn't tell her, nor must you on pain of death, that the
reaction of three producers here has been that the play is very slight. I wonder
whether they are looking for an Electra or an Oedipus Rex.

And now, my dear fellow, I take extreme pleasure in enclosing, and you will
have extreme pleasure in discovering my check which represents the $150 payment of
Esquire for SLICE HIM DOWN. I begin to suspect that the God is entirely too kind to
genial little innocents who go around giving producers the shirts off their backs and
making all sorts of fantastic promises and then expecting someone else ( meaning me,
of course ) to pull the chestnuts out of the fire for them. But the enclosed must be
a very welcome chestnut. Incidentally, I have taken the liberty of deducting $15 to
cover the typing cost of LITTLE HAM. I hope that is O.K. with you.

With best wishes,

ML: CMB

ENC.

Mr. Langston Hughes,
Hotel Grand,
5046 South Parkway,
Chicago, Ill

<table>
  <tbody>
    <tr>
      <td>BUY U.S. POSTAGE</td>
    </tr>
    <tr>
      <td>80¢</td>
    </tr>
    <tr>
      <td>ASK YOUR POSTER</td>
    </tr>
  </tbody>
</table>

Mr. Langston Hughes

2245 East 80th Street
Cleveland, Ohio

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC · NEW YORK

March 30, 1936.

Dear Langston:

I thank you for the numerous copies of the review of "Little Ham". I think your suggestion a good one, and we shall send copies of these to Louise Beavers and Bill Robinson with accompanying letters explaining the purpose. At the same time, we will also send copies to some of the New York producers in an effort to stir them up.

I shall be seeing Rumsey tomorrow, because as your personal representative, I am to be present at the session of the arbitration committee. But, I don't know that I'll tell Rumsey your address because it will scarcely solve matters, inasmuch as you will be hopping about hither and yon in another day or so.

Obviously, I wish you out of the sick bed as quickly as possible, but if the sickness is not too severe and is, on the contrary, rather a pleasant idling in bed, and if this results in a "four star" conception (now don't get lewd minded) why then I hope you stay on some more. We could use that marvelous drama. Incidentally, we've just sold one. Another Caldwell item. At least we've sold an option.

ML:BS

MAXIM LIEBER

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

AUTHORS' REPRESENTATIVE

545 FIFTH AVENUE

NEW YORK CITY

April 10

1936

Dear Langston Hughes,

I wish I had some real news for you on "Little Ham" - but alas.
The only manager in town who seems interested in the play is Frank
Merlin, producer of "Run Little Chillun." (He says he knows your
mother and that she had a part in it.) But with the present state of
affairs - Dramatists' Guild v. League of New York Theatres - he feels
unable to reach any decision but must wait until some settlement is
reached. And today Alex Yokel, producer of "Three Men on a Horse",
asked to read the play personally, on the basis of the Cleveland
reviews I had sent him.

I'm sending you a copy of the story. Variety carried this week,
in case it's escaped your notice.

We had a glowing letter from Rowena Jelliffe who has tremendous
faith in the play and says it would have continued to run indefinitely
were it not for the fact that the Federal Theatre needed the theatre.
She says in part: - "I think it's pretty swell theatre. The third
act needs something more. I don't know what. Although the trucking
contest tops things off grandly as far as effect and pitch are con-
cerned, it leave something to round it out dramatically. The first
act needs a little cutting and a little rearranging. The Old Lady
appears at places where she kills the building qualities of the play.
Certain exits need to be taken earlier, effects being lost by delayed
exits. We see a little too much of the janitor. But it's really
very amusing. And the second act is pretty nearly perfect as it stands."

How are you?

THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE

1201-S

<table><tr><td>CLASS OF SERVICE</td></tr><tr><td>This is a full-rate Telegram or Cable-gram unless its deferred character is indicated by a suitable symbol above or preceding the address.</td></tr></table>

WESTERN
UNION

R. B. WHITE
PRESIDENT

NEWCOMB CARLTON
CHAIRMAN OF THE BOARD

J. C. WILLEVER
FIRST VICE-PRESIDENT

<table><tr><td>SYMBOLS</td></tr><tr><td>DL = Day Letter</td></tr><tr><td>NM = Night Message</td></tr><tr><td>NL = Night Letter</td></tr><tr><td>LC = Deferred Cable</td></tr><tr><td>NLT = Cable Night Letter</td></tr><tr><td>Ship Radiogram</td></tr></table>

The filing time shown in the date line on telegrams and day letters is STANDARD TIME at point of origin. Time of receipt is STANDARD TIME at point of destination.

Received at

HB428 48 NL=CLEVELAND OHIO 10

LANGSTON HUGH ES= FZ

HARLEM YMCA NYK=

1936 JUN 10 PM 5 09

PRODUCER NAMED FALTKENHEUER HERE TO SEE YOU REGARDING LITTLE HAM ANXIOUS TO MAKE DEAL FOR CHICAGO PRODUCTION COMING TO SEE PLAY FRIDAY NIGHT GAVE HIM LIEBERS ADDRESS SEEMED LOATHE TO DEAL THROUGH HIM WANTS DEALING WITH YOU DIRECT CAME AT MCDERMOTTS RECOMMENDATION YOUR MOTHER ADVISED I INFORM YOU= ROWENA W JELLIFFE.

WESTERN UNION GIFT ORDERS ARE APPROPRIATE GIFTS FOR ALL OCCASIONS

Harlem Y.M.C.A.,
180 West 135th St.,
New York, New York,
June 22, 1936.

Dear Maxim,

I am enclosing a list of the probable musical numbers for the Gynt-Hughes-Ellington musical play, COCKO' THE WORLD, which is gradually coming into being on paper. I also enclose various lyrics and part-lyrics which I have written for this play, and which have been turned over to Miss Gynt and Mr. Ellington. And since you are representing me in these matters, they are herewith turned over to you, also. A full script of the book will probably reach you by the end of the week, as it is being copied now.

As you know, I have a collaboration agreement with Miss Gynt. The thing now for us to do, is to get one with Ellington, and I have just phoned Miss Tannenbaum about it. I don't want to do any more lyrics or much more work with Mr. Ellington until the agreement is drawn up. I've had my experiences writing lyrics before. So I want to get started right this time.

August 11, 1936.

Dear Langston:

I love you and I think you're a swell egg, but I do wish
you would peddle your uncommercial poems direct, otherwise, you
will completely swamp me with little poems and I could never do any
useful work and earn you a few pennies.

As for the story by one of your Cuban writers -- send it
along and I'll see what can be done.

Last, there's no news of LITTLE HAM, though God knows we
have tried desperately hard. And as for BON BON BUDDY -- it's been
collecting a list of rejections a mile long. I've been keeping quiet
about it deliberately because I dislike telling authors where the man-
uscripts have been rejected. But since you ask about it, I might as
well tell you the bad news -- Knopf, Viking, Harcourt Brace, Harper's,
Smith & Haas, Scribner's, Bobbs Merrill, Farrar & Rinehart, Little
Brown and Stokes. It is now going to Longmans Green.

Best wishes,

ML:BS

Enc.

Mr. Langston Hughes
2256 East 86th Street
Cleveland, Ohio

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

August 26, 1936.

Dear Langston:

It's a good thing that from time to time you receive letters
from inquiring editors soliciting the work of your brilliant pen. Other-
wise, if I lived to be a thousand, which means if I live to be older than
Methusaleh, I, would I, ever find out what lies quietly concealed in that cranium
of yours. Now here you go and give Mr. Dunn six ideas for articles that
strike me as being apt material for any of perhaps one half dozen magazines.
I can imagine Esquire, for instance, using numbers 2, 3, 5, and perhaps 6.
I can imagine Travel using several of these. What's more, even Atlantic
Monthly, or Harper's might succumb to your charming and humorous style in
such articles. Now, instead of telling me something about these, you go and
tie yourself hand and foot, and deliver yourself to Mr. Dunn who is just
starting a magazine in Minnesota, and God knows if he will give you more than
a subscription to his magazine, for a dozen articles.

By chance, I've just received a letter from Leane Zugsmith en-
closing one from Mr. Dunn to her. He is certainly a high pressure artist, and
I notice that he offers you the munificent sum of one cent a word -- which
for a 2000 word article means exactly $20. That won't pay for paper, postage,
and typewriter ribbons. And so, I want to give you a multimatum -- under no
circumstances must you send any more stuff to Mr. Dunn. But, I should like
to see those articles that you promised him and I should like to sell them
elsewhere. If we don't succeed, we can always give them to Mr. Dunn with
our compliments for $20. But, until such a time it would be a very bad mistake.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

October 6, 1936.

Dear Langston:

It is indeed a pleasant surprise to receive a script from you, and especially so if it is as entertaining and interesting as EMPEROR OF HAITI (abominable title). The thing is so vast that I shall ask you to forgive me if I do not put down my impressions at once, but rather take time off to come to. My first reaction is that the script ends very weakly after a tremendous build-up in the second act. But, I cannot lay my finger on the precise spot at the moment. But give me time, my lad, and I shall soon poke it full of cheese holes.

If you get any comments from Mrs. Jelliffe I shall appreciate your sending them on to me, and if there's to be any rewriting it should be done before we go to the expense of having the Manuscript Service soak you for new scripts.

I see no objection to doing a play first and using the same material for opera libretto. It ought to go over big as an opera for it's certainly colorful.

And are you ever going to pay attention to my letters? I assure you I don't write them for our health. Consult your back files and you will discover certain trenchant remarks concerning Dunn. Where are some of those little tales you promised to do for him and which I suggested might

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

October 16, 1936.

Dear Langston:

Not trusting my own judgment completely on your Haiti play I gave it to a very keen young woman, Miss Audrey Wood, to look at. She has just returned it and says that she finds fault with its treatment. According to her, "it seems much too expository instead of dramatic, and for the greatest part, completely without emotion, one of the essencial qualities of true dramaturgy."

As for myself -- I do not feel quite so positive about this, though now that some days have elapsed since I have read it, I am inclined to believe that my first interest in the work was the subject matter -- which is indeed fascinating. Have you heard from Mrs. Jelliffe? I should like to know what she thinks of it. Furthermore, if you approve, I shall be glad to get another private reading, but as matters stand now, I am sure it would not be advisable to type the script.

I suppose that you have since heard from Miss Grossel who promised to write you direct.

ML:BS

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

November 6, 1936.

Dear Langston:

Heller is still hot for LITTLE HAM. Truly, miracles
in the theatre will never cease. This time he has a scene by
scene outline for the entire play by Bryan Byrne, whom I under-
stand you met. The idea is this:

If you agree that this outline improves your play in
the sense that it gives greater dramatic unity and movement
and if you will consent to rewrite your play along the lines of
these new revisions, and if you think you will be able to rewrite
it within a month or say six weeks, I shall be able to secure for
you a regular Dramatists' Guild contract from Heller, and an
option for the first month. Believe it or not! Let me know as
soon as you've had a chance to study the enclosed outline if you
care to undertake this. Who knows? You may still have a real
success on Broadway.

With bestest wishes,

ML:BS

Enc.

Mr. Langston Hughes
2256 East 86th St.
Cleveland, Ohio

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

November 16, 1956.

Dear Langston:

Thank you for your note. I've written Heller to tell him you're willing, provided he signs the contract and lets us have the $100. As soon as I have his signature and the first check I'll tell you to go ahead.

I've received an announcement of the production of TROUBLED ISLAND and I am itching to get out to see it, but God knows it will be impossible. It would set me back about $35 or $40, which is more than I can stand right now.

MUSE apparently has decided to run your poem LET AMERICA BE AMERICA AGAIN, and will pay us 25 bucks as soon as the book is published. They acknowledged receipt of your full copy of the poem so that's that.

I shall try to get a copy of Kay Boyle's anthology, provided the publisher is decent enough.

At a birthday party given for Carleton Beals I found a Cuban writer, Miss Juliette Carreras of Havana. She tells me she

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

December 23, 1936.

Dear Langston:

We've been holding a request from the WPA, Jersey branch of the Federal Theatre Project for LITTLE HAM. They would like to produce it for one week, but, unfortunately, we have not been able to secure a copy of the script. We wrote Mrs. Jelliffe, hoping to get one from her and she informed us that she had let you know about it. If she has, step on the gas and shoot us a script as quickly as possible.

We have just received $35 in payment for reprint rights - $10 for THE PROTECTOR by Marcelo Salinas and $25 for your own story, PROFESSOR, both just published in Miss Dorothy Brewster's A BOOK OF CONTEMPORARY SHORT STORIES. The enclosed check will probably come a little late for Christmas but you will know how to make use of it, nevertheless.

ML:BS

2256 E. 86th Street,
Cleveland, Ohio,
January 5, 1936.

Dear Maxim,

I have mailed you today the final version of TROUBLED ISLAND.
Kindly have it typed, as usual billing it to me. I would
suggest that you have twelve (12) copies made, as I have about
a half dozen places I'd like it to go myself, and you could
probably make use of the remaining copies...I would appre-
ciate it very much if you would send a copy to each and every
person who might have some effect upon the play's being done
with Paul Robeson as DESSALINES, and possibly later as a movie.
These would include Rockmore in New York, (Robeson's personal
manager); Sergei Eisenstinn in Moscow who told me when I was
there that he hoped to make a Haitian movie with Robeson, and
also to direct his first stage appearance in Russia; Dudley
Murphy, who has somewhat the same ideas about London; etc.
...I'd also like a copy to go to Jasper Deeter at Hedgerow,
as Mrs. Jelliffeesays she has had a request for it from there.
...And one, I suppose, to the Dramatists Guild's Amateur Play
Service...I'd also suggest letting the Federal Theatre read it.

If you'll take care of the above mentioned persons for me, I'll
need only two copies for myself---one to send directly to Robeson
in London, and the other for my files. So kindly request that
the typist send two copies and the bill directly to me, the other
ten copies to go to your office. (Three copies to me, as I'd like
the Guggenheims to have one, since it was done on their Fellowship.)
I've just sent a copy to William Grant Still who's to do the opera
as soon as I get the libretto ready, which ought to be shortly. He
is very anxious to get to work on it. He reports a great many
musical ideas already put down for it.

The old copy of the play which I sent you some time ago, you might
now return to me, since this one supplants it.

Toujours yours,

Langston Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

January 27, 1937

Dear Langston:

I regret that the Manuscript Service people were so slow in getting us scripts of TROUBLED IRELAND. Somehow, they got the impression that we were not in a hurry. Twelve copies arrived here and the bill was sent you direct. By now you must surely have it. Under separate cover I am expressing to you six copies and the original. You asked for three for yourself. The other three are for your good friends, Paul Robeson, Eisenstein and Dudley Murphy, of whose whereabouts, as I told you in the previous note, I am ignorant.

I shall, of course, take care of Jasper Deeter, the Federal Theatre and Barrett Clark. I have not yet heard from Louise Thompson, but I shall certainly allow her the greatest leeway, as far as financial arrangements are concerned. If they succeed in publishing thousands of copies of a little booklet of poems, they will render you a great service and I feel you should cooperate with them, even by taking less than the usual ten per cent royalty, which is quite high on a ten cent booklet.

Well do I remember Miss Mermel, or rather the voice of Miss Mermel, as it came over the phone. It almost burned me up in the swivel chair here. I am surprised to learn that she is to be swept out of the picture by Miss Gynt. Of course, if Miss Gynt comes to see me, about her interest in your collaboration, I shall be as gracious as possible, but I do not know how useful. I begin to feel that tackling librettos and musical plays and operas, is an ambitious affair, and perhaps somewhat beyond me. But I shall see. With best wishes,

ML:GR

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

March 2, 1937

Dear Langston:

I think it will be a good idea to forward inquiries that come from amateur groups regarding the use of your plays, to Mr. Barrett Clark of the Dramatists' Guild. I have discussed the matter of your plays with Clark, and he seemed to be reluctant to do anything about them, for the very simple reason that there were few amateur groups throughout the country that could take on a play with a negro cast, and since your plays were pretty generally devoted to negro subjects, I suppose the amateur department of the Dramatists' Guild will do little about this unless they are swamped with requests and so my suggestion is, I think, a good one. Clark, faced with a series of requests will at first refer them to me, but after a while he may see the wisdom of handling the amateur rights to your plays through his department.

I have some copies of some of your plays available. Of some of the plays there is only one copy and it would be difficult to oblige more than one amateur group at a time.

You are certainly a prolific playwright and the Gilpin players ought to reward you with a special medal for keeping them busy. They have no sooner produced one of your plays than they have a second for production. What is JOY TO MY SOUL all about? This is the first I have heard of it. Is there a script available? Nor have I had any word from Miss Roxborough, who, according to

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

May 12, 1937

Dear Langston:

I have telephoned Manuscript Service Company and have ascertained that they will have the scripts finished in one or two days. After I have received copies of the script, I shall communicate with the heads of the various Negro Federal Theatre groups and try to persuade them into producing JOY TO MY SOUL.

I hope we have better luck with it than we have had so far with TROUBLED ISLAND. So far we haven't made much headway with the Boston project, and I suspect that dirty politics is at the bottom of it. I quote a paragraph from a letter I have just received from the Play Policy Board:

"We have been cooperating with Mr. Coleman of the Negro Drama Unit in Boston in his efforts to arrange for a production of TROUBLED ISLAND. However, the State Director of Massachusetts feels that the play is not suitable to Mr. Coleman's project and it seems doubtful at this point that he will be able to give it a production. I shall keep you posted if there are any further developments."

I telephoned Mr. Lane after reading the above and tried to get the low-down. Obviously he could not afford to make any incriminating statements but detected that all was not well in the state of Mass. and that Mr. Mack, the state director, did not feel especially well disposed toward Mr. Coleman.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

January 12, 1938

Mr. Langston Hughes
Alianza de Intellectuales Antifascistas
Seccion Informacion Extranjera
Marques del Duero 7
Madrid, Spain

Dear Langston:

You will be delighted to know that the Nation has just accepted your piece DEATH AND LAUGHTER IN MADRID. I do not know when they will publish, but I shall let you know. Fight has just rejected ROAR CHINA and I shall now send it to The New Masses. Although you will receive no financial compensation, I know that you will be pleased when I tell you that that Literary Supplement of the January issue of The New Masses, printed your translation of the introduction to the Lorca poems and two full pages of the poems in translation. I shall ask the editor to return the script, so that I may see whether he published all the poems or not.

I am enclosing a letter which came here for you. When may I expect to receive something else in the way of manuscripts from you ?

With best wishes,

ML:GM

encl; LETTER
LETTER FROM FIGHT

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

May 19, 1938

Mr. Langston Hughes
c/o
Harper
634 St. Nicholas Avenue
New York City

Dear Langston:

So be it! "Don't You Want to Be Free" is accordingly sold to
"The One Act Play Magazine" for fifteen bucks, which we fer-
vently hope will be forthcoming. They still owe us for a Maltz
play and so I begin to be sceptical of their solvency.

Copies of the script are also going off to Miss Alice Evans and
the Federal Theatre and I shall not hesitate to cooperate with
the New Theatre League in the sale of amateur rights.

And thanks for the $10.00 - they came in mighty handy.

ML
me

1379 East Washington Blvd.,
Los Angeles, California,
December 14, 1938.

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

Dear Maxim,

I've just finished a series of lectures in the various schools out here, and have some more booked for January (there is also a possibility of Federal Theatre work) so I shall be remaining on the coast for several weeks. I may always be reached at the above address, where I'd appreciate hearing from you regarding these little matters of the theatre which follow:

**MULATTO:** On the day I left New York, in a telephone conversation with Miss Priester of the Dramátists Guild, she felt that a power-of-attorney might be needed for you to represent me in case of a MULATTO arbitration. Several days ago I sent you said power-of-attorney authorizing you to collect any and all MULATTO monies you can get your hands on. Have you got your hands on any yet?....The date of the October Brooklyn engagement of MULATTO which Miss Mavor wanted was from Tuesday, October 18 through the following Sunday at the Shubert Theatre, produced by a Mr. Mackler, managed by a Mr. Casenpino, who were still producing stock there when I left New York three weeks ago. They also produced the play at the Folies Theatre in Brooklyn last season.....The other stock productions, I understand, were by Jules Leventhal, 145 West 45th Street. From Mr. Mackler and Mr. Leventhal, would it not be possible to learn they amounts they paid to Mr. Martin Jones? Miss Abbie Mitchell, who can be addressed through Louis Douglas, 107-18 171st St. Jamaica, L.I., New York, Miss Merdeded Gilbert, who is in the N.Y. phone book, and Mr. Stuart Beebe, 202 Riverside Drive, played in various of these engagements in case verification is needed. The Guild should have it straight by now just which monies were paid to Mr. Rumsey and which Mr. Jones still retains. Perhaps my attorney, Arthur Spingarn, could help regarding Mr. Rumsey since he is handling that end of the case now....Let us go on to less complicated matters.

**FRONT PORCH:** I stopped by Cleveland and saw the Gilpin production, which was good. They were planning to continue it some extra performances, since their houses were good. They paid me $50.00 on order when I began the play for them, but with the extra performances, there would be some more due (and you're due 10% on that $50.00). Have they paid the remainder? If not, please ask them for it, and deduct your commission for the whole.

**DON'T YOU WANT TO BE FREE:** I saw the Chicago production. It also had caught on pretty well, and the run was to be extended. They said they were sending off that week a check to New Theatre League for the shows they had already given. Have you received that check? If not, please check on it with Alice Evans. And send what's left on here for Santa Claus.

Langston Hughes-2

**PINS AND NEEDLES:** I see no reason why you should not now collect, if you can, on our poem LET AMERICA BE AMERICA AGAIN, such a portion of which has been used in PINS AND NEEDLES since the beginning, both in New York and in the various road companies in the ballet in the first act staged by Mr. Zemach. You remember the poem was first published in ESQUIRE, and is now printed in A NEW SONG, the I.W.O.U. publication, both of whom paid for its use. What about the I.L.G.W.U. doing so, too, since they have a Broadway hit on their hands?

**SOLD AWAY:** A new Spiritual Play which I'm writing now for the Gilpin's who pay on delivery $50.00. Also the San Francisco Theatre Union is out for something for a swell Negro singing actor they have named Kenneth Spencer, and this will suit him. Also my own Harlem Suitcase Theatre will do it. (See article on said theatre in the cullud magazine OPPORTUNITY, 1133 Broadway, this month, since you've never seen the theatre itself.) SOLD AWAY is not yet done, so pay it no mind at the moment.

**ST. LOUIS WOMAN:** A play by Countee Cullen and Arna Bontemps from the novel, GOD SENDS SUNDAY by Arna Bontemps. The New York and Los Angeles Negro units of the Federal Theatre are both proposing to produce it as their next Negro production to go in rehearsal, and have asked me to revise it for them. Now, dear Maxim, listen to this well: (and keep it under you hat) the angle is this: Clarence Muse, who will stage it here in L.A. and who is an old showman, feels that it has very good picture possibilities if music and lyrics are inserted. He wants to work out a deal with the above mentioned authors whereby if he puts it on and I fix it up for production, Mr. Muse and I, are cut in on whatever profits there may be in the script outside the Federal Theatre production, which pays too little to matter anyhow. To this Arna Bontemps has already agreed. He feels that Countee Cullen will also. The agent for the script in New York is Leah Salisbury, who has a Hollywood representative whose namex escapes me at the moment. Mr. Muse also has a Hollywood representative (Muse has been in picutres for years, is now a Federal Theatre director here, produced of the Negro RUN LITTLE CHILLUN now in its 22nd week, biggest hit on coast). The Federal Theatre will pay me for my work on the play-revisions. BUT in case a four-way collaboration contract is to be drawn up regarding the musical version of the script, etc., its movie possibilities, and its possible New York production outside the Federal Theatre in case it clicks here on the coast first--- in this business, will you handle it for me, or do you have someone in Hollywood who would take charge of it in case the various parties get around to contract-drawing---which seems likely at any moment now? Please let me know about this soon.....The play is good, and whne Muse and I get through with it, it ought to be better, and just might accidently make some moneey, mabe, God willing and Fate agreeable. After which I shall retire from the theatre and devote myself to ART again.

With sincere regards to Mrs. Lieber, Miss Mavor, and Miss Rollits, and happy holidays to all,

Sincerely,

WORKS PROGRESS ADMINISTRATION
FOR CONNECTICUT

VINCENT J. SULLIVAN
ADMINISTRATOR

XAVIER NEON STREET
NEW HAVEN, CONNECTICUT
Federal Theatre Project
35 Chapel Street
Hartford, Conn.

Charles La Rue
State Director

November 3, 1938

Mr. Langston Hughes,
634 St. Nicholas Ave,
Apartment I D,
New York City, N.Y.

Dear Lang----

Donald Wheeldin has gathered the following material for you:
1. "Mulatto" ran two weeks in July and you were to get 10 percent of the gross ($75.) which you received according to Wheeldin's informant.

2. The show came back for one week in August at the same place, Foot Guard Hall, and you were to receive again ten percent, but very little or no money was made, the actors were hungry, etc. The price of admission was a flat 35¢ for all seats.

3. The person in charge was a Mr. Allan Moore, who is now playing on a showboat on the Mississippi River.

Again let me ask you to be sure and let me know if and when you come to Hartford again in order that we may organize some publicity around you and the Negro company.

I would appreciate your sending me complimentary tickets for the Harlem Suitcase Theatre shows, if possible, whenever you play on a Friday or Saturday night--- for I come to New York every weekend.

Mr. Wheeldin sends his best wishes along with mine.

Charles La Rue,
Federal Theatre Project,
State Director

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

December 21, 1938

Mr. Langston Hughes
1379 East Washington Boulevard
Los Angeles, Calif.

Dear Langston:

You certainly know how toarrange life comfortably for youself.... Well, as long as you are staying in California for yet awhile when we are suffering New York's worst dampness and fog hereabouts, enjoy it and there's only one thing I wish you'd do for me - do throw a beautiful bunch of roses at someone on New Year's Day for me - that's when they do it, isn't it? It will make us feel as if we too were out in the sunshine with you.

As for MULATTO: The arbitration has not yet gotten under way. Jones telephoned the Dramatists Guild and declared there was no point in arbitrating something that could besettled amicably. He wants to show me his books to prove that he does not owe you anything except the small sum he has already reported. Of course, we have all heard about books being doctored but before a arriving at any conclusions, I think it best to accept Jones' suggestion. I shall nevertheless confront him with all of the statements you make concerning the several productions and will ask the Guild to check with the actors you refer to.

The Gilpin Players have not sent us any payment for the production of FRONT PORCH. I shall write to Mrs. Jelliffe to ascertain if any royalties are due in addition to the $50.00 already paid you.

The New Theatre League has just informed us that they will try to collect monies due for the performance of DON'T YOU WANT TO BE FREE and chances are we shall have to wait quite a few weeks before we see any US. currency.

I shall get after the Labor Stage in an effort to collect some monies for you which are legitimately owing you.

ST. LOUIS WOMAN: Concerning the motion picture possibilities that may grow out of your work on this play, I suggest that you immediately communicate with Signey Biddell of the Feldman-Blum Corporation, Sixth floor of the California Bank Building, Beverly Hills, Telephone: Crestview 15222. Feel free to discuss your problem with him as he is our Hollywood agent and he will give it his careful

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

II

Langston Hughes

December 21, 1938

attention. Make clear to him that his interest in it
is the motion picture angle exclusively.

I am sure it will please Williamson no end that you met
his family and they undoubtedly will have been very
happy to meet you too. And as for Charlie Chaplin
and Aldous Huxley themselves....what a combination!

I shall get hold of OPPORTUNITY this month to read the
article you refer to about the Suitcase Theatre.

Have a very nice Holiday and let me hear of any new
developments as they come up.

With very best wishes to you from
Minna and myself,

Hollow Hills Farm,
Monterey, California,

January 4, 1939.

Dear Maxim,

Thanks for all your and Miss Mavor's letters, your two steers regarding possible articles for the POST and the YALE REVIEW, and very muchly for the NEW YORKER check which saved my life at Christmas.

Now if you can just find me one more slightly larger and fatter check sometime before the first of February, I will then pack up my clothes and come back to New York and see you-all in person. It has been so long since I have been at 545 that I am anxious once more to set foot in your elevator. Besides, I have something to tell you. And hope to have a few short stories to bring you. I am about to go back to one of my earlier art forms, having flirted so passionately (but to no purpose) with the theatre. That hussy!

Meanwhile I will do what I can about possible POST and YALE REVIEW articles. My general article, however, couldn't be about plantation Negroes, since I don't know their life at all well. The ones I know are either blues singers or intellectuals. Plus quite a few who ain't nothing.

An Owl Head, my dear boy, is a Saturday night special that scares more folks than it kills.

Avec mes compliments les plus sinceres,

Langston Hughes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

January 5, 1939

Dear Langston:

Our letter to Schaffer of the Labor Stage illicited a phone call
from him and an offer of $100.00 to placate an irate author. If
Schaffer offers a $100.00, it may be worth more.

He tells me that the royalty for the number is one-fourth of one
per cent (¼ of 1%), which while it is damned little, sounds right.
In this particular number the royalty is already divided between
two people - Zemach and Rome - leaving an infinitesimal portion for
you.

The play has been running a year. If we assume that it has grossed
about $3,000.00 a week, ¼ of 1% would be $7.50. If this sum were
to be divided between three authors, including yourself, each would
get $2.50. Now, it may well be that the play averaged more than
$3,000.00 gross per week in which case your share might be a little
in excess of this amount and, of course, the play continues success-
fully. On the other hand, faced with paying you a royalty, they
might change the number or delete it, leaving you out in the cold.
We might perhaps find out from the Dramatists Guild exactly how
successful PINS AND NEEDLES has been to determine a more accurate
figure on what might be due you. I believe that generally speaking,
contributions to a review are paid for on a flat fee basis. If you
are satisfied with Schaffer's offer, we will accept it and call it
a day; if not, we will go to bat and fight for every penny due us.
Schaffer must be aware that they have infringed upon the copyright
law, otherwise, he would not even offer us $100.00 - so much for this.

I now enclose a check in payment for five performances of DON'T YOU
WANT TO BE FREE by the Negro Peoples Theatre in Chicago. I have
deducted $5.00 on the $50.00 paid you by Mrs. Jelliffe.

I had a session with Jones and whatever the personal differences be-
tween you and him may be, I think there is little to be had by an
arbitration. That also seems to be the opinion of your attorney,

Dear Maxim,

Thanks for the $15 check for Chicago's DON'T YOU WANT TO BE FREE. Every little bit helps....Sure, let's take the $100 from PINS AND NEEDLES and call it square. I suppose that covers the road companies, too, heh? Better a hundred in the hand than another mulatto in the bush....Mr. Jones and I have no personal disagreements whatsoever. Only trouble is, as you know, I never could get my money, either from him or Mr. Rumsey, without great threats and excitement on everybody's part. Why Mr. Jones should feel hurt, I have no idea. 'Tis I who have suffered both as a man and an artist. To avoid further suffering on the part of all, why not take what is offered and, if possible, take control of all further stock leasings, etc., yourself. And see if you can get me a copy of the acting version of the play, even if we must pay for the typing of it, as my producer says we must, if we want a copy. After that, Mulatto ix#"*!......How about the $15 due us from ONE ACT PLAY MAGAZINE for DYWTBF? Or shall I just order $15 worth of magazines which I can sell for about $25 at lectures? That seems to me the smart thing to do? I'm lecturing at most of the High Schools out here, and teachers buy books.

Thanks for putting me in touch with your representative out here. I haven't seen him yet, because Beverly Hills is somewhere up near Portland, Oregon, but I will get out there sometime. Especially if they get around to signing anything about anything. So far I've only signed up with the Federal Theatre to revise ST. LOUISE WOMAN for the stage. Author's agreement for other uses hasn't been put together yet....There's a slight possibility, though, of other movie work for me. I've met some of the big shots socially, and I'm to go out to discuss a scenario next week for one of the younger stars who is desirous of singing Negro songs on the nation's screens, story for said songs to written by myself and all the rest of the staff, too. If it ever comes to signing, I'll sign through your agent only.

Jones and PINS AND NEEDLES will just about pay off half my New York debts, if you get their checks! And I can't come home till my debts are paid. I do want to see Harlem again sometime.

With best regards to you-all,

Sincerely,

1379 East Washington Blvd.,
Los Angeles, California,
The Day They Freed Money
Mooney, 1938.

January 7.

DEAR MAXIM,

About the movies, this is exactly what happened: Clarence Muse, old Negro employee of Hollywood, and director of Negro Federal Theatre unit here for whom I'm revising ST. LOUIS WOMAN, convinced Sol Lessor of Principal Productions that we might be of use to them on a proposed Bobby Breen film of the deep South build around Negro songs, etc. So after much discussion to which I merely sat and listened, we were finally jointly signed to write up a tentative treatment of an outline story supplied by the company. We received Three Hundred dollars in advance, but as complete payment for this job, the treatment to be turned in within ten days. And that is that! If they have further need for us then, we will be re-hired. But nothing is promised. Lacking an agent that day, I simply took my half of the Three Hundred and came on home. At this writing, I've finished half a treatment of the material given to work on, shall finish it up shortly in toto. And shall tell all this to Mr. Biddall when he comes back to town. Is that O.K. Have you any further advice. Mr. Muse's agent took the full ten per cent on the deal herself, since she was present at the signing, and got a few clauses smoothed out for us. So that is also that! But I told her my own representative was due to show up for the next go-round.

Now, my dear sir, to NEW BUSINESS. I've just learned by letter that Columbia Broadcasting is considering our Blues Opera, THE ORGANIZER by James P. Johnson and myself, the one act playlet in song that we had in rehearsal at our Harlem Suitcase Theatre. They say Mr. John Hammond who works for Columbia likes it very much. So you might telephone Mr. Johnson in Jamaica and see what it is all about. The ONE ACT PLAY people told me before I left New York that they also might like to put this piece on. As well as publish it in the magazine. Also the Federal Theatre, Jack Gibbs, heard about it. So I am sending it to you herein. If you can sell it to anybody, for Art's Sake, do so. The music is really pretty swell, I think, and very Negro. And good and blue.

(My intention is to be a song writer yet!)

I didn't say a thing to Kozákko about our money. I simply ordered 42 copies of the magazine, which came today, and which I will pay when they pay us. (Quiet as is kept.) I've already sold more than a hundred for them that they've been paid for. I not only pay, but I sell books!

Jones and Ping and Needles would just about get me out of the red. So collect if you can, please. Then I can come home. And after that, if we collect from anything else, I will sit down and write a book.

With very best anti-fascist regards JMM to you and Minna from thelibertist of the ORGANIZER, I am

Langston Hughes

1379 E. Washington Blvd.,
Los Angeles, California,
January 16, 1939.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

January 20, 1939

Mr. Langston Hughes
1379 E. Washington Boulevard
Los Angeles, Calif.

Dear Langston:

I certainly think there is no question but that you were taken
advantage of. A Bobby Breen production is generally a very ex-
pensive one and the deal as far as you and Clarence Muse are con-
cerned was nothing short of raw. In confidence I can say that
if Mr. Muse' agent was satisfied with such a negligible sum for
his work, I do not think he has been well represented.

Biddell is already back in Beverly Hills and so by all means,
under all circumstances, get in touch with him immediately. Do
not wait again until the very last moment when something has al-
ready turned up and there is no time for adequate consultation
and preparation for the battle.

THE ORGANIZER is certainly an excellent piece of work. Both Minna
and I enjoyed reading it aloud tremendously. Without delay we will
see what can be done.

We have written to Kozlenko and I am glad that you did not say any-
thing about it when you ordered the 42 copies.

Jones' second check, or rather corrected one, has not yet come through.
We are keeping after him unceasingly...

Schaeffer and I will no doubt come to some terms soon.

And as for that novel, I think I shall have to get THE ORGANIZER
after you. Otherwise, we both shall only have the hungry blues.

And here are our very best anti-fascist regards to the
librettist of The Organizer, who needs organizing!

As ever,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

February 6, 1939

Dear Langston of Hollywood, Los Angeles, Harlem, New York and Upper Black
Eddy!
Refugee road, refugee road! Where do you go from here?

By all means send me a copy of the piano score for your new lyric, LIEBER
CAN YOU SPARE THE TIME. I want to try it on my piano - in addition, I want
to see what possibilities there are for commercial shows, radio bands,
singers, anti-fascist meetings, etc., etc. But we must havethe score
to do all this. It sounds very fine. We both get the greatest pleasure
out of reading your pieces aloud - not to mention your letters!

Congratulations on the contract you have signed for four weeks at a $1,000. jointly for you and Muse. I am surprised that you do not mention Biddell. I gathered from his letter that he negotiated the deal which, I believe, supercedes the one for $300.

You will be happy to learn that I got $100. out of PINS AND NEEDLES, but it took an awful lot of pricking, let me assure you. We pricked so hard that there is promise of more in a month or so.

In the meantime, that so-and-so (this restrained manner of expression is
out of courtesy to me, Minna, Langston...) Martin Jones sent me a second
check, which after being deposited bounced back. Mr. Jones had pulled
another trick. He is just full of monkey-shines. I have written him a
stiff letter in order to get this settled in the next week.

By the way, you once told me what was your debt with me. It sounded like
$50.00, but I can't for the world remember and it would take me too long to
go through all the correspondence. Can I expect you to enlighten me?

I see that your generous streak hasonce again gotten the best of you. I agree
with you that Mrs. Jelliffe is a charming lady and has done much for you. By
the same token, you have done much for her and so in that respect the score is
even.If such an occasion arises again, why don't youtell Mrs. Jelliffe or any-
one else for that matter that you have no control over these financial matters
and refer them to me. We simply cannot buy baby's shoes that way.

We recently wrote you that the New Theatre League would like a copy of FRONT PORCH. Where can we get one?

With very best wishes to the author of REFUGEE ROAD
from us both,

1379 E. Wash.Blyd.,
Los Angeles, Calif.

February 8, 1939

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

Dear Mr. Lieber:

Enclosed you will find a letter addressed
to Langston Hughes concerning the use of "Little Ham" on
the Radio. Mr. Hughes has requested that I give his con-
sent to Mr. Clark, provided that a trained radio script-
writer is engaged to handle the changes. Mr. Clark has
also been advised to secure the production rights through
you before using the play.

Mr. Hughes sends regards.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

February 15, 1939

Dear Langston:

To begin with, I wish to acknowledge receipt of the score for REFUGEE ROAD. I phoned Schaeffer of Labor Stage about it and he told me that it comes a bit too late for the special performances for the refugees; nevertheless, he asks to see it and so it is going forward to him. I feel a little uneasy sending him an original's core but I assume that you or Muse have a number of these on hand, so that if this goes astray in the mail or gets lost on Schaffer's desk it will not be a serious matter.

Incidentally, Schaffer told me that he had heard about The Organizer and was awaiting its arrival. I tried to communicate with Johnson, but only got his wife. She told me her husband was conducting a musical at the Apollo in Harlem, but would give him the message when he got home. It appears that little has been done about The Organizer because Johnson got this job and could not arrange for the recording of the music nor submit it to the Columbia Broadcasting people. At least that is the sum and substance of what I got from Mrs. Johnson. I shall now write Johnson and see if I cannot secure the score of The Organizer.

I received a note from James R. Derry enclosing a letter from Carroll Clark. I fear it came a bit too late for the radio broadcast for which Clark sought the use of "Little Ham". Unfortunately, Clark could not be reached by telephone and I have written him suggesting that he phone me. Maybe we can yet save the day. Have you gone so toney as to employ a private secretary like Mayor LaGuardia. I notice that Mr. Derry in signing his letter put under his name "for Langston Hughes". Where are the dear old days of yore, alas ?

In the meantime, I have spoken with some of the people at the Federal Theatre and they are still examining material for their musical review, "Sing for your Supper", although I am told that the show is pretty well set. Here again I could only send them the script of The Organizer, merely promising to let them see the score as soon as I received it. Will it be possible to have a couple of copies, do you think? This is merely oratorical because after all you could not answer it and I will have to find this out from Johnson.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

II

February 15, 1939

Your piece, DIALOGUE ON DEMOCRACY, is swell, but I can assure you that "KEN" would not touch it with a six foot pole. Perhaps the New Republic or The Nation will take it and as a final possibility, The New Masses.

I am very much intrigued about your veiled comments concerning the Lesser Deal. Your parenthetic remark about your stomach ache was in unfortunate juxtaposition to the sentence about Mr. Biddell. Instrict confidence, I wish you would tell me whether Biddell was responsible for your upset. After all, you can appreciate that I am very much concerned.

Now, I enclose a check in the amount of $40.00, which represents a $100.00 payment from Labor Stage for the adaptation of a portion of your poem in one of the numbers in "Pins and Needles." I deducted the $50.00 you said you owed me on the Mulatto collections and so we are clear up to date. In several days I shall be sending you a check for the Martin Jones collection. I am merely waiting to make sure that his payment does not bounce back again. Having been a practical joker twice, you cannot tell whether Jones will not be tempted a third time.

We are having cloudburstsand little hail storms todayand we also just got another 400 gallons of fuel oil inspite of all of which it almost feels as if spring would be around soon.

As ever and with very best wishes,

encl # 572, $40.00, Feb 15/39

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

February 18, 1939

Dear Langston:

The news you sent concerning Biddell and Feldman-Blum is most distressing. But it is just another proof of the chronic instability of all that pertains to Hollywood. If any more pertinent information in this connection should come to your ears, do be good enough to let me know at once. We entered into the contract with Feldman-Blum chiefly on account of Biddell. What new arrangements we will enter into I cannot say right now.

As for the commission, send it all to me and I will take care of Feldman Blum.

It is too bad that we did not hear REFUGEE ROAD on the air last Sunday. If you know of any other program on which it will be heard, then by all means let us know in time so that we too can tune in.

If you promise to write THAT novel, then by all means, I shall strain every effort to secure a few more picture assignments for you. Right now, I'm annoyed and confused by the Biddell-Feldman Blum mess. But I'm going after it immediately in order to have a clear atmosphere for us all to work in out there.

Thanks for your generosity about our being snowbound - we would prefer a lovely blooming spring, with your kind permission. In fact, we already are collecting seeds and seed catalogs. The selection of which kind of tomatoes to plant out of dozens of different varieties repeats itself asra problem at everything we wish to put into the ground.

With best wishes,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

February 22, 1939

Dear Langston:

Here is my check to cover the Jones payment. I gave his check time enough to bounce back and since it has not done so, I think he came across this time.

Under no circumstances tie yourself up in an agreement such as Muse proposes. You are not only a librettist, however much you like that type of work and however much you are talented in that particular direction, but in addition, you are a very capable novelist and dramatist and there should be every chance that you can get a contract out there for work that has nothing to do with music or song writing. Furthermore, just suppose that Muse got himself for some reason or other out of tune with Hollywood; in such an event, it would mean that you could never accept a Hollywood contract even for song writing and librettos without Muse. No, Langston, please don't let the enthusiasm of the moment run away with you again.

We have now heard from Biddell that he is going out on his own and that apparently he severed relations with Feldman-Blum, but is leaving on a friendly basis. We feel that we wish to continue with Biddell. He has given us the best services of any agent we have dealt with out there. However, now is the time to make our choice. As they say at the altar: If anybody here knows any just cause why this woman should not be joined in marraige to this man, let him speak up now or for evermore hold his peace. We are still waiting for you to explain the cause of your stomach ache. I would be happy to know that Biddell had nothing to do with it, but if he did, I want to know now what it was. You understand the urgency of this request, Langston, and so please answer it at once.

I am writing to Johnson now for those copies and telling him also that we will pay for having copies made if need be.

With best wishes from us both,

encl. #561, $80.45, Jan 26/39

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

March 8, 1939

Dear Langston:

I am not inclined to consider the Mulatto matter closed by the last payment we had from Jones. There is a controversy between the Jones office, the Rumsey office and the Dramatists' Guild involving the sum of $195.00, but because your records have been so inadequately kept, you are of no help to us in this matter. So, with God's blessings, we will try to struggle along as best we can.

I always knew that the picture business was amazing and that is one matter, but you make it sound like the worst type of sweat shop exploitation. And even allowing for a certain amount of Langstonian exaggeration, I am positively scandalized. I believe that remedies can be obtained if you will only wish to avail yourselves of means of doing so.

In heaven's name, that is what we have a Hollywood agent for. It is his business to see that you are properly treated, that the studio bosses do not take advantage of you and that you do not work more than an agreed upon number of hours, that you get paid on time, that no one short-changes you - in brief, create a paradise for you. You should not hesitate to call upon your agents at any time of the day or night to smooth things out for you, to fight on your behalf, and to take care of every one of your interests and so I urge you immediately to call upon Biddell and insist that he take the matter in hand. The chances are, you have written me weeks, well, perhaps days, after the fact. But do not let another moment elapse. Phone Biddell and tell him the story and let him fight for you. He is at 8979 Sunset Boulevard, Hollywood. Tel: Oxford 3538.

Now I know that what I am suggesting may appear to you as monstrous, but after all, Langston, you are a politically enlightened person and therefore know how to face the situation realistically. The experience you relate of "dining" on a sandwich lunch in the broiling hot sun outside of a highway diner is shocking. Knowing how chauvinistic, conservative and reactionary motion picture people with the exception of writers may be, I made it clear to Biddell who and what you were, assuming that this would eliminate any misunderstanding. And so, this obnoxious incident is beyond my comprehension. Nevertheless, putting the very worst

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

II

545 FIFTH AVENUE

NEW YORK CITY

March 8, 1939

interpretation on it, we must follow the dictates of Old Man Lenin -
take every possible advantage of our opponents to advance our position.
To go off and sulk every time we encounter an unpalatable situation
would be a adolescent. However galling it may be, we must frequently
deal with people we would like to kick in the pants and so my parting
advice to you is: Call Biddell, who, as you know, has already com-
pletely severed relations with Feldman-Blum and can be reached at the
address I gave you before. With all his failings, he is still the
best agent I have had out in Hollywood and it would be a mistake
to think that he would not put forth his utmost effort to get you
the best possible arrangement since, after all, the more he secures
for you, the more is his commission and that is what counts for him.

Minna and I are going to town Sunday, the eleventh, to be present
at the opening of the new home of The Harlem Suitcase Theatre
when the first public rendition of the score of "The Organizer", a
blues opera with music by Jampes P. Jonson and libretto by a certain
Langston Hughes will take place. Mr. Johnson will be at the piano.
Also, there will be a performance of "Refugee Road", a new song with
music by Clarence Muse and lyrics by Langston Hughes. Miss Ernestine
Rose, Mr. Hubert Delaney and Mr. Albert Maltz (also of our stable)
will spechify.

In a great rush to get the late mail,

As ever, from us both,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

April 21, 1939

Mr. Langston Hughes
d/o Dr. Deever Jefferson
Majestic Hotel Building
55 and Central
Cleveland, Ohio

Dear Langston:

Miss Lee Black has sent me copies of FRONT PORCH.
I shall read the play and then send it to the
several interested parties that you suggest.

The screen credits you will get for the Breen
picture are very good and the publicity will be
a fine help for future Hollywood assignments.
When will the picture be released and under
what name? We shall do the impossible to see
your name flashed on the screen and will even
go to see Master Breen because YOU wrote the
story and songs - you may be assured that Master
Breen has only meaning for us insofar as he is
a vehicle for you and ARTARTART.........

You are certainly right in your attitude in not
wishing to do a weekly column for nothing; you
should be adequately compensated for I believe it
is quite a grind to turn out such a column. However,
the publicity is good and it will give you a wide
platform.

You know, Langston, we both are filled with only
the best of goodwill toward you, but I must say that
you try our patience sorely.... "Jersey weather" indeed!
We sniff at "Jersey weather"!! Now, our PENNSYLVANIA
weather - that is quite another thing - that too has
been wet and cold but it surely and unquestionably is
better than "Jersey weather". When we see you next, we
shall make a point of showing you the difference.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

May 27, 1939

Dear Langston:

Here is a tidbit to bring joy to your soul. How do you intend to spend it? By staking yourself to a trip to the Writers' Congress? If not, how do you expect them to get things done without you? I expect to attend some of the sessions.

Labor Stage will not use THE ORGANIZER until the fall. The dates are still indefinite.

And Ruth Gordon's enclosed epistle concerning the use by the Federal Theatre Project of THE ORGANIZER for "Sing for your Supper" is just to keep you informed of developments.

How is the novel developing? From day to day I expect those first hundred pages or so.

Our farm life meets with more obstacles than are possible to recount, but we just won't be discouraged in our efforts to make a go of the place from the purely profitable point of view.

How hot is Chicago these hot days?

With greetings out of the vegetable patch from us both,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

July 27, 1939

Mrs. Langston Hughes
1379 E. Washington Blvd.
San Francisco, California

Dear Langston:

I was very happy to read the reviews of the preview of your distinguished debut as a scenario writer, and now I am waiting with bated breath for the opportunity of seeing the picture flashed on our local screen. And believe me if it is not as good as I have been led to believe, I am making necessary provisions to bombard the screen with appropriate ammunition. Can you picture the yolk of an egg drip down little Bobby Breen's forehead?

Perhaps I had better get started in an effort to secure you another assignment before the release. And so I am writing our beloved Sidney Biddell to get set for action. Meantime, in accordance with your wishes, I am sending a copy of FRONT PORCH to Miss Elizabeth Hull, and hope she likes it for Cheryl. I should also report that some of your scripts are trickling back from the defunct Federal Theatre and so that I shall presently have copies of all your plays.

With best wishes from us both who will soon need your wishes, not to mention a substantial loan if the Good Lawd does not soon replenish the land with rain and save our crops from complete destruction. The mortgage on the old homestead is worrying us.

ML:DS

Enc.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

CABLE: FERENC • NEW YORK

545 FIFTH AVENUE

NEW YORK CITY

October 2nd, 1939

Langston Hughes
Hollow Hills Farm
Monterey, California

Dear Langston:

a copy of the libretto of TROUBLED ISLAND arrived safely enough, but in all candor I must admit I can see no immediate use for it as far as I am concerned. When I negotiated the recent contract for your lyric, I asked about opera and was assured that the Transcontinental Music Corporation had no interest whatsoever and I imagine this would be true of other music publishers. We must wait until the Metropolitan Opera Company or the Chicago Opera produces it.

No, Langston, I am sorry to say that LITTLE HAM has never been offered to radio companies, but it has been almost everywhere else. I feel there would be no chance for a production because no sustaining programs are long enough for a full-length play and on the other hand, we would have to find a sponsor for a commercial program.

You speak of having received an advance on your book; from whom, and which book? You are a very mysterious author and I am tempted not to offer you any of the cider on the farm.

As for your postscript, I think you have saved the best idea for that part of your letter. I would be happy to offer DE ORGANIZER to organizations that might be possibly interested but unfortunately we have no music or text with the exception of what is in the hands of Labor Stage.

ML:MW

Hollow Hills Farm,
Monterey, California,
Hollabwr 12, 1939.

Dear Maxim,

Having received your letter of October 2nd, and feeling the need to
take up certain matters with you, I hereby sit down and proceed to go
to bat.....First, what is the meaning of that ad in the NATION about a
house for rent? Are you letting out your charming place in the country
and moving back to town for the winter? Regretfully then, I will not
be able to come and visit you there when I get back East. But on the
other hand, you will be in town so maybe I can persuade you to go see
WAY DOWN SOUTH or whatever other of my works maybe currently on the
Broadway stage or screen.

DE ORGANIZER I have heard from two sources is now in rehearsal. And
Furthermore I have heard is to incorporated into a new edition of PINS
AND NEEDLES. Is that true? If so, when does it open? And will there
be a new contract covering a longer period of performances than their 4
now agreed to? Is it possible to do something with Columbia Broad-
casting (the Workshop) regarding a radio performance? And with John
Hammond regarding recordings? (A test record had already been made
of one of the songs before I left.) Under separate cover I am send-
ing you a clean copy of the libretto, since you say you have none. I
am also enclosing a letter from the Louisiana Farmers' Union regarding
it, and stating a desire for the score. Be so kind as to phone Jimmy
(James P. Johnson) in Jamaica and see if it is possible to secure one
for them. Also state to them our royalties which I hope will be low
enough to permit them to perform it in the poverty stricken South.....
Also, while you have Jimmy on the phone, you might, if you will, dis-
cover for me whether or not the contracts for publication with Breg-
man, Vocco, and Cohn were ever signed by him. (They weren't by me.)
And if not, is another publisher available? Or would you care to secure
one for us?

THE BIG SEA: Now to new business in hand. The book is getting so thick I am afraid I will have to publish it in several volumes like Mabel Dodge Luhan! I am now two-thirds finished. And it is on this book, manuscript unseen, that I have received an advance from Knopf who, as you know have an option on it---the final option of their prose contract.....Now, as tox magazines. SCHOLASTIC, 250 East 43rd Street, New York, (Miss Ernestine Taggard, literary editor) wrote me some time ago regarding a story especially for them and offering to pay for it. I intend to do this story in due time. Meanwhile, it has occured to me that the early portions of my autobiography through high school, in Mexico, and as a sailor, up to college, might be of interest to them for their pages. I have just written them to that effect, saying that if they are interested, I will ask you to send them a manuscript as soon as it is copied---which will be very shortly now.....Is that O.K. by you? Of course we would omit the Paris cabaret chapters and others not suitable to the youth---and salable to other magazines of an adult nature. But a great deal of that material in the early section would hardly interest a grown up commercial magazine, so if we can dispose of it to a publication for high school kids, permitting them to have it at a rate they can pay, it would be better than not selling it at all, would it not?.....The manuscript is now in the hands of a typist and, next week, when I get it back, I will edit those portions which I feel we might possibly dispose of to some of the bigger magazines. In about ten days, you will have them in your hands. But this is simply to advise you of my contact with SCHOLASTIC which is anxious to have material suitable for the teen age readers.....Another idea which occurs to me in case SCHOLASTIC fails to be interested. And that is that possibly THE AMRO-AMERICAN Negro weekly that sent me to Spain, or one of the other big colored weeklies, might possibly buy the serial rights on portions of the book. Of which I will remind you in due time, in case of need.

About LITTLE HAM, in due time I will pull a Sam Byrd on you and become a producer myself! Weather is so nice you ought to be out here.

Sincerely,

OLD HAT

Dear Maxim:

I thought perhaps the enclosed short sketch (which I have
been working on today for my book) might perhaps be suit-
able for THE NEW YORKER or some other magazine... A great
many more chapters will be coming to you shortly as soon as the
manuscript comes back from the typist. Meanwhile, you
might try this one out... If you feel that you would
have additional use for more copies of DE ORGANIZER, then
please send this one to Miss Lee Black, 152 West 42nd Street,
and have more made at my expense... You will have to con-
sult with Jimmy Johnson about the music.

Hollow Hills Farm,
Monterey, California,
October 14, 1939.