A Quote by Sidney Buchman
Hollywood as a whole has recently been made aware of the Negro's true position in America and our responsibility toward the subject.
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I maintain that I have been a Negro three times--a Negro baby, a Negro girl and a Negro woman. Still, if you have received no clear cut impression of what the Negro in America is like, then you are in the same place with me. There is no The Negro here. Our lives are so diversified, internal attitudes so varied, appearances and capabilities so different, that there is no possible classification so catholic that it will cover us all, except My people! My people!
This is the mountain standing in the way of any true Negro art in America - this urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible.
Faith is not a refuge from reality. It is a demand that we face reality ... The true subject matter of religion is not our own little souls, but the Eternal God and His whole mysterious purpose, and our solemn responsibility to Him.
In the more recently disclosed field of history in the ancient Near East, however, there has been no such sense of responsibility displayed by historians either in Europe or America.
There is great fear expressed on all sides lest this war shall be made a war for the negro. I am willing that it shall be. It is awar to found an empire on the negro in slavery, and shame on us if we do not make it a war to establish the negro in freedom--against whom the whole nation, North and South, East and West, in one mighty conspiracy, has combined from the beginning.
Negro writers, just by being black, have been on the blacklist all our lives. Do you know that there are libraries in our country that will not stock a book by a Negro writer, not even as a gift? There are towns where Negro newspapers and magazines cannot be sold except surreptitiously. There are American magazines that have never published anything by Negroes. There are film studios that have never hired a Negro writer. Censorship for us begins at the color line.
Slavery in America was perpetuated not merely by human badness but also by human blindness. ... Men convinced themselves that a system that was so economically profitable must be morally justifiable. ... Science was commandeered to prove the biological inferiority of the Negro. Even philosophical logic was manipulated [exemplified by] an Aristotlian syllogism:
All men are made in the image of God;
God, as everyone knows, is not a Negro;
Therefore, the Negro is not a man.
It's clear to me now that I have been moving toward you and you toward me for a long time. Though neither of us was aware of the other before we met, there was a kind of mindless certainty bumming blithely along beneath our ignorance that ensured we would come together. Like two solitary birds flying the great prairies by celestial reckoning, all of these years and lifetimes we have been moving toward one another.
When you mentioned something about self improvement, the implication is that the negro is something distinct or different, and, therefore, needs to learn how to improve himself. Negro leaders resent this being said, not because they don't know that it's true, but they're thinking, they're looking at it personally. They think that the implication is directed even at them, and that they, and they duck this responsibility.
What I've been thinking about recently is the idea of finite and fragility. Either we're acknowledging that our lives here are finite, this moment is finite, and that this whole world is fragile, or we're not, but it is really happening and that is really true.
My temperament and habit had always kept me rather in the middle of the road; in politics as well as in social reform I had been for "the best possible." But now I was pushed far toward the left on the subject of the war and I became gradually convinced that in order to make the position of the pacifist clear it was perhaps necessary that at least a small number of us should be forced into an unequivocal position.
A few of my books, over the years, have been optioned for film. The subject matter of my books, however, is not exactly conducive to Hollywood film treatment. If and when a 'big-budget' film is ever made based on one of my books, my fans and I will more than likely loathe it because it won't be true to its source. That's almost a given.
THE DYING GAUL is a Hollywood satire. But Hollywood is not the real subject matter here. My play uses that world of high-rolling big money - that crazy-making business - to examine a whole range of subjects.
Before and after emancipation, the Negro, in self-defense, was propelled toward the white employer. The endowments of wealthy white men have developed great institutions of learning for the Negro, but the freedom of action on the part of these same universities has been curtailed in proportion as they are indebted to white philanthropies.
Actively we have woven ourselves with the very warp and woof of this nation, - we have fought their battles, shared their sorrow, mingled our blood with theirs, and generation after generation have pleaded with a headstrong, careless people to despise not Justice, Mercy and Truth, lest the nation be smitten with a curse. Our song, our toil, our cheer and warning have been given to this nation in blood-brotherhood. Are not these gifts worth the giving? Is not this worth the striving? Would America have been America without her Negro People?
Would America have been America without her Negro people?
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