Chesnutt, Charles Waddell
(20 Jun. 1858–15 Nov. 1932), writer, was born in Cleveland, Ohio, the son of Andrew Jackson Chesnutt, a horse car driver, and Ann Maria Sampson. His parents were free African Americans who had left Fayetteville, North Carolina, in 1856 to escape the oppressiveness of life in a slave state and its sparse opportunity. They were married in Cleveland in 1857. During the Civil War, Chesnutt's father served four years as a teamster in the Union army, but the family returned to Fayetteville in 1866 because A. J. Chesnutt's father, Waddell Cade (a local white farm owner—the name Chesnutt came from A. J.'s mother, Ann), helped his son establish a grocery store there. Young Charles helped in the store and over the years heard many things there about southern life and folkways that he recorded or remembered and that later became part of or informed his writings. Charles attended the Howard School, which existed through the efforts of local black citizens and the Freedmen's Bureau, but after his father lost his store and moved to a nearby farm, Charles was forced at age fourteen to change his role in the school from that of eager pupil to pupil-teacher in order to help with family finances. He continued to read widely in various fields, especially in literature, thereby further educating himself.Chesnutt began teaching in Charlotte, North Carolina, in 1872 and in the summers in other North and South Carolina communities. In the fall of 1877 he returned to Fayetteville to work in the new state normal school there. The following summer he married one of the school's teachers, Susan U. Perry, and the first of their four children was born the following spring. Though Chesnutt became principal of the normal school at age twenty-two and continued to study various subjects regularly, he felt restricted in opportunities and intellectually isolated in the post–Civil War South. In 1883 he used his self-taught ability to take shorthand at two hundred words per minute to escape, first to New York for a few months and then to Cleveland, where he was joined by his family in April 1884. He lived there the rest of his life.In Cleveland, Chesnutt worked as an office clerk and court reporter, passed the Ohio bar exam in 1887 (with the highest grade in his group), and established a prosperous legal stenography firm, eventually after several moves acquiring a fourteen-room home. More importantly, he worked at becoming a writer. He had been moving in that direction for some time, and in 1872 a local weekly Negro newspaper had published his condemnation of the reading of dime novels. The growth of his interest in literature and his ambition to become a writer are reflected in numerous entries in his journals during the 1870s and 1880s, especially as he became more and more aware of what had been written and was being written about the South and black people, subjects about which he felt confident of his own better knowledge and understanding. His journal entry for 29 May 1880 spoke of a purpose for his intended writing that would improve the South and all of its people. It included the declaration, “I think I must write a book.” However, before he would accomplish that goal there were to be years of sketches, tales, and stories, beginning in 1885 published in various periodicals, including eventually such widely known magazines as Family Fiction, Puck, Overland Monthly, The Crisis, Southern Workman, Century, The Outlook, Youth's Companion, and various newspapers in some of the nation's larger cities.Chesnutt's most important breakthrough came with the publication of his tale “The Goophered Grapevine” in the Atlantic Monthly for August 1887. Although the editors did not then know the author's race, this was the first piece of short fiction published by an African American in a magazine with such prestige as to easily put the work before the majority of American readers. Chesnutt would publish short fiction and articles (both usually concerning racial matters) for much of the rest of his life, but very much tapering off after the early part of the twentieth century.“The Goophered Grapevine” was the first of three of his stories in the Atlantic Monthly that focused on conjuring as an important aspect of black folklife. This is revealed in post–Civil War tales about earlier times in the Fayetteville area told by Uncle Julius, a shrewd and likable character who uses the stories to his own advantage and along the way also reveals much about what slavery meant in the daily concerns of its victims, of which he had been one. These three tales and four other Uncle Julius tales became Chesnutt's first book, The Conjure Woman, published by Houghton Mifflin (1899). In these stories Chesnutt broadened the range of racial realism in American literature, and all of his five volumes of fiction would deal with various facets of racial problems, with strong focusing on the experiences and points of view of his African American characters, though his concerns were always for both blacks and whites in American society and particularly in the South.
The stories of his second book of fiction, The Wife of His Youth and Other Stories of the Color Line, also published by Houghton Mifflin (1899), are in most ways quite different from the conjure stories and illustrate the variety of Chesnutt's skill and art. They are more contemporary and less rural and folk oriented, with more focus (sometimes ironically) on middle-class African Americans, especially those with light skin color. About half of these stories are set in North Carolina, and about half in Ohio. As its title suggests, this book intended to demonstrate the complex difficulties and sensitivities of those who (like Chesnutt himself) were of obvious racially mixed blood in societies both north and south, in which they aspired to rise even in the face of uncertainties about how that would be viewed. Chesnutt had very light skin and few Negroid features. He wrote about respect and injustice from personal concern and experience. These stories are sometimes tragic and sometimes comic, as he tried to write from a balanced and whole view of racial phenomena he had observed at close hand. Various reviews called attention to Chesnutt's presentation of African American characters in other than stereotypes and his making them of real interest and concern as individual human beings. Notable among such reviews was high praise from William Dean Howells in the Atlantic Monthly for May 1900, which took note of both of Chesnutt's volumes of fiction and of his biography of Frederick Douglass (1899) in the Beacon Biographies Series. Howells also identified Chesnutt with various well-known contemporary writers of realistic fiction whom Howells championed.On 30 September 1899 Chesnutt had closed his stenography business in order to pursue writing full time. In the autumn of 1900 Houghton Mifflin brought out The House behind the Cedars, the first of three novels Chesnutt would publish. It is a fuller and more straightforward exploration of some of the miscegenation themes that had been found in his second volume of stories. The primary setting of the novel is the Fayetteville area, and it focuses on the emotional and practical (and sometimes tragic) difficulties of relatively white African Americans who chose to pass as white in the post–Civil War South. Although Chesnutt himself chose not to pass even though he could have, he knew those who had done so and understood and sympathized with their motives. Another novel, The Marrow of Tradition, followed from Houghton Mifflin in October 1901. This work, with his largest cast and most complicated plot, also is set in North Carolina. It is based on the riot that occurred in Wilmington in 1898 when white supremacists took over the city government with accompanying violence against blacks. In addition to having concerns with racial justice, as had his first novel, this book also has some focus on the aspirations of African Americans who choose to participate in the more highly respected professions. However, this work is even more interracial, its principal characters are white, and there is more direct criticism of the white population. While Howells praised the straightforwardness of the novel's moral concerns, he was disturbed by its bitterness. It did not sell well enough for Chesnutt to continue his attempt to succeed as a full-time author, and he reopened his stenography business before the year was over.While disappointment and the need to gain financial stability slowed Chesnutt's literary aspirations, he did publish one more novel. Another North Carolinian, Walter Hines Page, while an editor at Houghton Mifflin had praised Chesnutt's accuracy of local color and had assisted his progress. Now Page persuaded Chesnutt to leave Houghton Mifflin, even though his relations with that firm had been good, and in September 1905 (the year in which Thomas Dixon's racially negative novel The Clansman was a best seller) Page's firm (Doubleday, Page & Company) brought out The Colonel's Dream. Its protagonist, a former Confederate officer, returns to his southeastern North Carolina hometown and proposes a plan to bring it out of the economic hardships caused by the Civil War and its aftermath. He is willing to invest his own resources, but the plan is rejected because of greed and racial prejudice in the community. Reflecting Chesnutt's continuing loving concern for the area where he had spent his formative years, this book is dedicated to “the great number of those who are seeking, in whatever manner or degree … to bring the forces of enlightenment to bear upon the vexed problems which harass the South.”However, the various-faceted message for the South (and the country as a whole) that pervades Chesnutt's fiction and nonfiction, particularly concerning economic and social justice in relation to race, was not being accepted by those for whom it was most intended. He now turned his efforts more to other aspects of his life, among them his family, his business, and his involvement in several cultural organizations in Cleveland. One of these was the prestigious bibliophilic Rowfant Club, which refused membership to this nationally respected author three times before finally admitting him in 1910. His satiric “Baxter's Procrustes” (Atlantic Monthly, June 1904) is based on that club, and many think it is his best-written story. His career as a writer resulted in his publishing between 1885 and 1931 sixty-one pieces of short fiction (including those in the two volumes); one biography; thirty-one speeches, articles, and essays; seven poems; and three novels. Also, he left unpublished a sizable correspondence, one play, six novels, fifty-three essays and speeches, eighteen short stories (most of which have now been published by Render), three journals, and one notebook.Chesnutt's published fiction, particularly his five books, was his most important accomplishment both artistically and in his attempts to improve social (particularly racial) relations. However, in addition to his fiction, his early work as an educator, his stenographic work in Cleveland, and his other writings, he also was active in various other pursuits that gave him pleasure, visibility, influence, reputation, and opportunity. He put his concerns, his knowledge of the law, and his respected reputation and personality to good use in speaking out on political and legal matters locally and nationally, particularly when they concerned the rights of African Americans. Early in his career as a writer he had made the acquaintance of George Washington Cable and through this association had joined in the efforts of the Open-Letter Club, a project of several persons interested in and knowledgeable about the South to provide accurate information about that region and racial matters. Chesnutt was an active member of the National Association for the Advancement of Colored People (NAACP) in Cleveland and nationally, and there was mutual respect between him and both Booker T. Washington and W. E. B. Du Bois. Though these two leaders took somewhat different approaches to the problems of African Americans and how best to solve them, Chesnutt saw merit in some aspects of the positions of both men and said so publicly, but also spoke up when he disagreed with them. He was a member of the General Committee of the NAACP and of Washington's Committee of Twelve for the Advancement of the Interests of the Negro Race. He addressed immediate socioeconomic problems and in various ways tried to promote awareness of and concern over the racial situation in America (particularly in the South—William Andrews has referred to his three novels as a New South trilogy). Chesnutt felt that the racial situation was undermining American democracy and that solutions to it would require sensitive understanding, ethical and moral conscience, and courage. In both his fiction and nonfiction his view of the proper future for African Americans was for gradual assimilation of them into the mainstream of American life through education and hard work. His three daughters and his one son all graduated from well-known colleges, and he lived to see them established in their chosen endeavors and moving into that mainstream, as he had in his way before them.Though the major part of Chesnutt's literary career ended with the publication of The Colonel's Dream in 1905, respect for him as a pioneering writer continued. Among the recognition given him was an invitation to attend Mark Twain's seventieth birthday party at Delmonico's in New York in 1905 and membership in the National Arts Club in 1917. In 1913 Wilberforce University gave him an honorary degree, and in 1928 he was awarded the NAACP's prestigious Spingarn Medal for his “pioneer work as a literary artist depicting the life and struggle of Americans of Negro descent, and for his long and useful career as scholar, worker and freeman of one of America's greatest cities.” That same year The Conjure Woman was republished by Houghton Mifflin in a special edition with a foreword by the literary critic and leader in racial concerns Joel Spingarn. In 1926 the committee to choose the first recipient of the newly established Harmon Foundation Award for the work of an African American writer during the preceding year recommended that the chronological stipulation be waived and the first award be given to Chesnutt to acknowledge his pioneering work and his continuing example to other African American writers. This was not allowed, and unfortunately Chesnutt never knew of this acknowledgment of high esteem from a distinguished panel of his literary peers both black and white.Chesnutt was the first important African American writer whose primary genre was fiction and the first African American writer to be published primarily by major publishers and major periodicals. Writing and publishing during times that were not very socially, politically, or legally favorable to African Americans in general, Chesnutt wrote fiction to provide entertainment and to call attention to racism and social injustice, especially for middle-class light-skinned blacks and working-class blacks in small towns and the rural South. He believed that the sources of as well as the solutions to their problems were in the South, so he wrote about the South and in ways that he intended to be more accurate, realistic, and better than those of others using similar subject matter. He purposefully dealt with topics regarding racial problems, such as miscegenation, which he felt other southern writers were avoiding or mistreating. In doing this he used various literary devices, including accurate dialect and details of local color and black life, satire, humor, irony, pathos, and even first-person point of view for nonblack characters. However, while he wrote with unblinking truth and obvious strong social purpose, he also wrote without rancor and with attention to and faithful portrayal of both sides of problems, creating a variety of memorable characters. He especially hoped to counter the too often derogatory and stereotypical portrayal of black characters and to make readers more aware of the positive and often complex humanity and variety of African Americans, the mistreatment of minorities and their need for greater social justice, and the fallibility of human nature.Sylvia Render has pointed out that Chesnutt promoted American ideals in popular American forms and in accord with accepted contemporary literary standards, and was published by very reputable firms. However, after his death his works were generally underread and undervalued until attention to them revived in the 1960s. In his Spingarn Medal acceptance Chesnutt said, “I didn't write my stories as Negro propaganda—propaganda is apt to be deadly to art—but I used the better types [of Negroes], confident that the truth would prove the most valuable propaganda.” A few months later he wrote to James Weldon Johnson, “I wrote the truth as I saw it, with no special catering to anybody's prejudices.” He died in Cleveland.
- The most important sources for unpublished Chesnutt writings and related materials are the Chesnutt collection of the Cravath Library at Fisk University and the Chesnutt papers at the Library of the Western Reserve Historical Society, Cleveland, Ohio.
- Andrews, William L.. The Literary Career of Charles W. Chesnutt (1980)
- Chesnutt, Helen M.. Charles Waddell Chesnutt: Pioneer of the Color Line (1952)
- Ellison, Curtis W., and E. W. Metcalf Jr. Charles W. Chesnutt: A Reference Guide (1977).
- Heermance, J. Noel. Charles W. Chesnutt: America's First Great Black Novelist (1974).
- Keller, Frances Richardson. An American Crusade: The Life of Charles Waddell Chesnutt (1978).
- Render, Sylvia Lyons. Charles W. Chesnutt (1980).
This entry is taken from the American National Biography and is published here with the permission of the American Council of Learned Societies.Sign up to receive email alerts from African American Studies Center