Cane E-Book

Jean Toomer

• Herausgeber: Passerino
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch

Veröffentlichungsjahr: 2025

Beschreibung

A landmark of the Harlem Renaissance, Cane is a haunting mosaic of prose, poetry, and drama that captures the struggles, beauty, and contradictions of African American life in the early twentieth century. Set against the backdrop of the rural South and the urban North, Toomer’s modernist masterpiece blends lyrical vignettes with unforgettable portraits of men and women navigating love, labor, race, and identity. Its experimental form and poetic intensity make it not only a groundbreaking work of its era, but also a timeless meditation on the human condition. Praised by critics from its first publication in 1923, Cane remains one of the most innovative and influential works in American literature. Readers are invited to enter a world where memory, song, and story converge to illuminate the soul of a people and a nation in transformation.

“One of the most beautiful and startling books in our literature.” — Alice Walker

Jean Toomer (1894–1967) was an American writer, poet, and playwright best known for Cane (1923), a groundbreaking work of the Harlem Renaissance. Born in Washington, D.C., Toomer was of mixed racial heritage and moved fluidly between Black and white communities, an experience that profoundly shaped his art. His writing blends modernist experimentation with themes of race, identity, and spirituality. Though Cane was his only major book of fiction, its influence endures as one of the most innovative and powerful works in American literature.

Leseprobe

Jean Toomer

Cane

The sky is the limit

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Table of contents

Dedication

Epigraph

Foreword

Part I

Karintha

Reapers

November Cotton Flower

Becky

Face

Cotton Song

Carma

Song of the Son

Georgia Dusk

Fern

Nullo

Evening Song

Esther

Conversion

Portrait in Georgia

Blood-Burning Moon

Part II

Seventh Street

Rhobert

Avey

Beehive

Storm Ending

Theater

Her Lips Are Copper Wire

Calling Jesus

Box Seat

Prayer

Harvest Song

Bona and Paul

Kabnis

landmarks

Title page

Cover

Table of contents

Book start

Dedication

To my grandmother …

Epigraph

Oracular.

Redolent of fermenting syrup,

Purple of the dusk,

Deep-rooted cane.

Foreword

Reading this book, I had the vision of a land, heretofore sunk in the mists of muteness, suddenly rising up into the eminence of song. Innumerable books have been written about the South; some good books have been written in the South. This book is the South. I do not mean that Cane covers the South or is the South’s full voice. Merely this: a poet has arisen among our American youth who has known how to turn the essences and materials of his Southland into the essences and materials of literature. A poet has arisen in that land who writes, not as a Southerner, not as a rebel against Southerners, not as a Negro, not as apologist or priest or critic: who writes as a poet. The fashioning of beauty is ever foremost in his inspiration: not forcedly but simply, and because these ultimate aspects of his world are to him more real than all its specific problems. He has made songs and lovely stories of his land … not of its yesterday, but of its immediate life. And that has been enough.

How rare this is will be clear to those who have followed with concern the struggle of the South toward literary expression, and the particular trial of that portion of its folk whose skin is dark. The gifted Negro has been too often thwarted from becoming a poet because his world was forever forcing him to recollect that he was a Negro. The artist must lose such lesser identities in the great well of life. The English poet is not forever protesting and recalling that he is English. It is so natural and easy for him to be English that he can sing as a man. The French novelist is not forever noting: “This is French.” It is so atmospheric for him to be French, that he can devote himself to saying: “This is human.” This is an imperative condition for the creating of deep art. The whole will and mind of the creator must go below the surfaces of race. And this has been an almost impossible condition for the American Negro to achieve, forced every moment of his life into a specific and superficial plane of consciousness.

The first negative significance of Cane is that this so natural and restrictive state of mind is completely lacking. For Toomer, the Southland is not a problem to be solved; it is a field of loveliness to be sung: the Georgia Negro is not a downtrodden soul to be uplifted; he is material for gorgeous painting: the segregated self-conscious brown belt of Washington is not a topic to be discussed and exposed; it is a subject of beauty and of drama, worthy of creation in literary form.

It seems to me, therefore, that this is a first book in more ways than one. It is a harbinger of the South’s literary maturity: of its emergence from the obsession put upon its minds by the unending racial crisis—an obsession from which writers have made their indirect escape through sentimentalism, exoticism, polemic, “problem” fiction, and moral melodrama. It marks the dawn of direct and unafraid creation. And, as the initial work of a man of twenty-seven, it is the harbinger of a literary force of whose incalculable future I believe no reader of this book will be in doubt.

How typical is Cane of the South’s still virgin soil and of its pressing seeds! and the book’s chaos of verse, tale, drama, its rhythmic rolling shift from lyrism to narrative, from mystery to intimate pathos! But read the book through and you will see a complex and significant form take substance from its chaos. Part One is the primitive and evanescent black world of Georgia. Part Two is the threshing and suffering brown world of Washington, lifted by opportunity and contact into the anguish of self-conscious struggle. Part Three is Georgia again … the invasion into this black womb of the ferment seed: the neurotic, educated, spiritually stirring Negro. As a broad form this is superb, and the very looseness and unexpected waves of the book’s parts make Cane still more South, still more of an aesthetic equivalent of the land.

What a land it is! What an Aeschylean beauty to its fateful problem! Those of you who love our South will find here some of your love. Those of you who know it not will perhaps begin to understand what a warm splendor is at last at dawn.

A feast of moon and men and barking hounds,

An orgy for some genius of the South

With bloodshot eyes and cane-lipped scented mouth

Surprised in making folk-songs. …

So, in his still sometimes clumsy stride (for Toomer is finally a poet in prose) the author gives you an inkling of his revelation. An individual force, wise enough to drink humbly at this great spring of his land … such is the first impression of Jean Toomer. But beyond this wisdom and this power (which shows itself perhaps most splendidly in his complete freedom from the sense of persecution), there rises a figure more significant: the artist, hard, self-immolating, the artist who is not interested in races, whose domain is Life. The book’s final Part is no longer “promise”; it is achievement. It is no mere dawn: it is a bit of the full morning. These materials … the ancient black man, mute, inaccessible, and yet so mystically close to the new tumultuous members of his race, the simple slave Past, the shredding Negro Present, the iridescent passionate dream of the Tomorrow … are made and measured by a craftsman into an unforgettable music. The notes of his counterpoint are particular, the themes are of intimate connection with us Americans. But the result is that abstract and absolute thing called Art.

Waldo Frank.

Part I

Karintha

Her skin is like dusk on the eastern horizon,

O cant you see it, O cant you see it,

Her skin is like dusk on the eastern horizon

… When the sun goes down.

Men had always wanted her, this Karintha, even as a child, Karintha carrying beauty, perfect as dusk when the sun goes down. Old men rode her hobbyhorse upon their knees. Young men danced with her at frolics when they should have been dancing with their grown-up girls. God grant us youth, secretly prayed the old men. The young fellows counted the time to pass before she would be old enough to mate with them. This interest of the male, who wishes to ripen a growing thing too soon, could mean no good to her.

Karintha, at twelve, was a wild flash that told the other folks just what it was to live. At sunset, when there was no wind, and the pine-smoke from over by the sawmill hugged the earth, and you couldnt see more than a few feet in front, her sudden darting past you was a bit of vivid color, like a black bird that flashes in light. With the other children one could hear, some distance off, their feet flopping in the two-inch dust. Karintha’s running was a whir. It had the sound of the red dust that sometimes makes a spiral in the road. At dusk, during the hush just after the sawmill had closed down, and before any of the women had started their supper-getting-ready songs, her voice, high-pitched, shrill, would put one’s ears to itching. But no one ever thought to make her stop because of it. She stoned the cows, and beat her dog, and fought the other children … Even the preacher, who caught her at mischief, told himself that she was as innocently lovely as a November cotton flower. Already, rumors were out about her. Homes in Georgia are most often built on the two-room plan. In one, you cook and eat, in the other you sleep, and there love goes on. Karintha had seen or heard, perhaps she had felt her parents loving. One could but imitate one’s parents, for to follow them was the way of God. She played “home” with a small boy who was not afraid to do her bidding. That started the whole thing. Old men could no longer ride her hobbyhorse upon their knees. But young men counted faster.

Her skin is like dusk,

O cant you see it

Her skin is like dusk,

… When the sun goes down.

Karintha is a woman. She who carries beauty, perfect as dusk when the sun goes down. She has been married many times. Old men remind her that a few years back they rode her hobbyhorse upon their knees. Karintha smiles, and indulges them when she is in the mood for it. She has contempt for them. Karintha is a woman. Young men run stills to make her money. Young men go to the big cities and run on the road. Young men go away to college. They all want to bring her money. These are the young men who thought that all they had to do was to count time. But Karintha is a woman, and she has had a child. A child fell out of her womb onto a bed of pine-needles in the forest. Pine-needles are smooth and sweet. They are elastic to the feet of rabbits … A sawmill was nearby. Its pyramidal sawdust pile smouldered. It is a year before one completely burns. Meanwhile, the smoke curls up and hangs in odd wraiths about the trees, curls up, and spreads itself out over the valley … Weeks after Karintha returned home the smoke was so heavy you tasted it in water. Someone made a song:

Smoke is on the hills. Rise up.

Smoke is on the hills, O rise

And take my soul to Jesus.

Karintha is a woman. Men do not know that the soul of her was a growing thing ripened too soon. They will bring their money; they will die not having found it out … Karintha at twenty, carrying beauty, perfect as dusk when the sun goes down. Karintha …

Her skin is like dusk on the eastern horizon,

O cant you see it, O cant you see it,

Her skin is like dusk on the eastern horizon

… When the sun goes down.

Goes down …

Reapers

Black reapers with the sound of steel on stones

Are sharpening scythes. I see them place the hones

In their hip-pockets as a thing that’s done,

And start their silent swinging, one by one.

Black horses drive a mower through the weeds,

And there, a field rat, startled, squealing bleeds,

His belly close to ground. I see the blade,

Blood-stained, continue cutting weeds and shade.

November Cotton Flower

Boll-weevil’s coming, and the winter’s cold,

Made cotton-stalks look rusty, seasons old,

And cotton, scarce as any southern snow,

Was vanishing; the branch, so pinched and slow,

Failed in its function as the autumn rake;

Drouth fighting soil had caused the soil to take

All water from the streams; dead birds were found

In wells a hundred feet below the ground—

Such was the season when the flower bloomed.

Old folks were startled, and it soon assumed

Significance. Superstition saw

Something it had never seen before:

Brown eyes that loved without a trace of fear,

Beauty so sudden for that time of year.

Becky

Becky was the white woman who had two Negro sons. She’s dead; they’ve gone away. The pines whisper to Jesus. The Bible flaps its leaves with an aimless rustle on her mound.

Becky had one Negro son. Who gave it to her? Damn buck nigger, said the white folks’ mouths. She wouldnt tell. Common, Godforsaken, insane white shameless wench, said the white folks’ mouths. Her eyes were sunken, her neck stringy, her breasts fallen, till then. Taking their words, they filled her, like a bubble rising—then she broke. Mouth setting in a twist that held her eyes, harsh, vacant, staring … Who gave it to her? Low-down nigger with no self-respect, said the black folks’ mouths. She wouldnt tell. Poor Catholic poor-white crazy woman, said the black folks’ mouths. White folks and black folks built her cabin, fed her and her growing baby, prayed secretly to God who’d put His cross upon her and cast her out.

When the first was born, the white folks said they’d have no more to do with her. And black folks, they too joined hands to cast her out … The pines whispered to Jesus … The railroad boss said not to say he said it, but she could live, if she wanted to, on the narrow strip of land between the railroad and the road. John Stone, who owned the lumber and the bricks, would have shot the man who told he gave the stuff to Lonnie Deacon, who stole out there at night and built the cabin. A single room held down to earth … O fly away to Jesus … by a leaning chimney …

Six trains each day rumbled past and shook the ground under her cabin. Fords, and horse- and mule-drawn buggies went back and forth along the road. No one ever saw her. Trainmen, and passengers who’d heard about her, threw out papers and food. Threw out little crumpled slips of paper scribbled with prayers, as they passed her eye-shaped piece of sandy ground. Ground islandized between the road and railroad track. Pushed up where a blue-sheen God with listless eyes could look at it. Folks from the town took turns, unknown, of course, to each other, in bringing corn and meat and sweet potatoes. Even sometimes snuff … O thank y Jesus … Old David Georgia, grinding cane and boiling syrup, never went her way without some sugar sap. No one ever saw her. The boy grew up and ran around. When he was five years old as folks reckoned it, Hugh Jourdon saw him carrying a baby. “Becky has another son,” was what the whole town knew. But nothing was said, for the part of man that says things to the likes of that had told itself that if there was a Becky, that Becky now was dead.

The two boys grew. Sullen and cunning … O pines, whisper to Jesus; tell Him to come and press sweet Jesus-lips against their lips and eyes … It seemed as though with those two big fellows there, there could be no room for Becky. The part that prayed wondered if perhaps she’d really died, and they had buried her. No one dared ask. They’d beat and cut a man who meant nothing at all in mentioning that they lived along the road. White or colored? No one knew, and least of all themselves. They drifted around from job to job. We, who had cast out their mother because of them, could we take them in? They answered black and white folks by shooting up two men and leaving town. “Godam the white folks; godam the niggers,” they shouted as they left town. Becky? Smoke curled up from her chimney; she must be there. Trains passing shook the ground. The ground shook the leaning chimney. Nobody noticed it. A creepy feeling came over all who saw that thin wraith of smoke and felt the trembling of the ground. Folks began to take her food again. They quit it soon because they had a fear. Becky if dead might be a hant, and if alive—it took some nerve even to mention it … O pines, whisper to Jesus …

It was Sunday. Our congregation had been visiting at Pulverton, and were coming home. There was no wind. The autumn sun, the bell from Ebenezer Church, listless and heavy. Even the pines were stale, sticky, like the smell of food that makes you sick. Before we turned the bend of the road that would show us the Becky cabin, the horses stopped stock-still, pushed back their ears, and nervously whinnied. We urged, then whipped them on. Quarter of a mile away thin smoke curled up from the leaning chimney … O pines, whisper to Jesus … Gooseflesh came on my skin though there still was neither chill nor wind. Eyes left their sockets for the cabin. Ears burned and throbbed. Uncanny eclipse! fear closed my mind. We were just about to pass … Pines shout to Jesus! … the ground trembled as a ghost train rumbled by. The chimney fell into the cabin. Its thud was like a hollow report, ages having passed since it went off. Barlo and I were pulled out of our seats. Dragged to the door that had swung open. Through the dust we saw the bricks in a mound upon the floor. Becky, if she was there, lay under them. I thought I heard a groan. Barlo, mumbling something, threw his Bible on the pile. (No one has ever touched it.) Somehow we got away. My buggy was still on the road. The last thing that I remember was whipping old Dan like fury; I remember nothing after that—that is, until I reached town and folks crowded round to get the true word of it.

Becky was the white woman who had two Negro sons. She’s dead; they’ve gone away. The pines whisper to Jesus. The Bible flaps its leaves with an aimless rustle on her mound.