tact with him, for he and his wife practically led separate existences, meeting only at meals, or when they had guests, or when they both happened to arise at the same hour for breakfast. Occasionally, they attended the theater or a party together, and sometimes entertained, but usually they followed their own individual paths.
Campbell Kitchen, like many other white artists and intellectuals, had become interested in Harlem. The Negro and all things negroid had become a fad, and Harlem had become a shrine to which feverish pilgrimages were in order. Campbell Kitchen, along with Carl Van Vechten, was one of the leading spirits in this “Explore Harlem; Know the Negro” crusade. He, unlike many others, was quite sincere in his desire to exploit those things in Negro life which he presumed would eventually win for the Negro a more comfortable position in American life. It was he who first began the agitation in the higher places of journalism which gave impetus to the spiritual craze. It was he who ferreted out and gave publicity to many unknown blues singers. It was he who sponsored most of the younger Negro writers, personally carrying their work to publishers and editors. It wasn’t his fault entirely that most of them were published before they had anything to say or before they knew how to say it. Rather it was the fault of the faddistic
