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Interpreters
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
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As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
250 pages, Hardcover
First published January 1, 1920
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About the author
Carl van Vechten
142 books29 followersCarl van Vechten (B.A., University of Chicago, 1903) was a photographer, music-dance critic, novelist, and patron of the Harlem Renaissance who served as literary executor for Gertrude Stein.
Van Vechten was among the most influential literary figures of the 1910s and 1920s. He began his career in journalism as a reporter, then in 1906 joined The New York Times as assistant music critic and later worked as its Paris correspondent. His early reviews are collected in Interpreters and Interpretations (1917 and 1920) and Excavations: A Book of Advocacies (1926). His first novel, Peter Whiffle (1922), a first-person account of the salon and bohemian culture of New York and Paris and clearly drawn from Van Vechten's own experiences, and was immensely popular. His most controversial work of fiction is Nigger Heaven (1926), notable for its depiction of black life in Harlem in the 1920s and its sympathetic treatment of the newly emerging black culture.
In the 1930s, Van Vechten turned from fiction to photography. His photographs are in collections at the Museum of Modern Art in New York and elsewhere. An important literary patron, he established the James Weldon Johnson Collection of Negro Arts and Letters at Yale.
Van Vechten was among the most influential literary figures of the 1910s and 1920s. He began his career in journalism as a reporter, then in 1906 joined The New York Times as assistant music critic and later worked as its Paris correspondent. His early reviews are collected in Interpreters and Interpretations (1917 and 1920) and Excavations: A Book of Advocacies (1926). His first novel, Peter Whiffle (1922), a first-person account of the salon and bohemian culture of New York and Paris and clearly drawn from Van Vechten's own experiences, and was immensely popular. His most controversial work of fiction is Nigger Heaven (1926), notable for its depiction of black life in Harlem in the 1920s and its sympathetic treatment of the newly emerging black culture.
In the 1930s, Van Vechten turned from fiction to photography. His photographs are in collections at the Museum of Modern Art in New York and elsewhere. An important literary patron, he established the James Weldon Johnson Collection of Negro Arts and Letters at Yale.
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