Let Us Now Praise Famous Men / Edition 60

by James Agee

Overview

Published nearly sixty years ago, Let Us Now Praise Famous Men stands as an undisputed American masterpiece, taking its place alongside works by Henry David Thoreau, Herman Melville, and Walt Whitman. In a stunning blend of prose and images, this classic offers at once an unforgettable portrait of three tenant families in the Deep South and a larger meditation on human dignity and the American soul.

In the summer of 1936, James Agee and Walker Evans set out on assignment for Fortune magazine to explore the daily lives of sharecroppers in the South. There they lived with three different families for a month; the result of their stay was an extraordinary collaboration, an unsparing record of place, of the people who shaped the land, and of the rhythm of their lives. Upon its first book publication in 1941, Let Us Now Praise Famous Men was called intensely moving, unrelentingly honest. It described a mode of life -- and rural poverty -- that was unthinkably remote and tragic to most Americans, and yet for Agee and Evans, only extreme realism could serve to make the world fully aware of such circumstances. Today it stands as a poetic tract for its time, a haunting search for the human and religious meaning in the lives of true Southern heroes: in their waking, sleeping, eating; their work; their houses and children; and their endurance.

With an elegant design and a sixty-four-page photographic prologue of Evans's stunning images, reproduced from archival negatives, the new edition introduces the legendary author and photographer to a new generation. Both an invaluable part of the American heritage and a graceful tribute to the vibrant souls whose stories live in these pages, this book has profoundly changed our culture and our consciousness -- and will continue to inspire for generations to come.

Product Details

ISBN-13:	2900618127497
Publisher:	Houghton Mifflin Harcourt
Publication date:	08/28/2001
Series:	Edition 001 Series
Edition description:	New Edition
Pages:	432
Product dimensions:	6.12(w) x (h) x 1.25(d)

About the Author

James Agee (1909-1955) was a poet, screenwriter, and journalist who won the Pulitzer Prize for his novel A DEATH IN THE FAMILY.

Read an Excerpt

'I spoke of this piece of work we were doing as "curious." I had better amplify this.
It seems to me curious, not to say obscene and thoroughly terrifying, that it could occur to an association of human beings drawn together through need and chance and for profit into a company, an organ of journalism, to pry intimately into the lives of an undefended and appallingly damaged group of human beings, an ignorant and helpless rural family, for the purpose of parading the nakedness, disadvantage and humiliation of these lives before another group of human beings, in the name of science, of "honest journalism" (whatever that paradox may mean), of humanity, of social fearlessness, for money, and for a reputation for crusading and for unbias which, when skillfully enough qualified, is exchangeable at any bank for money (and in politics, for votes, job patronage, abelincolnism, etc. *; and that these people could be capable of meditating this prospect without the slightest doubt of their qualification to do an "honest" piece of work, and with a conscience better than clear, and in the virtual certitude of almost unanimous public approval. It seems curious, further, that the assignment of this work should have fallen to persons having so extremely different a form of respect for the subject, and responsibility toward it, that from the first and inevitably they counted their employers, and that Government likewise to which one of them was bonded, among their most dangerous enemies, acted as spies, guardians, and cheats, * and trusted no judgment, however authoritative it claimed to be, save their own: which in many aspects of the task before them was untrained and uninformed. It seems further curious that realizing the extreme corruptness and difficulty of the circumstances, and the unlikelihood of achieving in any untainted form what they wished to achieve, they accepted the work in the first place. And it seems curious still further that, with all their suspicion of and contempt for every person and thing to do with the situation, save only for the tenants and for themselves, and their own intentions, and with all their realization of the seriousness and mystery of the subject, and of the human responsibility they undertook, they so little questioned or doubted their own qualifications for this work.
All of this, I repeat, seems to me curious, obscene, terrifying, and unfathomably mysterious.
So does the whole course, in all its detail, of the effort of these persons to find, and to defend, what they sought: and the nature of their relationship with those with whom during the searching stages they came into contact; and the subtlety, importance, and almost intangibility of the insights or revelations or oblique suggestions which under different circumstances could never have materialized; so does the method of research which was partly evolved by them, partly forced upon them; so does the strange quality of their relationship with those whose lives they so tenderly and sternly respected, and so rashly undertook to investigate and to record.
So does the whole subsequent course and fate of the work: the causes for its non-publication, the details of its later acceptance elsewhere, and of its design; the problems which confronted the maker of the photographs; and those which confront me as I try to write of it: the question, Who are you who will read these words and study these photographs, and through what cause, by what chance, and for what purpose, and by what right do you qualify to, and what will you do about it; and the question, Why we make this book, and set it at large, and by what right, and for what purpose, and to what good end, or none: the whole memory of the South in its six-thousand-mile parade and flowering outlay of the façades of cities, and of the eyes in the streets of towns, and of hotels, and of the trembling heat, and of the wide wild opening of the tragic land, wearing the trapped frail flowers of its garden of faces; the fleet flush and flower and fainting of the human crop it raises; the virulent, insolent, deceitful, pitying, infinitesimal and frenzied running and searching, on this colossal peasant map, of two angry, futile and bottomless, botched and overcomplicated youthful intelligences in the service of an anger and of a love and of an undiscernible truth, and in the frightening vanity of their would-be purity; the sustaining, even now, and forward moving, lifted on the lifting of this day as ships on a wave, above whom, in a few hours, night once more will stand up in his stars, and they decline through lamplight and be dreaming statues, of those, each, whose lives we knew and whom we love and intend well toward, and of whose living we know little in some while now, save that quite steadily, in not much possible change for better or much worse, mute, innocent, helpless and incorporate among that small-moted and inestimable swarm and pollen stream and fleet of single, irreparable, unrepeatable existences, they are led, gently, quite steadily, quite without mercy, each a little farther toward the washing and the wailing, the sunday suit and the prettiest dress, the pine box, and the closed clay room whose frailly decorated roof, until rain has taken it flat into oblivion, wears the shape of a ritual scar and of an inverted boat: curious, obscene, terrifying, beyond all search of dream unanswerable, those problems which stand thickly forth like light from all matter, triviality, chance, intention, and record in the body, of being, of truth, of conscience, of hope, of hatred, of beauty, of indignation, of guilt, of betrayal, of innocence, of forgiveness, of vengeance, of guardianship, of an indenominable fate, predicament, destination, and God.

Therefore it is in some fear that I approach those matters at all, and in much confusion. And if there are questions in my mind how to undertake this communication, and there are many, I must let the least of them be, whether I am boring you, or whether I am taking too long getting started, and too clumsily. If I bore you, that is that. If I am clumsy, that may indicate partly the difficulty of my subject, and the seriousness with which I am trying to take what hold I can of it; more certainly, it will indicate my youth, my lack of mastery of my so-called art or craft, my lack perhaps of talent. Those matters, too, must reveal themselves as they may. However they turn out, they cannot be otherwise than true to their conditions, and I would not wish to conceal these conditions even if I could, for I am interested to speak as carefully and as near truly as I am able. No doubt I shall worry myself that I am taking too long getting started, and shall seriously distress myself over my inability to create an organic, mutually sustaining and dependent, and as it were musical, form: but I must remind myself that I started with the first word I wrote, and that the centers of my subject are shifty; and, again, that I am no better an "artist" than I am capable of being, under these circumstances, perhaps under any other; and that this again will find its measurement in the facts as they are, and will contribute its own measure, whatever it may be, to the pattern of the effort and truth as a whole.
I might say, in short, but emphatically not in self-excuse, of which I wish entirely to disarm and disencumber myself, but for the sake of clear definition, and indication of limits, that I am only human. Those works which I most deeply respect have about them a firm quality of the superhuman, in part because they refuse to define and limit and crutch, or admit themselves as human. But to a person of my uncertainty, undertaking a task of this sort, that plane and manner are not within reach, and could only falsify what by this manner of effort may at least less hopelessly approach clarity, and truth.'

'For in the immediate world, everything is to be discerned, for him who can discern it, and centrally and simply, without either dissection into science, or digestion into art, but with the whole of consciousness, seeking to perceive it as it stands: so that the aspect of a street in sunlight can roar in the heart of itself as a symphony, perhaps as no symphony can: and all of consciousness is shifted from the imagined, the revisive, to the effort to perceive simply the cruel radiance of what is.
This is why the camera seems to me, next to unassisted and weaponless consciousness, the central instrument of our time; and is why in turn I feel such rage at its misuse: which has spread so nearly universal a corruption of sight that I know of less than a dozen alive whose eyes I can trust even so much as my own.'

'If I had explained myself clearly you would realize by now that through this non-"artistic" view, this effort to suspend or destroy imagination, there opens before consciousness, and within it, a universe luminous, spacious, incalculably rich and wonderful in each detail, as relaxed and natural to the human swimmer, and as full of glory, as his breathing: and that it is possible to capture and communicate this universe not so well by any means of art as through such open terms as I am trying it under.
In a novel, a house or person has his meaning, his existence, entirely through the writer. Here, a house or a person has only the most limited of his meaning through me: his true meaning is much huger. It is that he exists, in actual being, as you do and as I do, and as no character of the imagination can possibly exist. His great weight, mystery, and dignity are in this fact. As for me, I can tell you of him only what I saw, only so accurately as in my terms I know how: and this in turn has its chief stature not in any ability of mine but in the fact that I too exist, not as a work of fiction, but as a human being. Because of his immeasurable weight in actual existence, and because of mine, every word I tell of him has inevitably a kind of immediacy, a kind of meaning, not at all necessarily "superior" to that of imagination, but of a kind so different that a work of the imagination (however intensely it may draw on "life") can at best only faintly imitate the least of it.'

"The communication is not by any means so simple. It seems to me now that to contrive techniques appropriate to it in the first place, and capable of planting it cleanly in others, in the second, would be a matter of years, and I shall probably try none of it or little, and that very tortured and diluted, at present. I realize that, with even so much involvement in explanations as this, I am liable seriously, and perhaps irretrievably, to obscure what would at best be hard enough to give its appropriate clarity and intensity; and what seems to me most important of all: namely, that these I will write of are human beings, living in this world, innocent of such twistings as these which are taking place over their heads; and that they were dwelt among, investigated, spied on, revered, and loved, by other quite monstrously alien human beings, in the employment of still others still more alien; and that they are now being looked into by still others, who have picked up their living as casually as if it were a book, and who were actuated toward this reading by various possible reflexes of sympathy, curiosity, idleness, et cetera, and almost certainly in a lack of consciousness, and conscience, remotely appropriate to the enormity of what they are doing.
If I could do it, I'd do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth, records of speech, pieces of wood and iron, phials of odors, plates of food and of excrement. Booksellers would consider it quite a novelty; critics would murmur, yes, but is it art; and I could trust a majority of you to use it as you would a parlor game.
A piece of the body torn out by the roots might be more to the point.
As it is, though, I'll do what little I can in writing. Only it will be very little. I'm not capable of it; and if I were, you would not go near it at all. For if you did, you would hardly bear to live.
As a matter of fact, nothing I might write could make any difference whatever. It would only be a "book" at the best. If it were a safely dangerous one it would be "scientific" or "political" or "revolutionary." If it were really dangerous it would be "literature" or "religion" or "mysticism" or "art," and under one such name or another might in time achieve the emasculation of acceptance. If it were dangerous enough to be of any remote use to the human race it would be merely "frivolous" or "pathological," and that would be the end of that. Wiser and more capable men than I shall ever be have put their findings before you, findings so rich and so full of anger, serenity, murder, healing, truth, and love that it seems incredible the world were not destroyed and fulfilled in the instant, but you are too much for them: the weak in courage are strong in cunning; and one by one, you have absorbed and have captured and dishonored, and have distilled of your deliverers the most ruinous of all your poisons; people hear Beethoven in concert halls, or over a bridge game, or to relax; Cézannes are hung on walls, reproduced, in natural wood frames; van Gogh is the man who cut off his ear and whose yellows became recently popular in window decoration; Swift loved individuals but hated the human race; Kafka is a fad; Blake is in the Modern Library; Freud is a Modern Library Giant; Dovschenko's Frontier is disliked by those who demand that it fit the Eisenstein esthetic; nobody reads Joyce any more; Céline is a madman who has incurred the hearty dislike of Alfred Kazin, reviewer for the New York Herald Tribune book section, and is, moreover, a fascist; I hope I need not mention Jesus Christ, of whom you have managed to make a dirty gentile.
However that may be, this is a book about "sharecroppers," and is written for all those who have a soft place in their hearts for the laughter and tears inherent in poverty viewed at a distance, and especially for those who can afford the retail price; in the hope that the reader will be edified, and may feel kindly disposed toward any well-thought-out liberal efforts to rectify the unpleasant situation down South, and will somewhat better and more guiltily appreciate the next good meal he eats; and in the hope, too, that he will recommend this little book to really sympathetic friends, in order that our publishers may at least cover their investment and that just the merest perhaps) some kindly thought may be turned our way, and a little of your money fall to poor little us.'

'Above all else: in God's name don't think of it as Art.
Every fury on earth has been absorbed in time, as art, or as religion, or as authority in one form or another. The deadliest blow the enemy of the human soul can strike is to do fury honor. Swift, Blake, Beethoven, Christ, Joyce, Kafka, name me a one who has not been thus castrated. Official acceptance is the one unmistakable symptom that salvation is beaten again, and is the one surest sign of fatal misunderstanding, and is the kiss of Judas.
Really it should be possible to hope that this be recognized as so, and as a mortal and inevitably recurrent danger. It is scientific fact. It is disease. It is avoidable. Let a start be made. And then exercise your perception of it on work that has more to tell you than mine has. See how respectable Beethoven is; and by what right any wall in museum, gallery or home presumes to wear a Cézanne; and by what idiocy Blake or work even of such intention as mine is ever published and sold. I will tell you a test. It is unfair. It is untrue. It stacks all the cards. It is out of line with what the composer intended. All so much the better.
Get a radio or a phonograph capable of the most extreme loudness possible, and sit down to listen to a performance of Beethoven's Seventh Symphony or of Schubert's C-Major Symphony. But I don't mean just sit down and listen. I mean this: Turn it on as loud as you can get it. Then get down on the floor and jam your ear as close into the loudspeaker as you can get it and stay there, breathing as lightly as possible, and not moving, and neither eating nor smoking nor drinking. Concentrate everything you can into your hearing and into your body. You won't hear it nicely. If it hurts you, be glad of it. As near as you will ever get, you are inside the music; not only inside it, you are it; your body is no longer your shape and substance, it is the shape and substance of the music.
Is what you hear pretty? or beautiful? or legal? or acceptable in polite or any other society? It is beyond any calculation savage and dangerous and murderous to all equilibrium in human life as human life is; and nothing can equal the rape it does on all that death; nothing except anything, anything in existence or dream, perceived anywhere remotely toward its true dimension.'

'Beethoven said a thing as rash and noble as the best of his work. By my memory, he said: "He who understands my music can never know unhappiness again." I believe it. And I would be a liar and a coward and one of your safe world if I should fear to say the same words of my best perception, and of my best intention.
Performance, in which the whole fate and terror rests, is another matter.'

Copyright (c) 1939, 1940 by James Agee; 1941 by James Agee and Walker Evans; renewed 1969 by Mia Fritsch Agee and Walker Evans; 1960 by Walker Evans; renewed 1988 by John T. Hill, executor of the estate of Walker Evans. Reprinted by permission of Houghton Mifflin Company.

Table of Contents

verses 4
preamble 5
all over alabama 15
(On the Porch: 1 17
July 1936
late sunday morning 23
at the forks 29
near a church 35
Part One: A Country Letter 43
Colon 85
Part Two: Some Findings and Comments 99
money 101
shelter 107
(On the Porch: 2 195
clothing 225
education 253
work 279
Intermission: Conversation in the Lobby 309
Part Three: Inductions 317
shady grove alabama 381
two images 389
title statement 391
Notes and Appendices 395

What People are Saying About This

Lionel Trilling

A great book. The most realistic and most important moral effort of our American generation.
—

Editorial Reviews

Houghton's edition of Agee and Evans's classic combo of text and pictures of impoverished Southern sharecroppers was enlarged with 64 new archival photos. This eye-opening 1939 portrait of America's peasantry remains powerful. (Classic Returns, LJ 4/1/00) Copyright 2000 Cahners Business Information.

Library Journal

"Renowned for its fusion of social conscience and artistic radicality and for the way Evans's spare, tautly composed images and Agee's more extravagant prose complement and enhance each other."—New York Times The New York Times

The "most realistic and most important moral effort of our American generation." - Lionel Trilling

From the Publisher