the autobiography of an ex colored man essay

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The autobiography of an ex-colored man.

Known only as the “Ex-Colored Man,” the protagonist in Johnson’s novel is forced to choose between celebrating his African American heritage or “passing” as an average white man in a post-Reconstruction America that is rapidly changing. This Norton Critical Edition is based on the 1912 text. It is accompanied by a detailed introduction, explanatory footnotes, and a note on the text. The appendices that follow the novel include materials available in no other edition: manuscript drafts of the final chapters, including the original lynching scene (chapter 10, ca. 1910) and the original ending (chapter 11, ca. 1908).

An unusually rich selection of “Backgrounds and Sources” focuses on Johnson’s life; the autobiographical inspirations for  The Autobiography of an Ex-Colored Man ; the cultural history of the era in which Johnson lived and wrote; the noteworthy reception history for the 1912, 1927, and 1948 editions; and related writings by Johnson. In addition to Johnson, contributors include Eugene Levy, W. E. B. Du Bois, Marcy A. Sacks, Carl Van Vechten, Blanche W. Knopf, Victor Weybright, and Cecile Fishbein, among others.

The seven critical essays and interpretations in this volume speak to  The Autobiography of an Ex-Colored Man ’s major themes, among them irony, authorship, passing, and parody. Early assessments (1930s–70s) are provided by Robert A. Bone, Robert Fleming, and Robert B. Stepto. Recent contributors are Jacqueline Goldsby, Samira Kawash, Christina L. Ruotolo, and M. Giulia Fabi.

A chronology of Johnson’s life and work and a selected bibliography are also included.

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Chapter Summaries & Analyses

Preface and Chapters 1-5

Chapters 6-8

Chapters 9-11

Character Analysis

Symbols & Motifs

Important Quotes

Essay Topics

The publishers’ note claims that The Autobiography of an Ex-Colored Man will offer brand new insights into the hidden realities of Black life in the United States. What aspects of the novel seem designed to fulfill that purpose?

The Autobiography of an Ex-Colored Man belongs to multiple genres. Identify two or more genres to which it belongs. What impact does this identification have on your reading and expectations of the book? Support your discussion with specific passages from the book.

There are multiple geographic settings for this book. How does the narrator’s identity evolve as he travels to these different settings? What point does Johnson ultimately make about Black identity and geography?

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Autobiography of an Ex-Colored Man

James weldon johnson, ask litcharts ai: the answer to your questions, the narrator or “ex-colored man”, the narrator’s mother, the narrator’s father, the millionaire.

The Narrator’s Wife / The Singer

The music teacher, the violinist, the second pullman porter, the washington physician, “singing johnson”.

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W. E. B. Du Bois (1868—1963) American writer, sociologist, and political activist

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Autobiography of an Ex-Colored Man

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Originally published anonymously in 1912, James Weldon Johnson's novel The Autobiography of an Ex-Colored Man advances the narrative of the “tragic mulatto” who passes for white beyond the constraints imposed by the form as it was practiced in nineteenth-century American literature. Though in some ways conforming to the conventional novel of passing in suggesting that a mixed racial heritage makes a person incapable of functioning in either the black or the white world, Johnson's novel turns this notion on its head by invoking double consciousness, as his narrator makes clear:

It is this, too, which makes the colored people of this country, in reality, a mystery to the whites. It is a difficult thing for a white man to learn what a colored man really thinks; because, generally, with the latter an additional and different light must be brought to bear on what he thinks…. This gives to every colored man, in proportion to his intellectuality, a sort of dual personality….

As this passage demonstrates, Johnson's novel is the first to give voice in fictional form to “the Veil,” W. E. B. Du Bois's construction of African American racial consciousness.

The novel's plot deals with the product of a clandestine love affair between a white Southerner and a fair-skinned African American woman. Compelled to relocate to the North, the unnamed narrator of the story is reared in a small town in Connecticut, where he displays a prodigious talent as a pianist. Learning from his teacher that he is not white, he decides to attend Atlanta University, a black school in the South. But after his funds are stolen, he takes a job in a cigar factory, where he mingles with blacks of different classes and hues while gaining exposure to African American culture. When the factory closes, the narrator moves to New York City and joins a bohemian world in which he works as a ragtime piano player. Attachment to a white patron enables the narrator to make a tour of Europe, where he decides to devote his talent to the development of vernacular African American music into classical musical forms. Returning to the roots of African American musical traditions in the South, the narrator is so shocked by a lynching that he rejects his new vocation and spurns identification with “a people that could with impunity be treated worse than animals.” Cutting himself off from his cultural heritage, he returns to New York to pass for white, become a successful businessman, and marry and raise a family on the white side of the color line. Only at the end of the novel does he acknowledge the tragedy of having sold what he calls his “birthright” for “a mess of pottage.”

Though reviewers hailed the novel as a sociological study, especially after Johnson acknowledged his authorship in 1927, the greater importance of the book lies in its rejection of didacticism and overt propaganda in favor of a psychological realism that revealed the complex conflicting negotiations informing an African American's quest for identity as an artist, a person of color, and a modern American male.

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The Power of Music in Johnson’s The Autobiography of an Ex-coloured Man

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The Power of Music in The Autobiography of an Ex-Coloured Man

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The Autobiography of an Ex-Colored Man

I know that in writing the following pages I am divulging the great secret of my life, the secret which for some years I have guarded far more carefully than any of my earthly possessions; and it is a curious study to me to analyze the motives which prompt me to do it. I feel that I am led by the same impulse which forces the un-found-out criminal to take somebody into his confidence, although he knows that the act is likely, even almost certain, to lead to his undoing. I know that I am playing with fire, and I feel the thrill which accompanies that most fascinating pastime; and, back of it all, I think I find a sort of savage and diabolical desire to gather up all the little tragedies of my life, and turn them into a practical joke on society.

And, too, I suffer a vague feeling of unsatisfaction, of regret, of almost remorse, from which I am seeking relief, and of which I shall speak in the last paragraph of this account.

I was born in a little town of Georgia a few years after the close of the Civil War. I shall not mention the name of the town, because there are people still living there who could be connected with this narrative. I have only a faint recollection of the place of my birth. At times I can close my eyes and call up in a dreamlike way things that seem to have happened ages ago in some other world. I can see in this half vision a little house--I am quite sure it was not a large

one--I can remember that flowers grew in the front yard, and that around each bed of flowers was a hedge of vari-colored glass bottles stuck in the ground neck down. I remember that once, while playing around in the sand, I became curious to know whether or not the bottles grew as the flowers did, and I proceeded to dig them up to find out; the investigation brought me a terrific spanking, which indelibly fixed the incident in my mind. I can remember, too, that behind the house was a shed under which stood two or three wooden wash-tubs. These tubs were the earliest aversion of my life, for regularly on certain evenings I was plunged into one of them and scrubbed until my skin ached. I can remember to this day the pain caused by the strong, rank soap's getting into my eyes.

Back from the house a vegetable garden ran, perhaps seventy-five or one hundred feet; but to my childish fancy it was an endless territory. I can still recall the thrill of joy, excitement, and

wonder it gave me to go on an exploring expedition through it, to find the blackberries, both ripe and green, that grew along the edge of the fence.

I remember with what pleasure I used to arrive at, and stand before, a little enclosure in which stood a patient cow chewing her cud, how I would occasionally offer her through the bars a piece of my bread and molasses, and how I would jerk back my hand in half fright if she made

any motion to accept my offer.

I have a dim recollection of several people who moved in and about this little house, but I have a distinct mental image of only two: one, my mother; and the other, a tall man with a small, dark mustache. I remember that his shoes or boots were always shiny, and that he wore

a gold chain and a great gold watch with which he was always willing to let me play. My admiration was almost equally divided between the watch and chain and the shoes. He used to come to the house evenings, perhaps two or three times a week; and it became my appointed duty whenever he came to bring him a pair of slippers and to put the shiny shoes in a particular corner; he often gave me in return for this service a bright coin, which my mother taught me to promptly drop in a little tin bank. I remember distinctly the last time this tall man came to the little house in Georgia; that evening before I went to bed he took me up in his arms and squeezed me very tightly; my mother stood behind his chair wiping tears from her eyes. I remember how I sat upon his knee and watched him laboriously drill a hole through a ten-dollar gold piece, and then tie the coin around my neck with a string. I have worn that gold piece around my neck the greater part of my life, and still possess it, but more than once I have wished that some other way had been found of attaching it to me besides putting a hole through it.

On the day after the coin was put around my neck my mother and I started on what seemed to me an endless journey. I knelt on the seat and watched through the train window the corn and cotton fields pass swiftly by until I fell asleep. When I fully awoke, we were being driven through the streets of a large city--Savannah. I sat up and blinked at the bright lights. At Savannah we boarded a steamer which finally landed us in New York. From New York we went to a town in Connecticut, which became the home of my boyhood.

My mother and I lived together in a little cottage which seemed to me to be fitted up almost luxuriously; there were horse-hair-covered chairs in the parlor, and a little square piano; there was a stairway with red carpet on it leading to a half second story; there were pictures on the walls, and a few books in a glass-doored case. My mother dressed me very neatly, and I developed that pride which well-dressed boys generally have. She was careful about my associates, and I myself was quite particular. As I look back now I can see that I was a perfect little aristocrat. My mother rarely went to anyone's house, but she did sewing, and there were a great many ladies coming to our cottage. If I was around they would generally call me, and ask

me my name and age and tell my mother what a pretty boy I was. Some of them would pat me on the head and kiss me.

My mother was kept very busy with her sewing; sometimes she would have another woman helping her. I think she must have derived a fair income from her work. I know, too, that at least once each month she received a letter; I used to watch for the postman, get the letter, and run to her with it; whether she was busy or not, she would take it and instantly thrust it into her bosom. I never saw her read one of these letters. I knew later that they contained money and what was to her more than money. As busy as she generally was, she found time,

however, to teach me my letters and figures and how to spell a number of easy words. Always on Sunday evenings she opened the little square piano and picked out hymns. I can recall now that whenever she played hymns from the book her ‘tempo’ was always decidedly ‘largo’.

Sometimes on other evenings, when she was not sewing, she would play simple accompaniments to some old Southern songs which she sang. In these songs she was freer, because she played them by ear. Those evenings on which she opened the little piano were the happiest hours of my childhood. Whenever she started toward the instrument, I used to follow her with all the interest and irrepressible joy that a pampered pet dog shows when a package is opened in which he knows there is a sweet bit for him. I used to stand by her side and often interrupt and annoy her by chiming in with strange harmonies which I found on either

the high keys of the treble or the low keys of the bass. I remember that I had a particular fondness for the black keys. Always on such evenings, when the music was over, my mother would sit with me in her arms, often for a very long time. She would hold me close, softly

crooning some old melody without words, all the while gently stroking her face against my head; many and many a night I thus fell asleep. I can see her now, her great dark eyes looking into the fire, to where? No one knew but her. The memory of that picture has more than once

kept me from straying too far from the place of purity and safety in which her arms held me.

At a very early age I began to thump on the piano alone, and it was not long before I was able to pick out a few tunes. When I was seven years old, I could play by ear all of the hymns and songs that my mother knew. I had also learned the names of the notes in both clefs, but I preferred not to be hampered by notes. About this time several ladies for whom my mother sewed heard me play and they persuaded her that I should at once be put under a teacher; so arrangements were made for me to study the piano with a lady who was a fairly good musician; at the same time arrangements were made for me to study my books with this lady's daughter. My music teacher had no small difficulty at first in pinning me down to the notes. If she played my lesson over for me, I invariably attempted to reproduce the required sounds without the slightest recourse to the written characters. Her daughter, my other teacher, also had her worries. She found that, in reading, whenever I came to words that were difficult or unfamiliar,

I was prone to bring my imagination to the rescue and read from the picture. She has laughingly told me, since then, that I would sometimes substitute whole sentences and even paragraphs from what meaning I thought the illustrations conveyed. She said she not only was sometimes amused at the fresh treatment I would give an author's subject, but, when I gave some new and sudden turn to the plot of the story, often grew interested and even excited in listening to hear

what kind of a denouement I would bring about. But I am sure this was not due to dullness, for I made rapid progress in both my music and my books.

And so for a couple of years my life was divided between my music and my school books. Music took up the greater part of my time. I had no playmates, but amused myself with games--some of them my own invention--which could be played alone. I knew a few boys whom I had met at the church which I attended with my mother, but I had formed no close friendships with any of them. Then, when I was nine years old, my mother decided to enter me in the public school, so all at once I found myself thrown among a crowd of boys of all sizes and kinds; some of them seemed to me like savages. I shall never forget the bewilderment, the pain, the heart-sickness, of that first day at school. I seemed to be the only stranger in the place; every other boy seemed to know every other boy. I was fortunate enough, however, to be assigned to a teacher who knew me; my mother made her dresses. She was one of the ladies who used to pat me on the head and kiss me. She had the tact to address a few words directly to me; this gave me a certain sort of standing in the class and put me somewhat at ease.

Within a few days I had made one staunch friend and was on fairly good terms with most of the boys. I was shy of the girls, and remained so; even now a word or look from a pretty woman sets me all a-tremble. This friend I bound to me with hooks of steel in a very simple way. He

was a big awkward boy with a face full of freckles and a head full of very red hair. He was perhaps fourteen years of age; that is, four or five years older than any other boy in the class. This seniority was due to the fact that he had spent twice the required amount of time in

several of the preceding classes. I had not been at school many hours before I felt that "Red Head"--as I involuntarily called him--and I were to be friends. I do not doubt that this feeling was strengthened by the fact that I had been quick enough to see that a big, strong boy was a friend to be desired at a public school; and, perhaps, in spite of his dullness, "Red Head" had been able to discern that I could be of service to him. At any rate there was a simultaneous mutual attraction.

The teacher had strung the class promiscuously around the walls of the room for a sort of trial heat for places of rank; when the line was straightened out, I found that by skillful maneuvering I had placed myself third and had piloted "Red Head" to the place next to me. The teacher began by giving us to spell the words corresponding to our order in the line. "Spell 'first'." "Spell 'second'." "Spell 'third'." I rattled off: "T-h-i-r-d, third," in a way which said: "Why don't you give us something hard?" As the words went down the line, I could see how lucky I had been to get a good place together with an easy word. As young as I was, I felt impressed with the unfairness of the whole proceeding when I saw the tailenders going down before 'twelfth' and 'twentieth', and I felt sorry for those who had to spell such words in order to hold a low position. "Spell 'fourth'." "Red Head," with his hands clutched tightly behind his back, began bravely: "F-o-r-t-h." Like a flash a score of hands went up, and the teacher began saying: "No snapping of fingers, no snapping of fingers." This was the first word missed, and it seemed to me that some of the scholars were about to lose their senses; some were dancing up and down on one foot with a

hand above their heads, the fingers working furiously, and joy beaming all over their faces; others stood still, their hands raised not so high, their fingers working less rapidly, and their faces expressing not quite so much happiness; there were still others who did not move or raise their hands, but stood with great wrinkles on their foreheads, looking very thoughtful.

The whole thing was new to me, and I did not raise my hand, but slyly whispered the letter "u" to "Red Head" several times. "Second chance," said the teacher. The hands went down and the class became quiet. "Red Head," his face now red, after looking beseechingly at the ceiling,

then pitiably at the floor, began very haltingly: "F-u--" Immediately an impulse to raise hands went through the class, but the teacher checked it, and poor "Red Head," though he knew that each letter he added only took him farther out of the way, went doggedly on and finished: "--r-t-h." The hand-raising was now repeated with more hubbub and excitement than at first. Those who before had not moved a finger were now waving their hands above their heads. "Red Head" felt that he was lost. He looked very big and foolish, and some of the scholars began to snicker. His helpless condition went straight to my heart, and gripped my sympathies. I felt that if he failed, it would in some way be my failure. I raised my hand, and, under cover of the

excitement and the teacher's attempts to regain order, I hurriedly shot up into his ear twice, quite distinctly: "F-o-u-r-t-h, f-o-u-r-t-h." The teacher tapped on her desk and said: "Third and last chance." The hands came down, the silence became oppressive. "Red Head" began: "F--" Since that day I have waited anxiously for many a turn of the wheel of fortune, but never under greater tension than when I watched for the order in which those letters would fall from "Red's" lips--"o-u-r-t-h." A sigh of relief and disappointment went up from the class. Afterwards, through all our school days, "Red Head" shared my wit and quickness and I benefited by his strength and dogged faithfulness.

There were some black and brown boys and girls in the school, and several of them were in my class. One of the boys strongly attracted my attention from the first day I saw him. His face was as black as night, but shone as though it were polished; he had sparkling eyes, and when he opened his mouth, he displayed glistening white teeth. It struck me at once as appropriate to call him "Shiny Face," or "Shiny Eyes," or "Shiny Teeth," and I spoke of him often by one of these names to the other boys. These terms were finally merged into "Shiny," and to that name he answered good-naturedly during the balance of his public school days.

"Shiny" was considered without question to be the best speller, the best reader, the best penman--in a word, the best scholar, in the class. He was very quick to catch anything, but, nevertheless, studied hard; thus he possessed two powers very rarely combined in one boy. I

saw him year after year, on up into the high school, win the majority of the prizes for punctuality, deportment, essay writing, and declamation. Yet it did not take me long to discover that, in spite of his standing as a scholar, he was in some way looked down upon.

The other black boys and girls were still more looked down upon. Some of the boys often spoke of them as "niggers." Sometimes on the way home from school a crowd would walk behind them repeating:

"'Nigger, nigger, never die,

Black face and shiny eye'."

On one such afternoon one of the black boys turned suddenly on his tormentors and hurled a slate; it struck one of the white boys in the mouth, cutting a slight gash in his lip. At sight of the blood the boy who had thrown the slate ran, and his companions quickly followed. We ran after them pelting them with stones until they separated in several directions. I was very much wrought up over the affair, and went home and told my mother how one of the "niggers" had struck a boy with a slate. I shall never forget how she turned on me. "Don't you ever use that word again," she said, "and don't you ever bother the colored children at school. You ought to be ashamed of yourself." I did hang my head in shame, not because she had convinced me that I had done wrong, but because I was hurt by the first sharp word she had ever given me.

My school days ran along very pleasantly. I stood well in my studies, not always so well with regard to my behavior. I was never guilty of any serious misconduct, but my love of fun sometimes got me into trouble. I remember, however, that my sense of humor was so sly that

most of the trouble usually fell on the head of the other fellow. My ability to play on the piano at school exercises was looked upon as little short of marvelous in a boy of my age. I was not chummy with many of my mates, but, on the whole, was about as popular as it is good for a boy to be.

One day near the end of my second term at school the principal came into our room and, after talking to the teacher, for some reason said: "I wish all of the white scholars to stand for a moment." I rose with the others. The teacher looked at me and, calling my name, said: "You

sit down for the present, and rise with the others." I did not quite understand her, and questioned: "Ma'm?" She repeated, with a softer tone in her voice: "You sit down now, and rise with the others." I sat down dazed. I saw and heard nothing. When the others were asked to rise, I did not know it. When school was dismissed, I went out in a kind of stupor. A few of the white boys jeered me, saying: "Oh, you're a nigger too." I heard some black children say: "We knew he was colored." "Shiny" said to them: "Come along, don't tease him," and thereby won my undying gratitude. I hurried on as fast as I could, and had gone some distance before I perceived that "Red Head" was walking by my side. After a while he said to me: "Le' me carry your books." I gave him my strap without being able to answer. When we got to my gate, he said as he handed me my books: "Say, you know my big red agate? I can't shoot with it any more. I'm going to bring it to school for you tomorrow." I took my books and ran into the house. As I passed through the hallway, I saw that my mother was busy with one of her

customers; I rushed up into my own little room, shut the door, and went quickly to where my looking-glass hung on the wall. For an instant I was afraid to look, but when I did, I looked long and earnestly. I had often heard people say to my mother: "What a pretty boy you have!" I was accustomed to hear remarks about my beauty; but now, for the first time, I became conscious of it and recognized it. I noticed the ivory whiteness of my skin, the beauty of my mouth, the

size and liquid darkness of my eyes, and how the long, black lashes that fringed and shaded them produced an effect that was strangely fascinating even to me. I noticed the softness and glossiness of my dark hair that fell in waves over my temples, making my forehead appear whiter than it really was. How long I stood there gazing at my image I do not know. When I came out and reached the head of the stairs, I heard the lady who had been with my mother going out. I ran downstairs and rushed to where my mother was sitting, with a piece of work in her hands. I buried my head in her lap and blurted out: "Mother, mother, tell me, am I a nigger?" I could not see her face, but I knew the piece of work dropped to the floor and I felt her hands on my head. I looked up into her face and repeated: "Tell me, mother, am I a nigger?" There were tears in her eyes and I could see that she was suffering for me. And then it was that I looked at her critically for the first time. I had thought of her in a childish way only as the most beautiful woman in the world; now I looked at her searching for defects. I could see that her skin was almost brown, that her hair was not so soft as mine, and that she did differ in some way from the other ladies who came to the house; yet, even so, I could see that she was very beautiful, more beautiful than any of them. She must have felt that I was examining her, for she hid her face in my hair and said with difficulty: "No, my darling, you are not a nigger." She went on: "You are as good as anybody; if anyone calls you a nigger, don't notice them." But the more she talked, the less was I reassured, and I stopped her by asking: "Well, mother, am I white? Are you white?" She answered tremblingly: "No, I am not white, but you--your father is one of the greatest men in the country--the best blood of the South is in you--" This suddenly opened up in my heart a fresh chasm of misgiving and fear, and I almost fiercely demanded: "Who is my father? Where is he?" She stroked my hair and said: "I'll tell you about him some day." I sobbed: "I want to know now." She answered: "No, not now."

Perhaps it had to be done, but I have never forgiven the woman who did it so cruelly. It may be that she never knew that she gave me a sword-thrust that day in school which was years in healing.

The Autobiography of an Ex-Colored Man Questions and Answers

The Question and Answer section for The Autobiography of an Ex-Colored Man is a great resource to ask questions, find answers, and discuss the novel.

Simply to produce lighter skinned kids. Lighter skin tones have social advantages than lower-status blacks.

Which statement supports the theme of “passing as white", from the Passage of The Autobiography of an Ex-Colored man?

Are you providing choices here?

Do you fault the narrator for deciding to pass as white, or do you believe he justifies his decision?

This is really an opinion question. Like several other novels that came to relevance during the Harlem Renaissance, Johnson deals with the theme of "passing". Passing is not as straightforward it sounds. [Autobiography] deals with the...

Study Guide for The Autobiography of an Ex-Colored Man

The Autobiography of an Ex-Colored Man study guide contains a biography of James Weldon Johnson, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About The Autobiography of an Ex-Colored Man
• The Autobiography of an Ex-Colored Man Summary
• Character List

Essays for The Autobiography of an Ex-Colored Man

The Autobiography of an Ex-Colored Man essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Autobiography of an Ex-Colored Man.

• The Consequences of the Faded Color Line in
• Shedding the Veil: DuBois' Double Consciousneess in Johnson and Locke
• The Power of Music in Johnson’s The Autobiography of an Ex-Coloured Man
• “A Privileged Spectator:” Music and Its Role in the Narrator’s Life in The Autobiography of an Ex-Coloured Man
• The Whitening of Souls: A Note on Shame, Internal Monologues, and White Hegemony

E-Text of The Autobiography of an Ex-Colored Man

The Autobiography of an Ex-Colored Man e-text contains the full text of The Autobiography of an Ex-Colored Man by James Weldon Johnson.

• Preface to the Original 1912 Edition
• Chapter III

Wikipedia Entries for The Autobiography of an Ex-Colored Man

• Introduction
• Plot summary
• Reception and later criticism