White Man's Culture

Last week a remarkable book called The Seven Storey Mountain (Harcourt Brace; $3), the autobiography of a young poet who became a Trappist monk (TIME, Oct. 11), was a bestseller in its fifth printing. Thomas Merton's book was not designed to entertain; it does not offer readers escape--or tips on how to be popular or successful. In fact, the popular and successful reader may be made most uncomfortable by The Seven Storey Mountain. A sample of the book is its description of New York City's Negro quarter, Harlem:

"Here in this huge, dark, steaming slum, hundreds of thousands of Negroes are herded together like cattle, most of them with nothing to eat and nothing to do. All the senses and imagination and sensibilities and emotions and sorrows and desires and hopes and ideas of a race with vivid feelings and deep emotional reactions are forced in upon themselves, bound inward by an iron ring of frustration: the prejudice that hems them in with its four insurmountable walls. In this huge cauldron, inestimable natural gifts, wisdom, love, music, science, poetry are stamped down and left to boil with the dregs of an elementally corrupted nature, and thousands upon thousands of souls are destroyed by vice and misery and degradation, obliterated, wiped out, washed from the register of the living, dehumanized . . .

"The terrifying paradox of the whole thing is this: Harlem itself, and every individual Negro in it, is a living condemnation of our so-called 'culture.' Harlem is there by way of a divine indictment against New York City and the people who live downtown and make their money downtown. The brothels of Harlem, and all its prostitution, and its dope rings, and all the rest are the mirror of the polite divorces and the manifold cultured adulteries of Park Avenue: they are God's commentary on the whole of our society. "Harlem is, in a sense, what God thinks of Hollywood. And Hollywood is all Harlem has, in its despair, to grasp at, by way of a surrogate for heaven.

"The most terrible thing ... is that there, is not a Negro in the whole place who does not realize, somewhere in the depths of his nature, that the culture of the white men is not worth the dirt in Harlem's gutters. They sense that the whole thing is rotten, that it is a fake, that it is spurious, empty, a shadow of nothingness. And yet they are condemned to reach out for it, and to seem to desire it, and to pretend they like it, as if the whole thing were some kind of bitter cosmic conspiracy: as if they were thus being forced to work out, in their own lives, a clear representation of the misery which has corrupted the ontological roots of the white man's own existence.

"The little children of Harlem are growing up, crowded together like sardines in the rooms of tenements full of vice, where evil takes place hourly and inescapably before their eyes . . . and this by way of an accusation of the polite and expensive and furtive sensualities and lusts of the rich whose sins have bred this abominable slum. The effect resembles and even magnifies the cause, and Harlem is the portrait of those through whose fault such things come into existence . . ."

This file is automatically generated by a robot program, so reader's discretion is required.