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Hoyt Fuller, an editor and advocate of the Black aesthetic

Herb Boyd | 10/19/2017, 2:16 p.m.
No discussion of Detroit’s Black history is complete without consideration of the contributions made by Fred Hart Williams.
Hoyt Fuller

No discussion of Detroit’s Black history is complete without consideration of the contributions made by Fred Hart Williams. Memories of him were summoned during a recent meeting I had with the Detroit Study Club that included the presence of Leslie Williams, president of the Fred Hart Williams Genealogical Society. Although Fred Hart Williams deserves a profile in this column, I was reminded of one of his protégés, Hoyt Fuller. What Williams did on a local level, Fuller broadened to a national and international level as a writer and editor.

My association with Fuller began in the late ’60s when he was the editor of the Black World, which was originally the Negro Digest, a Johnson publication. Fuller became the editor of the Negro Digest in 1961, after a three-year sojourn in Europe, and gradually converted the journal into a more militant, Black nationalist format.

Born Hoyt William Fuller in Atlanta, Ga., Sept. 10, 1923, he went to live with an aunt in Detroit in 1927 because his parents were unable to care for him.

Fuller’s literary skills first showed promise while he was a student at Wayne State University, where he majored in literature and journalism. It was during this period that he began a long and fruitful relationship with Fred Hart Williams, who provided him the guidance in African and African-American history, both at home and abroad.

After graduating from Wayne State, Fuller began working as a journalist with several Black publications, including the Detroit Tribune (1949-1951), the Michigan Chronicle (1951-1954), and Ebony magazine (1954-1957).

With an increasingly active interest in the emerging Civil Rights Movement and the Black liberation struggle, Fuller became frustrated when Ebony was too slow to adjust its pages to the nation’s growing political intensity.

He quit his job at Ebony but was able to land another as the West Africa correspondent for the Amsterdam Haagse Post. This assignment was propitious because the winds of change were blowing across the African continent, and the fight against European colonialism was gaining momentum.

But by 1960, having fully absorbed the political climate of Africa, Fuller returned to the states with the intention of informing American readers about the developments in the motherland. At first he was hired by Collier’s Encyclopedia before returning to Chicago and resuming his connection with Johnson publications as editor of the rejuvenated Negro Digest.

A “new Black spirit is wafting gingerly across the land,” Fuller wrote in one of his first editorials, and this statement was his first shot across the bow, and the theme of Black militancy and consciousness would be the lodestone of the publication.

Among the writers Fuller commissioned to carry out this mission were LeRoi Jones, later Amiri Baraka; the poet Gwendolyn Brooks; and literary giant Toni Cade Bambara. Suddenly, the Negro Digest was all the rave in Black radical circles and attracted a coterie of aspiring writers excited by the possibility of getting articles more relevant to the struggle for Black liberation, although they still registered complaints about the magazine’s “Negro” title.