Nobel Prize-winning author Toni Morrison once wrote a profound introduction to "The Harlem Book of the Dead," a remarkable collection of photographs by James Van Der Zee that captures the humanity and dignity of deceased African Americans in Harlem. Her words, originally penned in 1978, offer a striking meditation on how Van Der Zee's unique photographic vision transformed portraits of the dead into vibrant celebrations of life.

Morrison begins her reflection by addressing a common sentiment among photography enthusiasts who often declare that "those early photographers really knew how to take pictures." She argues that this statement usually stems from simple nostalgia or weariness with contemporary photojournalism that floods modern media. However, when applied to Van Der Zee's work, such praise transcends mere sentimentality and becomes genuinely warranted critical assessment.

What sets Van Der Zee apart, according to Morrison, is not just technical skill but the passion and vision of the photographer himself. "The narrative quality, the intimacy, the humanity of his photographs are stunning," Morrison writes, emphasizing how Van Der Zee's camera captured something far beyond mere documentation. His photographs possess a unique quality that Morrison describes as "sui generis" – truly one of a kind.

The collection focuses exclusively on photographs of the deceased, yet Morrison marvels at how alive these portraits appear. She poses the rhetorical question that gives the piece its title: "How living are his portraits of the dead." This paradox – dead subjects appearing vibrantly alive – speaks to Van Der Zee's extraordinary ability to capture the essence and dignity of his subjects even in death.

Morrison notes that Van Der Zee's photographs were so compelling that they inspired poet Owen Dodson to create accompanying verses "in which life trembles in every metaphor." The collaboration between Van Der Zee and Dodson, along with artist Camille Billops who conceived the project, represents what Morrison calls "a remarkable concert of Black subject, Black poet, Black photographer and Black artist."

The focus on death in this artistic collaboration carries deep cultural significance, Morrison explains. She references African wisdom: "The Ancestor lives as long as there are those who remember." In this context, Van Der Zee's photographs become more than art – they become acts of remembrance that keep ancestors alive in collective memory.

The accompanying poetry by Owen Dodson reinforces the themes of memory and mortality that permeate the collection. His verses explore death from intimate perspectives, including lines like "Death always happens / To somebody else, / Not the dead" and reflections on resurrection and the physical reality of death. These poems complement Van Der Zee's visual narratives, creating a multimedia meditation on African American life and death in Harlem.

Morrison concludes that "The Harlem Book of the Dead," as conceived by Camille Billops, "cherishes that remembrance and enlightens us as only memory can." The project stands as a testament to the power of art to preserve human dignity and cultural memory, transforming what could have been merely documentary photographs into profound statements about life, death, and the enduring power of remembrance in African American culture.