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Publication Date of Let America Be America Again Poem by Langston Hughes

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American writer and social activist (1901–1967)

Langston Hughes
1936 photo by Carl Van Vechten

1936 photograph by Carl Van Vechten
Born James Mercer Langston Hughes
(1901-02-01)Feb 1, 1901
Joplin, Missouri, U.S.
Died May 22, 1967(1967-05-22) (aged 66)
New York Metropolis, New York, U.S.
Occupation
  • Poet
  • columnist
  • dramatist
  • essayist
  • novelist
Educational activity Columbia University
Lincoln University
Period 1926–1964
Relatives John Mercer Langston

James Mercer Langston Hughes (February ane, 1901[1] – May 22, 1967) was an American poet, social activist, novelist, playwright, and columnist from Joplin, Missouri. One of the earliest innovators of the literary art form called jazz poetry, Hughes is best known as a leader of the Harlem Renaissance. He famously wrote about the period that "the Negro was in faddy", which was later paraphrased as "when Harlem was in vogue."[2]

Growing upward in a series of Midwestern towns, Hughes became a prolific writer at an early age. He moved to New York City as a fellow, where he made his career. He graduated from high school in Cleveland, Ohio, and soon began studies at Columbia University in New York Urban center. Although he dropped out, he gained notice from New York publishers, first in The Crisis mag, then from book publishers and became known in the creative community in Harlem. He eventually graduated from Lincoln Academy. In addition to poesy, Hughes wrote plays, and short stories. He besides published several non-fiction works. From 1942 to 1962, every bit the civil rights movement was gaining traction, he wrote an in-depth weekly cavalcade in a leading black paper, The Chicago Defender.

Biography

Beginnings and childhood

Similar many African-Americans, Hughes had a complex ancestry. Both of Hughes' paternal peachy-grandmothers were enslaved Africans, and both of his paternal neat-grandfathers were white slave owners in Kentucky. According to Hughes, i of these men was Sam Clay, a Scottish-American whiskey distiller of Henry County, said to exist a relative of statesman Henry Clay. The other putative paternal ancestor whom Hughes named was Silas Cushenberry, a slave trader of Clark County.[3] [iv] Hughes wrote that Cushenberry was a Jewish slave trader, but a study of the Cushenberry family unit genealogy in the nineteenth century has found no Jewish amalgamation.[five] Hughes'southward maternal grandmother Mary Patterson was of African-American, French, English language and Native American descent. One of the first women to attend Oberlin Higher, she married Lewis Sheridan Leary, also of mixed race descent, earlier her studies. Lewis Leary later joined John Brown's raid on Harpers Ferry in West Virginia in 1859, where he was fatally wounded.[four]

X years afterwards, in 1869, the widow Mary Patterson Leary married again, into the aristocracy, politically active Langston family. (Encounter The Talented Tenth.) Her second married man was Charles Henry Langston, of African-American, Euro-American and Native American beginnings.[6] [7] He and his younger brother John Mercer Langston worked for the abolitionist cause and helped lead the Ohio Anti-Slavery Guild in 1858.[8]

Afterward their marriage, Charles Langston moved with his family to Kansas, where he was active as an educator and activist for voting and rights for African Americans.[half-dozen] His and Mary'due south daughter Caroline (known equally Carrie) became a schoolteacher and married James Nathaniel Hughes (1871–1934). They had two children; the second was Langston Hughes, by near sources built-in in 1901 in Joplin, Missouri[9] [10] (though Hughes himself claims in his autobiography to have been born in 1902).[11]

Langston Hughes grew upward in a series of Midwestern small towns. His father left the family presently afterward the boy was built-in and subsequently divorced Carrie. The senior Hughes traveled to Republic of cuba and and so United mexican states, seeking to escape the enduring racism in the United States.[12]

Later the separation, Hughes'southward female parent traveled, seeking employment. Langston was raised mainly in Lawrence, Kansas, by his maternal grandmother, Mary Patterson Langston. Through the blackness American oral tradition and drawing from the activist experiences of her generation, Mary Langston instilled in her grandson a lasting sense of racial pride.[13] [14] Imbued by his grandmother with a duty to help his race, Hughes identified with neglected and downtrodden black people all his life, and glorified them in his work.[15] He lived near of his childhood in Lawrence. In his 1940 autobiography The Big Sea, he wrote: "I was unhappy for a long fourth dimension, and very lonesome, living with my grandmother. Then it was that books began to happen to me, and I began to believe in zip but books and the wonderful earth in books—where if people suffered, they suffered in beautiful language, not in monosyllables, as we did in Kansas."[16]

Afterwards the death of his grandmother, Hughes went to live with family unit friends, James and Auntie Mary Reed, for two years. Later, Hughes lived again with his mother Carrie in Lincoln, Illinois. She had remarried when he was an adolescent. The family moved to the Fairfax neighborhood of Cleveland, Ohio, where he attended Central High School[17] and was taught by Helen Maria Chesnutt, whom he institute inspiring.[18]

His writing experiments began when he was young. While in grammar schoolhouse in Lincoln, Hughes was elected grade poet. He stated that in retrospect he idea information technology was because of the stereotype about African Americans having rhythm.[xix]

I was a victim of a stereotype. In that location were merely two of u.s. Negro kids in the whole course and our English language teacher was always stressing the importance of rhythm in poetry. Well, everyone knows, except us, that all Negroes take rhythm, so they elected me as course poet.[twenty]

During high school in Cleveland, Hughes wrote for the school newspaper, edited the yearbook, and began to write his first short stories, poetry,[21] and dramatic plays. His beginning piece of jazz poetry, "When Sue Wears Red", was written while he was in high school.[22]

Relationship with begetter

Hughes had a very poor relationship with his father, whom he seldom saw when a child. He lived briefly with his father in Mexico in 1919. Upon graduating from high school in June 1920, Hughes returned to Mexico to live with his begetter, hoping to convince him to support his plan to attend Columbia University. Hughes afterwards said that, prior to arriving in Mexico, "I had been thinking virtually my father and his strange dislike of his own people. I didn't sympathise it, because I was a Negro, and I liked Negroes very much."[23] [24] His father had hoped Hughes would choose to report at a university abroad, and train for a career in applied science. On these grounds, he was willing to provide financial help to his son, but did not support his desire to be a writer. Eventually, Hughes and his father came to a compromise: Hughes would study engineering, so long equally he could attend Columbia. His tuition provided, Hughes left his male parent after more than a twelvemonth.

While at Columbia in 1921, Hughes managed to maintain a B+ grade average. He published poetry in the Columbia Daily Spectator under a pen name.[25] He left in 1922 because of racial prejudice amongst students and teachers. He was denied a room on campus because he was blackness.[26] He was attracted more than to the African-American people and neighborhood of Harlem than to his studies, just he continued writing poesy.[27] Harlem was a heart of vibrant cultural life.

Adulthood

Hughes worked at various odd jobs, before serving a brief tenure as a crewman aboard the South.South. Malone in 1923, spending 6 months traveling to Due west Africa and Europe.[28] In Europe, Hughes left the S.Due south. Malone for a temporary stay in Paris.[29] In that location he met and had a romance with Anne Marie Coussey, a British-educated African from a well-to-do Gold Coast family; they subsequently corresponded but she somewhen married Hugh Wooding, a promising Trinidadian lawyer.[xxx] [31] Wooding later on served equally chancellor of the Academy of the West Indies.[32]

During his time in England in the early 1920s, Hughes became office of the black expatriate community. In November 1924, he returned to the U.S. to live with his mother in Washington, D.C. After assorted odd jobs, he gained white-collar employment in 1925 as a personal assistant to historian Carter Yard. Woodson at the Clan for the Study of African American Life and History. As the work demands express his time for writing, Hughes quit the position to work as a busboy at the Wardman Park Hotel. Hughes'southward earlier work had been published in magazines and was about to be collected into his kickoff book of poetry when he encountered poet Vachel Lindsay, with whom he shared some poems. Impressed, Lindsay publicized his discovery of a new blackness poet.

Hughes at Lincoln University in 1928

The following year, Hughes enrolled in Lincoln Academy, a historically blackness university in Chester County, Pennsylvania. He joined the Omega Psi Phi fraternity.[33] [34]

After Hughes earned a B.A. caste from Lincoln University in 1929, he returned to New York. Except for travels to the Soviet Spousal relationship and parts of the Caribbean, he lived in Harlem every bit his primary dwelling house for the remainder of his life. During the 1930s, he became a resident of Westfield, New Jersey for a time, sponsored by his patron Charlotte Osgood Mason.[35] [36]

Hughes'southward ashes are interred under a cosmogram medallion in the foyer of the Arthur Schomburg Center in Harlem

Sexuality

Some academics and biographers believe that Hughes was homosexual and included homosexual codes in many of his poems, as did Walt Whitman, who, Hughes said, influenced his poesy. Hughes's story "Blest Assurance" deals with a father'southward anger over his son'south effeminacy and "queerness".[37] : 192 [37] : 161 [38] [39] [40] [41] [42] [43] The biographer Aldrich argues that, in order to retain the respect and support of black churches and organizations and avert exacerbating his precarious financial situation, Hughes remained closeted.[44]

Arnold Rampersad, the primary biographer of Hughes, determined that Hughes exhibited a preference for African-American men in his piece of work and life.[45] But, in his biography Rampersad denies Hughes's homosexuality,[46] and concludes that Hughes was probably asexual and passive in his sexual relationships. Hughes did, however, show a respect and dear for his swain blackness man (and adult female). Other scholars fence for his homosexuality: his love of black men is evidenced in a number of reported unpublished poems to an alleged black male lover.[47]

Expiry

On May 22, 1967, Hughes died in the Stuyvesant Polyclinic in New York City at the age of 66 from complications subsequently intestinal surgery related to prostate cancer. His ashes are interred beneath a floor medallion in the middle of the foyer in the Schomburg Middle for Research in Black Culture in Harlem.[48] It is the archway to an auditorium named for him.[49] The pattern on the floor is an African cosmogram entitled Rivers. The title is taken from his poem "The Negro Speaks of Rivers". Within the centre of the cosmogram is the line: "My soul has grown deep similar the rivers".

Career

from "The Negro Speaks of Rivers" (1920)
...
My soul has grown deep like the rivers.

I bathed in the Euphrates when dawns were young.
I built my hut about the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I've seen its muddy
bust turn all golden in the dusk. ...

—in The Weary Blues (1926)[50]

First published in 1921 in The Crisis — official magazine of the National Association for the Advancement of Colored People (NAACP) — "The Negro Speaks of Rivers" became Hughes's signature poem and was collected in his first book of poetry, The Weary Blues (1926).[51] Hughes's start and last published poems appeared in The Crisis; more of his poems were published in The Crisis than in any other periodical.[52] Hughes' life and work were enormously influential during the Harlem Renaissance of the 1920s, alongside those of his contemporaries, Zora Neale Hurston,[53] Wallace Thurman, Claude McKay, Countee Cullen, Richard Bruce Nugent, and Aaron Douglas. Except for McKay, they worked together besides to create the short-lived magazine Fire!! Devoted to Younger Negro Artists.

Hughes and his contemporaries had different goals and aspirations than the black center form. Hughes and his fellows tried to depict the "low-life" in their art, that is, the real lives of blacks in the lower social-economic strata. They criticized the divisions and prejudices within the blackness community based on skin color.[54] Hughes wrote what would be considered their manifesto, "The Negro Artist and the Racial Mount", published in The Nation in 1926:

The younger Negro artists who create at present intend to limited our private dark-skinned selves without fright or shame. If white people are pleased we are glad. If they are not, it doesn't affair. We know we are beautiful. And ugly, as well. The tom-tom cries, and the tom-tom laughs. If colored people are pleased we are glad. If they are non, their displeasure doesn't affair either. We build our temples for tomorrow, stiff as we know how, and we stand on height of the mountain complimentary within ourselves.[55]

His poesy and fiction portrayed the lives of the working-class blacks in America, lives he portrayed as full of struggle, joy, laughter, and music. Permeating his work is pride in the African-American identity and its diverse culture. "My seeking has been to explicate and illuminate the Negro status in America and obliquely that of all human kind",[56] Hughes is quoted every bit proverb. He confronted racial stereotypes, protested social conditions, and expanded African America'due south image of itself; a "people'south poet" who sought to reeducate both audience and artist past lifting the theory of the black aesthetic into reality.[57]

The night is cute,
So the faces of my people.

The stars are beautiful,
So the eyes of my people

Beautiful, too, is the sun.
Beautiful, also, are the souls of my people.

—"My People" in The Crisis (October 1923)[58]

Hughes stressed a racial consciousness and cultural nationalism devoid of cocky-hate. His thought united people of African descent and Africa beyond the globe to encourage pride in their diverse black folk culture and black aesthetic. Hughes was ane of the few prominent black writers to champion racial consciousness as a source of inspiration for blackness artists.[59] His African-American race consciousness and cultural nationalism would influence many foreign blackness writers, including Jacques Roumain, Nicolás Guillén, Léopold Sédar Senghor, and Aimé Césaire. Along with the works of Senghor, Césaire, and other French-speaking writers of Africa and of African descent from the Caribbean, such as René Maran from Martinique and Léon Damas from French Guiana in South America, the works of Hughes helped to inspire the Négritude motility in France. A radical black self-examination was emphasized in the confront of European colonialism.[60] [61] In addition to his example in social attitudes, Hughes had an important technical influence by his emphasis on folk and jazz rhythms as the footing of his poetry of racial pride.[62]

In 1930, his showtime novel, Non Without Laughter, won the Harmon Gold Medal for literature. At a time earlier widespread arts grants, Hughes gained the support of private patrons and he was supported for two years prior to publishing this novel.[63] The protagonist of the story is a boy named Sandy, whose family must bargain with a variety of struggles due to their race and class, in addition to relating to i some other.

In 1931, Hughes helped form the "New York Suitcase Theater" with playwright Paul Peters, artist Jacob Burck, and author (soon-to-be underground spy) Whittaker Chambers, an acquaintance from Columbia.[64] In 1932, he was part of a lath to produce a Soviet flick on "Negro Life" with Malcolm Cowley, Floyd Dell, and Chambers.[64]

In 1931 Prentiss Taylor and Langston Hughes created the Gilded Stair Press, issuing broadsides and books featuring the artwork of Prentiss Taylor and the texts of Langston Hughes. In 1932 they issued The Scottsboro Limited based on the trial of the Scottsboro Boys.[65]

In 1932, Hughes and Ellen Winter wrote a pageant to Caroline Decker in an attempt to gloat her work with the hitting coal miners of the Harlan County War, merely information technology was never performed. It was judged to be a "long, artificial propaganda vehicle too complicated and too cumbersome to be performed."[66]

Proverb Lieber became his literary agent, 1933–45 and 1949–fifty. (Chambers and Lieber worked in the hole-and-corner together around 1934–35.)[67]

Hughes' get-go collection of brusque stories was published in 1934 with The Ways of White Folks. He finished the book at a Carmel, California cottage provided for a yr by Noel Sullivan, some other patron.[68] [69] These stories are a serial of vignettes revealing the humorous and tragic interactions betwixt whites and blacks. Overall, they are marked past a general pessimism about race relations, as well as a sardonic realism.[seventy] He also became an informational board member to the (then) newly formed San Francisco Workers' School (later the California Labor Schoolhouse).

In 1935, Hughes received a Guggenheim Fellowship. The same year that Hughes established his theatre troupe in Los Angeles, he realized an ambition related to films by co-writing the screenplay for Way Downward South.[71] Hughes believed his failure to gain more work in the lucrative picture trade was due to racial discrimination within the industry.

In Chicago, Hughes founded The Skyloft Players in 1941, which sought to nurture blackness playwrights and offering theatre "from the black perspective."[72] Presently thereafter, he was hired to write a column for the Chicago Defender, in which he presented some of his "most powerful and relevant work", giving vox to black people. The column ran for xx years. In 1943, Hughes began publishing stories about a graphic symbol he called Jesse B. Semple, often referred to and spelled "Unproblematic", the everyday black human being in Harlem who offered musings on topical issues of the twenty-four hours.[72] Although Hughes seldom responded to requests to teach at colleges, in 1947 he taught at Atlanta University. In 1949, he spent three months at the University of Chicago Laboratory Schools as a visiting lecturer. Between 1942 and 1949, Hughes was a frequent author and served on the editorial lath of Common Basis, a literary mag focused on cultural pluralism in the The states published by the Common Council for American Unity (CCAU).

He wrote novels, brusque stories, plays, poetry, operas, essays, and works for children. With the encouragement of his best friend and writer, Arna Bontemps, and patron and friend, Carl Van Vechten, he wrote two volumes of autobiography, The Big Sea and I Wonder every bit I Wander, besides as translating several works of literature into English language. With Bontemps, Hughes co-edited the 1949 album The Verse of the Negro, described by The New York Times every bit "a stimulating cross-department of the imaginative writing of the Negro" that demonstrates "talent to the point where one questions the necessity (other than for its social evidence) of the specialization of 'Negro' in the title".[73]

From the mid-1950s to the mid-1960s, Hughes' popularity among the younger generation of blackness writers varied even as his reputation increased worldwide. With the gradual accelerate toward racial integration, many black writers considered his writings of black pride and its corresponding subject matter out of date. They considered him a racial chauvinist.[74] He found some new writers, amid them James Baldwin, lacking in such pride, over-intellectual in their piece of work, and occasionally vulgar.[75] [76] [77]

Hughes wanted immature black writers to be objective about their race, but not to contemptuousness it or abscond it.[59] He understood the primary points of the Black Ability motility of the 1960s, but believed that some of the younger black writers who supported it were too angry in their work. Hughes'due south piece of work Panther and the Lash, posthumously published in 1967, was intended to show solidarity with these writers, but with more skill and devoid of the most virulent anger and racial chauvinism some showed toward whites.[78] [79] Hughes continued to have admirers amid the larger younger generation of black writers. He often helped writers by offering advice and introducing them to other influential persons in the literature and publishing communities. This latter group, including Alice Walker, whom Hughes discovered, looked upon Hughes equally a hero and an instance to be emulated inside their own work. 1 of these young black writers (Loften Mitchell) observed of Hughes:

Langston prepare a tone, a standard of brotherhood and friendship and cooperation, for all of us to follow. You never got from him, 'I am the Negro author,' simply only 'I am a Negro writer.' He never stopped thinking nigh the residual of us.[80]

Political views

Hughes was drawn to Communism as an culling to a segregated America.[81] Many of his bottom-known political writings have been collected in two volumes published by the University of Missouri Press and reflect his attraction to Communism. An instance is the poem "A New Song".[82] [ original research? ]

In 1932, Hughes became function of a group of black people who went to the Soviet Spousal relationship to make a motion picture depicting the plight of African Americans in the United States. The film was never made, but Hughes was given the opportunity to travel extensively through the Soviet Matrimony and to the Soviet-controlled regions in Fundamental Asia, the latter parts unremarkably closed to Westerners. While at that place, he met Robert Robinson, an African American living in Moscow and unable to leave. In Turkmenistan, Hughes met and befriended the Hungarian author Arthur Koestler, and then a Communist who was given permission to travel there.[83]

Every bit later noted in Koestler'due south autobiography, Hughes, together with some xl other Black Americans, had originally been invited to the Soviet Wedlock to produce a Soviet moving-picture show on "Negro Life",[84] but the Soviets dropped the film idea considering of their 1933 success in getting the Usa to recognize the Soviet Spousal relationship and establish an embassy in Moscow. This entailed a toning down of Soviet propaganda on racial segregation in America. Hughes and his fellow Blacks were non informed of the reasons for the cancelling, but he and Koestler worked it out for themselves.[85]

Hughes also managed to travel to China,[86] Nihon,[87] and Korea[88] before returning to the states.

Hughes'due south poetry was oft published in the CPUSA paper and he was involved in initiatives supported by Communist organizations, such as the drive to gratis the Scottsboro Boys. Partly every bit a prove of support for the Republican faction during the Spanish Civil War,[89] in 1937 Hughes traveled to Kingdom of spain[90] equally a correspondent for the Baltimore Afro-American and other various African-American newspapers. In August 1937, he broadcast live from Madrid alongside Harry Haywood and Walter Benjamin Garland. When Hughes was in Kingdom of spain a Castilian Republican cultural magazine, El Mono Azul, featured Spanish translations of his poems.[89] In November 1937 Hughes departed Spain for which El Mono Azul published a brief farewell message entitled "el gran poeta de raza negra" ("the great poet of the black race").[89]

Hughes was besides involved in other Communist-led organizations such as the John Reed Clubs and the League of Struggle for Negro Rights. He was more of a sympathizer than an active participant. He signed a 1938 statement supporting Joseph Stalin's purges and joined the American Peace Mobilization in 1940 working to keep the U.S. from participating in Earth War II.[91] [ non-primary source needed ]

Hughes initially did not favor black American involvement in the state of war because of the persistence of discriminatory U.S. Jim Crow laws and racial segregation and disfranchisement throughout the South. He came to support the state of war effort and black American participation after deciding that state of war service would help their struggle for civil rights at home.[92] The scholar Anthony Pinn has noted that Hughes, together with Lorraine Hansberry and Richard Wright, was a humanist "disquisitional of belief in God. They provided a foundation for nontheistic participation in social struggle." Pinn has found that such writers are sometimes ignored in the narrative of American history that chiefly credits the civil rights movement to the work of affiliated Christian people.[93]

Hughes was accused of being a Communist by many on the political correct, simply he always denied information technology. When asked why he never joined the Communist Party, he wrote, "information technology was based on strict field of study and the acceptance of directives that I, as a writer, did not wish to accept." In 1953, he was called before the Senate Permanent Subcommittee on Investigations led past Senator Joseph McCarthy. He stated, "I never read the theoretical books of socialism or communism or the Democratic or Republican parties for that matter, and so my interest in any may be considered political has been non-theoretical, non-sectarian, and largely emotional and born out of my own need to notice some style of thinking nigh this whole problem of myself."[94] Following his testimony, Hughes distanced himself from Communism.[95] He was rebuked past some on the Radical Left who had previously supported him. He moved abroad from overtly political poems and towards more lyric subjects. When selecting his verse for his Selected Poems (1959) he excluded all his radical socialist verse from the 1930s.[95] These critics on the Left were unaware of the cloak-and-dagger interrogation that took place days before the televised hearing.[96]

Representation in other media

Hughes was featured reciting his poetry on the album Weary Blues (MGM, 1959), with music by Charles Mingus and Leonard Feather, and he too contributed lyrics to Randy Weston'south Uhuru Afrika (Roulette, 1960).

Composer Mira Pratesi Sulpizi prepare Hughes' text to music in her 1968 song "Lyrics."[97]

Hughes' life has been portrayed in flick and stage productions since the belatedly 20th century. In Looking for Langston (1989), British filmmaker Isaac Julien claimed him as a black gay icon — Julien thought that Hughes' sexuality had historically been ignored or downplayed. Movie portrayals of Hughes include Gary LeRoi Greyness'southward role as a teenage Hughes in the short bailiwick film Salvation (2003) (based on a portion of his autobiography The Big Ocean), and Daniel Sunjata as Hughes in the Brother to Brother (2004). Hughes' Dream Harlem, a documentary by Jamal Joseph, examines Hughes' works and environment.

Paper Armor (1999) by Eisa Davis and Hannibal of the Alps (2005)[98] by Michael Dinwiddie are plays by African-American playwrights that address Hughes's sexuality. Spike Lee's 1996 film Become on the Motorbus, included a black gay character, played by Isaiah Washington, who invokes the name of Hughes and punches a homophobic grapheme, saying: "This is for James Baldwin and Langston Hughes."

Hughes was likewise featured prominently in a national campaign sponsored by the Heart for Inquiry (CFI) known equally African Americans for Humanism.[99]

Hughes' Inquire Your Mama: 12 Moods for Jazz, written in 1960, was performed for the first time in March 2009 with specially composed music by Laura Karpman at Carnegie Hall, at the Honor festival curated by Jessye Norman in celebration of the African-American cultural legacy.[100] Ask Your Mama is the centerpiece of "The Langston Hughes Projection",[101] a multimedia concert performance directed by Ron McCurdy, professor of music in the Thornton School of Music at the University of Southern California.[102] The European premiere of The Langston Hughes Project, featuring Ice-T and McCurdy, took place at the Barbican Centre, London, on November 21, 2015, as part of the London Jazz Festival mounted by music producers Serious.[103] [104]

The novel Harlem Mosaics (2012) by Whit Frazier depicts the friendship betwixt Langston Hughes and Zora Neale Hurston, and tells the story of how their friendship barbarous apart during their collaboration on the play Mule Os.[105]

On September 22, 2016, his poem "I, Too" was printed on a total page of The New York Times in response to the riots of the previous day in Charlotte, North Carolina.[106]

Literary archives

The Beinecke Rare Book and Manuscript Library at Yale University holds the Langston Hughes papers (1862–1980) and the Langston Hughes collection (1924–1969) containing messages, manuscripts, personal items, photographs, clippings, artworks, and objects that document the life of Hughes. The Langston Hughes Memorial Library on the campus of Lincoln University, as well as at the James Weldon Johnson Collection within the Yale Academy also concur archives of Hughes' work.[107] The Moorland-Spingarn Research Center at Howard Academy includes materials caused from his travels and contacts through the work of Dorothy B. Porter.[108]

Honors and awards

Living

  • 1926: Hughes won the Witter Bynner Undergraduate Poesy Prize.[109]
  • 1935: Hughes was awarded a Guggenheim Fellowship, which allowed him to travel to Espana and Russia.
  • 1941: Hughes was awarded a fellowship from the Rosenwald Fund.
  • 1943: Lincoln University awarded Hughes an honorary Litt.D.
  • 1954: Hughes won the Anisfield-Wolf Volume Accolade.
  • 1960: the NAACP awarded Hughes the Spingarn Medal for distinguished achievements by an African American.
  • 1961: National Plant of Arts and Messages.[110]
  • 1963: Howard University awarded Hughes an honorary doctorate.
  • 1964: Western Reserve Academy awarded Hughes an honorary Litt.D.

Memorial

  • 1973: the first Langston Hughes Medal was awarded by the City College of New York.
  • 1979: Langston Hughes Middle Schoolhouse was created in Reston, Virginia.
  • 1981: New York City Landmark condition was given to the Harlem home of Langston Hughes at 20 East 127th Street ( forty°48′26.32″N 73°56′25.54″W  /  40.8073111°N 73.9404278°W  / 40.8073111; -73.9404278 ) past the New York City Landmarks Preservation Commission and 127th Street was renamed "Langston Hughes Place".[111] The Langston Hughes House was listed on the National Register of Historic Places in 1982.[112]
  • 2002: The United States Mail added the image of Langston Hughes to its Blackness Heritage series of stamp stamps.
  • 2002: scholar Molefi Kete Asante listed Langston Hughes on his list of 100 Greatest African Americans.[113]
  • 2009: Langston Hughes High School was created in Fairburn, Georgia.
  • 2012: inducted into the Chicago Literary Hall of Fame.[114]
  • 2015: Google Doodle commemorated his 113th birthday.[115]

Bibliography

Other writings

  • The Langston Hughes Reader, New York: Braziller, 1958.
  • Good Forenoon Revolution: Uncollected Social Protest Writings by Langston Hughes, Lawrence Hill, 1973.
  • The Collected Works of Langston Hughes, Missouri: University of Missouri Press, 2001.
  • The Selected Letters of Langston Hughes, edited past Arnold Rampersad and David Roessel. Knopf, 2014.
  • "My Adventures equally a Social Poet" (essay), Phylon, 3rd Quarter 1947.
  • "The Negro Artist and The Racial Mount" (article), The Nation, June 23, 1926.

See also

  • African-American literature
  • Langston Hughes Order
  • Pan-Africanism

Notes

  1. ^ Schuessler, Jennifer. "Langston Hughes Only Got a Year Older". The New York Times . Retrieved Baronial 9, 2018.
  2. ^ Francis, Ted (2002). Realism in the Novels of the Harlem Renaissance.
  3. ^ Langston Hughes (1940). The Big Body of water. p. 36. ISBN0-8262-1410-Ten.
  4. ^ a b Faith Drupe, Langston Hughes, Before and Beyond Harlem, Westport, CT: Lawrence Hill & Co., 1983; reprint, Citadel Press, 1992, p. i.
  5. ^ "The oft-told tale". Frankel and Fisch. July 15, 2015. Retrieved February 9, 2022.
  6. ^ a b Richard B. Sheridan, "Charles Henry Langston and the African American Struggle in Kansas", Kansas State History, Wintertime 1999. Retrieved December 15, 2008.
  7. ^ Laurie F. Leach, Langston Hughes: A Biography, Greenwood Publishing Group, 2004, pp. 2–four. ISBN 9780313324970,
  8. ^ "Ohio Anti-Slavery Social club – Ohio History Central". ohiohistorycentral.org.
  9. ^ "African-Native American Scholars". African-Native American Scholars. 2008. Retrieved July 30, 2008.
  10. ^ William and Aimee Lee Cheek, "John Mercer Langston: Principle and Politics", in Leon F. Litwack and August Meier (eds), Black Leaders of the Nineteenth Century, University of Illinois Press, 1991, pp. 106–111.
  11. ^ Langston Hughes (1940). The Big Body of water. p. xiii. ISBN0-8262-1410-10.
  12. ^ Due west, Encyclopedia of the Harlem Renaissance, 2003, p. 160.
  13. ^ Hughes recalled his maternal grandmother's stories: "Through my grandmother's stories life always moved, moved heroically toward an end. Nobody always cried in my grandmother's stories. They worked, schemed, or fought. Merely no crying." Rampersad, Arnold, & David Roessel (2002). The Collected Poems of Langston Hughes, Knopf, p. 620.
  14. ^ The poem "Aunt Sues's Stories" (1921) is an oblique tribute to his grandmother and his loving "Auntie" Mary Reed, a shut family friend. Rampersad, vol. 1, 1986, p. 43.
  15. ^ Brooks, Gwendolyn (October 12, 1986), "The Darker Brother", The New York Times.
  16. ^ Arnold Rampersad, The Life of Langston Hughes: Volume II: 1914–1967, I Dream a World, Oxford University Press, p. 11. ISBN 9780195146431
  17. ^ Key High School (Cleveland, Ohio); Wirth, Thomas H.; Hughes, Langston; Thomas H. Wirth Collection (Emory Academy. MARBL) (February ane, 2019). "The Cardinal High School monthly". Central High. Retrieved February 1, 2019 – via Hathi Trust.
  18. ^ "Ronnick: Within CAMWS Territory: Helen M. Chesnutt (1880–1969), Blackness Latinist". Camws.org . Retrieved Feb ane, 2019.
  19. ^ Langston Hughes Reads His Poetry, with commentary, audiotape from Caedmon Audio
  20. ^ "Langston Hughes, Writer, 65, Dead". The New York Times. May 23, 1967.
  21. ^ "Langston Hughes | Scholastic". www.scholastic.com . Retrieved June 20, 2017.
  22. ^ "Langston Hughes biography: African-American history: Crossing Boundaries: Kansas Humanities Council". www.kansasheritage.org . Retrieved June 20, 2017.
  23. ^ Langston Hughes (1940). The Big Bounding main, pp. 54–56.
  24. ^ Brooks, Gwendolyn (October 12, 1986). "Review of The Darker Brother". The New York Times. New York Metropolis. And the male parent, Hughes said, 'hated Negroes. I think he hated himself, too, for being a Negro. He disliked all of his family because they were Negroes.' James Hughes was tightfisted, uncharitable, cold.
  25. ^ Wallace, Maurice Orlando (2008). Langston Hughes: The Harlem Renaissance. Marshall Cavendish. ISBN978-0-7614-2591-5.
  26. ^ "Write Columbia's History". c250.columbia.edu . Retrieved February xi, 2022.
  27. ^ Rampersad, vol. 1, 1986, p. 56.
  28. ^ "Poem" or "To F.S." outset appeared in The Crisis in May 1925, and was reprinted in The Weary Blues and The Dream Keeper. Hughes never publicly identified "F.S.", but it is conjectured he was Ferdinand Smith, a merchant seaman whom the poet get-go met in New York in the early 1920s. Ix years older than Hughes, Smith influenced the poet to go to body of water. Built-in in Jamaica in 1893, Smith spent most of his life equally a send steward and political activist at sea—and later in New York as a resident of Harlem. Smith was deported in 1951 to Jamaica for alleged Communist activities and illegal alien status. Hughes corresponded with Smith upwardly until the latter's death in 1961. Drupe, p. 347.
  29. ^ "Langston Hughes". Biography.com . Retrieved June 20, 2017.
  30. ^ Leach, Langston Hughes: A Biography (2004), pp. xvi, 153.
  31. ^ Rampersad, Vol. 1, pp. 86–87, 89–90.
  32. ^ "History – Hugh Wooding Law School". Hwls.edu.tt.
  33. ^ In 1926, Amy Spingarn, wife of Joel Elias Spingarn, who was president of the National Clan for the Advancement of Colored People (NAACP), served as patron for Hughes and provided the funds ($300) for him to attend Lincoln University. Rampersad, vol. i, 1986, pp. 122–23.
  34. ^ In November 1927, Charlotte Osgood Bricklayer ("Godmother" as she liked to be chosen), became Hughes's major patron. Rampersad. vol. 1, 1986, p. 156.
  35. ^ "Mule Bone: Langston Hughes and Zora Neale Hurston's Dream Deferred of an African-American Theatre of the Black Discussion.", African American Review, March 22, 2001. Retrieved March 7, 2008. "In February 1930, Hurston headed north, settling in Westfield, New Jersey. Godmother Mason (Mrs. Rufus Osgood Mason, their white protector) had selected Westfield, safely removed from the distractions of New York Urban center, as a suitable place for both Hurston and Hughes to piece of work."
  36. ^ "J. 50. Hughes Volition Depart Afterwards Questioning every bit to Communism", The New York Times, July 25, 1933.
  37. ^ a b Nero, Charles I. (1997), "Re/Membering Langston", in Martin Duberman (ed.), Queer Representations: Reading Lives, Reading Cultures, New York University Press, ISBN 978-0-81471-884-1
  38. ^ Yale Symposium, Was Langston Gay? commemorating the 100th altogether of Hughes in 2002.
  39. ^ Schwarz, pp. 68–88.
  40. ^ Although Hughes was extremely closeted, some of his poems may hint at homosexuality. These include: "Joy", "Want", "Cafe: 3 A.M.", "Waterfront Streets", "Young Sailor", "Trumpet Actor", "Tell Me", "F.S." and some poems in Montage of a Dream Deferred. LGBTQQ History Archived May 19, 2013, at the Wayback Automobile, Iowa Pride Network. Retrieved June 23, 2014.
  41. ^ "Cafe 3 A.Thousand." was against gay bashing past law, and "Poem for F.S." was about his friend Ferdinand Smith. Nero, Charles I. (1999), p. 500.
  42. ^ Jean Blackwell Hutson, former chief of the Schomburg Center for Research in Black Civilisation, said: "He was ever eluding marriage. He said matrimony and career didn't work. ... Information technology wasn't until his afterward years that I became convinced he was homosexual." Hutson & Nelson, Essence, February 1992, p. 96.
  43. ^ McClatchy, J. D. (2002). Langston Hughes: Voice of the Poet. New York: Random House Audio. p. 12. ISBN978-0-55371-491-3. Though there were infrequent and half-hearted diplomacy with women, most people considered Hughes asexual, insistent on a skittish, carefree 'innocence.' In fact, he was a closeted homosexual.
  44. ^ Aldrich (2001), p. 200.
  45. ^ Referring to men of African descent, Rampersad writes: "... Hughes found some immature men, especially nighttime-skinned men, appealing and sexually fascinating. (Both in his diverse artistic representations, in fiction especially, and in his life, he appears to have found young white men of trivial sexual entreatment.) Virile young men of very night complexion fascinated him." Rampersad, vol. 2, 1988, p. 336.
  46. ^ "His fatalism was well placed. Under such pressure, Hughes's sexual desire, such as it was, became not and so much sublimated equally vaporized. He governed his sexual desires to an extent rare in a normal adult male person; whether his appetite was normal and adult is incommunicable to say. He understood, nevertheless, that Cullen and Locke offered him zero he wanted, or naught that promised much for him or his poesy. If sure of his responses to Locke seemed like teasing (a habit Hughes would never quite lose with women, or, perhaps, men) they were not therefore necessarily signs of sexual desire; more likely, they showed the lack of it. Nor should one infer quickly that Hughes was held back past a greater fearfulness of public exposure equally a homosexual than his friends had; of the three men, he was the only one ready, indeed eager, to be perceived equally disreputable." "Rampersad, The Life of Langston Hughes, Vol. I, p. 69.
  47. ^ Sandra West states: Hughes'due south "apparent love for blackness men equally evidenced through a series of unpublished poems he wrote to a black male lover named 'Beauty'." West, 2003, p. 162.
  48. ^ Wilson, Scott (2016). Resting Places: The Burial Sites of More Than 14,000 Famous Persons. Jefferson, Due north Carolina: McFarland & Company. p. 359. ISBN978-0786479924.
  49. ^ Whitaker, Charles, "Langston Hughes: 100th birthday celebration of the poet of Black America", Ebony, April 2002.
  50. ^ "The Negro Speaks of Rivers" Archived July 26, 2010, at the Wayback Machine. Audio file, Hughes reading. Verse form information from Poets.org.
  51. ^ "The Negro Speaks of Rivers": offset published in The Crisis (June 1921), p. 17. Included in The New Negro (1925), The Weary Blues, Langston Hughes Reader, and Selected Poems. The poem is defended to W. Eastward. B. Du Bois in The Weary Blues, but it is printed without dedication in later versions. — Rampersad & Roessel (2002). In The Collected Poems of Langston Hughes, pp. 23, 620.
  52. ^ Rampersad & Roessel (2002), The Nerveless Poems of Langston Hughes, pp. 23, 620.
  53. ^ Hoelscher, Stephen (2019). "A Lost Work by Langston Hughes". Smithsonian . Retrieved May 10, 2021.
  54. ^ Hughes "disdained the rigid course and color differences the 'best people' drew between themselves and Afro-Americans of darker complexion, of smaller ways and bottom formal education." — Berry, 1983 & 1992, p. 60.
  55. ^ "The Negro Artist and the Racial Mountain" (June 1926), The Nation.
  56. ^ Rampersad, 1988, vol. two, p. 418.
  57. ^ Westward, 2003, p. 162.
  58. ^ "My People" First published as "Poem" in The Crisis (October 1923), p. 162, and The Weary Blues (1926). The title poem "My People" was collected in The Dream Keeper (1932) and the Selected Poems of Langston Hughes (1959). Rampersad & Roessel (2002), The Collected Poems of Langston Hughes, pp. 36, 623.
  59. ^ a b Rampersad. vol. 2, 1988, p. 297.
  60. ^ Rampersad. vol. 1, 1986, p. 91.
  61. ^ Mercer Cook, African-American scholar of French civilisation wrote: "His (Langston Hughes) work had a lot to practise with the famous concept of Négritude, of black soul and feeling, that they were beginning to develop." Rampersad, vol. 1, 1986, p. 343.
  62. ^ Rampersad. vol. 1, 1986, p. 343.
  63. ^ Charlotte Mason generously supported Hughes for two years. She supervised his writing his start novel, Non Without Laughter (1930). Her patronage of Hughes concluded about the time the novel appeared. Rampersad. "Langston Hughes", in The Concise Oxford Companion to African American Literature, 2001, p. 207.
  64. ^ a b Tanenhaus, Sam (1997). Whittaker Chambers: A Biography. Random Business firm. ISBN9780307789266.
  65. ^ millersvillearchives Golden Stair Press
  66. ^ Anne Loftis (1998), Witnesses to the Struggle, p. 46, University of Nevada Press, ISBN 978-0-87417-305-5.
  67. ^ Chambers, Whittaker (1952). Witness. New York: Random Firm. pp. 44–45 (includes clarification of Lieber), 203, 266fn, 355, 365, 366, 388, 376–377, 377fn, 394, 397, 401, 408, 410. LCCN 52005149.
  68. ^ Noel Sullivan, after working out an agreement with Hughes, became a patron for him in 1933. — Rampersad, vol. i, 1986, p. 277.
  69. ^ Sullivan provided Hughes with the opportunity to complete The Ways of White Folks (1934) in Carmel, California. Hughes stayed a year in a cottage Sullivan provided. — Rampersad, "Langston Hughes". In The Concise Oxford Companion to African American Literature, 2001, p. 207.
  70. ^ Rampersad (2001) Langston Hughes, p. 207.
  71. ^ Co-written with Clarence Muse, African-American Hollywood thespian and musician. — Rampersad. vol. 1, 1986, pp. 366–69.
  72. ^ a b "Langston Hughes". Chicago Literary Hall of Fame. Chicago Writers Association. Archived from the original on September viii, 2013. Retrieved June 11, 2013.
  73. ^ Creekmore, Hubert (January 30, 1949). "Two Rewarding Volumes of Verse; ONE-Style TICKET. Past Langston Hughes. Illustrated by Jacob Lawrence. 136 pp. New York: Alfred A. Knopf. $ii.75. THE Verse OF THE NEGRO: 1746–1949. Edited by Arna Bontemps and Langston Hughes. 429 pp. New York: Doubleday & Co. $5". The New York Times. p. 19.
  74. ^ Rampersad, 1988, vol. two, p. 207.
  75. ^ Langston's misgivings most the new black writing were because of its accent on black criminality and frequent use of profanity. — Rampersad, vol. ii, p. 207.
  76. ^ Hughes said: "There are millions of blacks who never murder anyone, or rape or get raped or want to rape, who never animalism after white bodies, or cringe before white stupidity, or Uncle Tom, or get crazy with race, or off-balance with frustration." — Rampersad, vol. ii, p. 119.
  77. ^ Langston eagerly looked to the day when the gifted young writers of his race would go beyond the clamor of civil rights and integration and take a genuine pride in being blackness ... he found this latter quality starkly absent-minded in even the all-time of them. — Rampersad, vol. 2, p. 310.
  78. ^ "As for whites in general, Hughes did not like them ... He felt he had been exploited and humiliated by them." — Rampersad, 1988, vol. 2, p. 338.
  79. ^ Hughes'due south advice on how to deal with racists was, "'Always be polite to them ... exist over-polite. Kill them with kindness.' But, he insisted on recognizing that all whites are not racist, and definitely enjoyed the visitor of those who sought him out in friendship and with respect." — Rampersad, 1988, vol. 2, p. 368.
  80. ^ Rampersad, 1988, vol. 2, p. 409.
  81. ^ Fountain, James (June 2009). "The notion of crusade in British and American literary responses to the Spanish Civil War". Journal of Transatlantic Studies. 7 (2): 133–147. doi:10.1080/14794010902868298. S2CID 145749786.
  82. ^ The end of "A New Vocal" was substantially changed when information technology was included in A New Song (New York: International Workers Society, 1938).
  83. ^ Scammell, Michael. "Langston Hughes in the USSR". New York Review of Books. ISSN 0028-7504. Retrieved February twenty, 2021.
  84. ^ Tanenhaus, Sam (1997). Whittaker Chambers: A Biography. Random House. ISBN9780307789266. Malcolm Cowley, Floyd Dell, and Chambers were besides involved in this intended flick.
  85. ^ Arthur Koestler, "The Invisible Writing", Ch. 10.
  86. ^ Lai-Henderson, Selina (2020). "Color effectually the Globe: Langston Hughes and Blackness Internationalism in Red china". MELUS. 45 (2): 88–107. doi:10.1093/melus/mlaa016.
  87. ^ Kiuchi, Toru (2008). "The Critical Response in Japan to Langston Hughes" (PDF). Nihon daigaku seisan kōgakubu kenkyū hōkoku B 日本大学生産工学部研究報告B. 41: 1–14.
  88. ^ Huh, Jang Wook (2021). "'Our Temples for Tomorrow': Langston Hughes and the Making of a Autonomous Korea". The Langston Hughes Review. 27 (2): 115–136. doi:10.5325/langhughrevi.27.2.0115.
  89. ^ a b c Juan Ignacio Guijarro González (September 2021). ""I looked upon the Nile"—and the Ebro: Reconstructing the History of Langston Hughes Translations in Spain (1930–1975)". The Langston Hughes Review. 27 (ii): 144–145. doi:x.5325/langhughrevi.27.two.0137.
  90. ^ "Abraham Lincoln Brigade Archives". Alba-valb.org . Retrieved July 24, 2010.
  91. ^ Langston Hughes (2001), Fight for Liberty and Other Writings, University of Missouri Press, p. 9.
  92. ^ Rampersad, Arnold (2002). The Life of Langston Hughes: Volume II: 1941–1967, I Dream a World. Oxford Academy Press. p. 85. ISBN978-0-19-988227-4.
  93. ^ Winston, Kimberly (February 22, 2012). "Blacks say atheists were unseen civil rights heroes". The Washington Post. Organized religion News Service.
  94. ^ Executive Sessions of the Senate Permanent Subcommittee on Investigations of the Commission on Government Operations, Volume 2, Volume 107, Consequence 84 of S. prt, Beth Bolling, ISBN 9780160513626. Permanent Subcommittee on Investigations, Publisher: U.Southward. GPO. Original from the University of Michigan p. 988.
  95. ^ a b Leach, Langston Hughes: A Biography (2004), pp. 118–119.
  96. ^ Sharf, James C. (1981). "Testimony of Richard T. Seymour, before the Subcommittee on the Constitution, Senate Committee on the Judiciary". doi:ten.1037/e578982009-004.
  97. ^ Cohen, Aaron I. (1987). International Encyclopedia of Women Composers. Books & Music (USA). ISBN978-0-9617485-2-four.
  98. ^ Donald 5. Calamia, "Review: 'Hannibal of the Alps'". Archived November 22, 2015, at the Wayback Machine. Pride Source, from Between The Lines, June 9, 2005.
  99. ^ "Nosotros are African Americans for Humanism". African Americans for Humanism . Retrieved Feb 2, 2015.
  100. ^ Jeff Lunden, "'Ask Your Mama': A Music And Poetry Premiere", NPR.
  101. ^ "THE LANGSTON HUGHES Project". Ronmccurdy.com.
  102. ^ "Ronald C. McCurdy, Ph.D." Biography.
  103. ^ "Ice-T and Ron McCurdy – the Langston Hughes Project". Archived November 22, 2015, at the Wayback Auto, Artform press releases.
  104. ^ "The Langston Hughes Project, Thursday 24 September 2015", Serious. Article by Margaret Busby, start published in the Barbican November 2015 Guide.
  105. ^ "Fiction Book Review: Harlem Mosaics". Publishers Weekly. April 28, 2018.
  106. ^ Maddie Crum (September 22, 2016). "Powerful Poem About Race Gets A Total Page In The New York Times". Huffington Postal service.
  107. ^ "Langston Hughes Memorial Library". Lincoln University. Retrieved November thirteen, 2013.
  108. ^ Nunes, Zita Cristina (November xx, 2018). "Cataloging Black Knowledge: How Dorothy Porter Assembled and Organized a Premier Africana Research Drove". Perspectives on History . Retrieved Nov 24, 2018.
  109. ^ "Langston Hughes, Poet". The Los Angeles Times. Los Angeles. September 26, 1926. p. 66. Retrieved January 7, 2021. The Witter Bynner undergraduate poetry prize for 1926 was awarded to Langston Hughes, Lincoln University, whom Carl Van Vechten ranks with amid the all-time of the younger American poets.
  110. ^ "Langston Hughes — Poet". h2g2: The Hitchhiker's Guide to the Galaxy. Retrieved July 24, 2010.
  111. ^ Jen Carlson (June xviii, 2007)."Langston Hughes Lives On In Harlem", Archived February ii, 2008, at the Wayback Machine, Gothamist. Retrieved Nov 22, 2015.
  112. ^ "National Register Information System". National Register of Historic Places. National Park Service. March thirteen, 2009.
  113. ^ Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York: Prometheus Books. ISBN 1-57392-963-8.
  114. ^ "Langston Hughes". Chicago Literary Hall of Fame. 2012. Retrieved October 8, 2017.
  115. ^ "Langston Hughes' 113th Birthday". Google.com.

References

  • Aldrich, Robert (2001). Who'south Who in Gay & Lesbian History, Routledge. ISBN 0-415-22974-Ten
  • Bernard, Emily (2001). Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925–1964, Knopf. ISBN 0-679-45113-7
  • Berry, Organized religion (1983.1992,). "Langston Hughes: Earlier and Beyond Harlem". In On the Cross of the South, Citadel Press, p. 150; & Zero Hour, pp. 185–186. ISBN 0-517-14769-vi
  • Chenrow, Fred; Chenrow, Carol (1973). Reading Exercises in Black History, Volume one, Elizabethtown, PA: The Continental Press, Inc. p. 36. ISBN 08454-2107-7.
  • Hughes, Langston (2001). "Fight for Freedom and Other Writings on Civil Rights" (Collected Works of Langston Hughes, Vol. 10). In Christopher C. DeSantis (ed.). Introduction, p. 9. Academy of Missouri Press. ISBN 0-8262-1371-v
  • Hutson, Jean Blackwell; & Jill Nelson (Feb 1992). "Remembering Langston", Essence, p. 96.
  • Joyce, Joyce A. (2004). "A Historical Guide to Langston Hughes". In Steven C. Tracy (ed.), Hughes and Twentieth-Century Genderracial Problems, Oxford University Press, p. 136. ISBN 0-xix-514434-ane
  • Nero, Charles I. (1997). "Re/Membering Langston: Homphobic Textuality and Arnold Rampersad'south Life of Langston Hughes". In Martin Duberman (ed.), Queer Representations: Reading Lives, Reading Cultures, New York Academy Press, p. 192. ISBN 0-8147-1884-i
  • Nero, Charles I. (1999). "Free Speech or Detest Speech: Pornography and its Means of Production". In Larry P. Gross & James D. Woods (eds), Columbia Reader on Lesbians and Gay Men in Media, Society, and Politics, Columbia University Press, p. 500. ISBN 0-231-10447-2
  • Nichols, Charles H. (1980). Arna Bontempts-Langston Hughes Letters, 1925–1967, Dodd, Mead & Company. ISBN 0-396-07687-iv
  • Ostrom, Hans (1993). Langston Hughes: A Written report of the Brusk Fiction, New York: Twayne. ISBN 0-8057-8343-1
  • Ostrom, Hans (2002). A Langston Hughes Encyclopedia, Westport: Greenwood Printing. ISBN 0-313-30392-4
  • Rampersad, Arnold (1986). The Life of Langston Hughes, Volume 1: I, Too, Sing America, Oxford Academy Press. ISBN 0-19-514642-5
  • Rampersad, Arnold (1988). The Life of Langston Hughes, Book 2: I Dream A World. Oxford Academy Printing. ISBN 0-19-514643-iii
  • Schwarz, Christa A. B. (2003). "Langston Hughes: A true 'people's poet'". In Gay Voices of the Harlem Renaissance, Indiana Academy Press, pp. 68–88. ISBN 0-253-21607-9
  • West, Sandra L. (2003). "Langston Hughes". In Aberjhani & Sandra West (eds), Encyclopedia of the Harlem Renaissance, Checkmark Press, p. 162. ISBN 0-8160-4540-2

External links

  • Langston Hughes on Poets.org With poems, related essays, and links.
  • Contour and poems of Langston Hughes, including audio files and scholarly essays, at the Poetry Foundation.
  • Cary Nelson, "Langston Hughes (1902–1967)". Profile at Modernistic American Poesy.
  • Beinecke Library, Yale. "Langston Hughes at 100".
  • Contour at Library of Congress.

Archives

  • Langston Hughes Papers. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
  • Langston Hughes Papers at the Wisconsin Center for Motion-picture show and Theater Research
  • Resources at Library of Congress including audio.
  • Representative Poetry Online, University of Toronto
  • Works by Langston Hughes at Project Gutenberg
  • Works past Langston Hughes at Faded Page (Canada)
  • Works by or well-nigh Langston Hughes at Internet Archive
  • Works by Langston Hughes at LibriVox (public domain audiobooks)
  • Langston Hughes collection from the Billops-Hatch Archives, 1926–2002
  • Langston Hughes drove from the Raymond Danowski Poetry Library, 1932–1969
  • Thyra Edwards' collection of Langston Hughes material, 1935–1941

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Source: https://en.wikipedia.org/wiki/Langston_Hughes

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