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WP_143 (RORSCHACH SERIES)/ 2008
(  Satoshi Kinoshita )
| Series: | Works on paper: Paintings 2 | | Medium: | acrylic on paper | | Size (inches): | 14.3 x 10.1 | | Size (mm): | 364 x 257 | | Catalog #: | WP_0143 | | Description: | Signed, date and copyright in pencil on the reverse/ the usual central vertical fold.
I swear to the Lord, I still can't see, why democracy means, everybody but me. (Langston Hughes)
-afroamhistory.about.com/od/langstonhughes/
a/lhughesquotes.htm
Steely Dan -
Steely Dan is a Grammy-winning American jazz fusion/rock band centered on core members Walter Becker and Donald Fagen. The band reached a peak of popularity in the late 1970s, with the release of seven albums blending elements of jazz, rock, funk, R&B, and pop.
Their music is characterized by complex jazz-influenced structures and harmonies as interpreted by rock and pop studio musicians. Steely Dan's literate, often ambiguous lyrics are filled with sharp sarcasm which often touches upon such dark themes as drugs[1][2], prostitution ("Babylon Sisters"), and their true-to-life extreme dislike of Los Angeles.[3] The pair are well-known for their near-obsessive perfectionism in the recording studio, with one notable example being the year-plus of intensive recording that resulted in 1980's Gaucho — an album that contains only seven songs.
The group toured from 1972 to 1974, but in 1975 became a purely studio-based act. They disbanded in 1981, and throughout most of the next decade (with the notable exception of Fagen's platinum-certified The Nightfly[4]), the duo remained largely inactive in the music world. Steely Dan had two reunion tours in the summers of 1993 and 1994 and new studio releases in 2000, Two Against Nature, and 2003, Everything Must Go, with accompanying tours. They have sold more than 30 million albums worldwide.[5]
Lyrical style:
Steely Dan's songs cover a wide range of topics, but in their basic approach Becker and Fagen's writing can be compared with the observational, novelesque style of Lou Reed, and with lyricists such as Langston Hughes, who specializes in creating fictional personas that narrate the experience. The duo have said that in retrospect, most of their albums have a 'feel' of either Los Angeles or New York, the two main bases where Becker and Fagen lived and operated. Characters appear in their songs that evoke these cities. Themes of sex, drugs, and rock 'n roll appear, but never in a straightforward manner, neither encouraging or discouraging, and many (if not all) of their songs are tinged with an ironic edge.[6]
References:
1. ^ Allmusic Hey Nineteen. Accessed July 31, 2008.
2. ^ allmusic song review: Kid Charlemagne
3. ^ allmusic song review: Don't Take Me Alive
4. ^ The Wall Street Journal: 'The Nightfly' Still Lives at 25 Retrieved on 2008-08-14
5. ^ The Modesto Bee: Reelin' in the years with Steely Dan's Walker Becker
6. ^ Reed, Bobby (2003-10-08). "Steely Dan goes back in time to 1979". Chicago Sun-Times. Retrieved on 2006-12-21.
-en.wikipedia.org/wiki/Steely_Dan
Langston Hughes -
Langston Hughes (February 1, 1902 – May 22, 1967) was an American poet, novelist, playwright, short story writer, and columnist. Hughes is known for his work during the Harlem Renaissance.
Life:
Childhood
The son of Carrie Langston Hughes (a teacher) and her husband, James Nathaniel Hughes, Langston Hughes was born James Mercer Langston Hughes in Joplin, Missouri. Hughes is of both African American and Native American descent. [1]After abandoning his family and the later legal dissolution of the marriage, James Hughes left for Cuba, then Mexico, as a consequence of the enduring racism in the United States.[2] After the separation of his parents, young Langston was raised mainly by his grandmother, Mary Langston, as his mother sought employment. Through the black American oral tradition of storytelling, she would instill in the young Langston Hughes a sense of lasting racial pride.[3][4][5] He spent most of childhood in Lawrence, Kansas. After the death of his grandmother, he went to live with family friends, James and Mary Reed, for two years. Due to an unstable early life, his childhood was not an entirely happy one, but it was one that heavily influenced the poet he would become. Later, he lived again with his mother in Lincoln, Illinois, who had remarried when he was still an adolescent, and eventually in Cleveland, Ohio, where he attended high school.
While in grammar school in Lincoln, Illinois, he was designated class poet. Hughes stated in retrospect that this was because of the stereotype that African Americans have rhythm.[6] "I was a victim of a stereotype. There were only two of us Negro kids in the whole class and our English teacher was always stressing the importance of rhythm in poetry. Well, everyone knows — except us — that all Negroes have rhythm, so they elected me as class poet."[7] During high school in Cleveland, Ohio, he wrote for the school newspaper, edited the yearbook, and began to write his first short stories, poetry, and dramatic plays. His first piece of jazz poetry, When Sue Wears Red, was written while he was still in high school. It was during this time that he discovered his love of books. From this early period in his life, Hughes would cite as influences on his poetry the American poets Paul Laurence Dunbar and Carl Sandburg.
Relationship with father and Columbia
Hughes spent a brief period of time with his father in Mexico in 1919. The relationship between Langston and his father was troubled, causing Hughes a degree of dissatisfaction that led him to contemplate suicide at least once. Upon graduating from high school in June of 1920, Hughes returned to live with his father, hoping to convince him to provide money to attend Columbia University. Hughes later said that, prior to arriving in Mexico again:
"I had been thinking about my father and his strange dislike of his own people. I didn't understand it, because I was a Negro, and I liked Negroes very much.[8][9][10]"
Initially, his father had hoped for Hughes to attend a university abroad, and to study for a career in engineering. On these grounds, he was willing to provide financial assistance to his son. James Hughes did not support his son's desire to be a writer. Eventually, Langston and his father came to a compromise. Langston would study engineering, so long as he could attend Columbia. His tuition provided, Hughes left his father after more than a year of living with him. While at Columbia in 1921, Hughes managed to maintain a B+ grade average. He left in 1922 because of racial prejudice within the institution, and his interests revolved more around the neighborhood of Harlem than his studies, though he continued writing poetry.[11]
Adulthood
Hughes worked various odd jobs, before serving a brief tenure as a crewman aboard the S.S. Malone in 1923, spending six months traveling to West Africa and Europe.[12] In Europe, Hughes left the S.S. Malone for a temporary stay in Paris.
Unlike specific writers of the post-World War I era who became identified as the "Lost Generation", such as Ernest Hemingway and F. Scott Fitzgerald, Hughes instead spent time in Paris during the early 1920s, becoming part of the black expatriate community. In November 1924, Hughes returned to the U. S. to live with his mother in Washington, D.C. Hughes again found work doing various odd jobs before gaining white-collar employment in 1925 as a personal assistant to the scholar Carter G. Woodson within the Association for the Study of African American Life and History. Not satisfied with the demands of the work and time constraints this position placed on the hours he spent writing, Hughes quit this job for one as a busboy in a hotel. It was while working as a busboy that Hughes would encounter the poet Vachel Lindsay. Impressed with the poems Hughes showed him, Lindsay publicized his discovery of a new black poet, though by this time, Hughes' earlier work had already been published in magazines and was about to be collected into his first book of poetry.
The following year, Hughes enrolled in Lincoln University, an HBCU in Chester County, Pennsylvania, where he became a member of the Omega Psi Phi Fraternity, the first black fraternal organization founded at a historically black college and university.[13][14] Thurgood Marshall, who later became an Associate Justice of the Supreme Court of the United States, was an alumnus and classmate of Langston Hughes during his undergraduate studies at Lincoln University.
Hughes received a B.A. degree from Lincoln University in 1929 and a Litt.D. in 1943 from Lincoln. A second honorary doctorate would be awarded to him in 1963 by Howard University, another HBCU. Except for travels that included parts of the Caribbean, Harlem was Hughes’s primary home for the remainder of his life.
Academics and biographers today acknowledge that Hughes was a homosexual and included homosexual codes in many of his poems, similar in manner to Walt Whitman, whose work Hughes cited as another influence on his poetry, and most patently in the short story Blessed Assurance which deals with a father's anger over his son's effeminacy and queerness.[15][16][17][18][19][15][20][21] It has been noted that to retain the respect and support of black churches and organizations and avoid exacerbating his precarious financial situation, Hughes remained closeted.[22] Arnold Rampersad, the primary biographer of Hughes, determined that Hughes exhibited a preference for other African American men in his work and life.[23] This love of black men is evidenced in a number of reported unpublished poems to a black male lover.[24]
Death
The terrazzo and brass African cosmogram titled Rivers on the floor in front of the Langston Hughes auditorium in the Schomburg Center for Research in Black Culture in Harlem (designed by artist Houston Conwill, poet Estella Conwill Majozo, and architect Joseph DePace)
The terrazzo and brass African cosmogram titled Rivers on the floor in front of the Langston Hughes auditorium in the Schomburg Center for Research in Black Culture in Harlem (designed by artist Houston Conwill, poet Estella Conwill Majozo, and architect Joseph DePace)
On May 22, 1967, Hughes died from complications after abdominal surgery, related to prostate cancer, at the age of 65. His ashes are interred beneath a floor medallion in the middle of the foyer leading to the auditorium named for him within the Arthur Schomburg Center for Research in Black Culture in Harlem.[25] The design on the floor covering his cremated remains is an African cosmogram titled Rivers. The title is taken from the poem The Negro Speaks of Rivers by Hughes. Within the center of the cosmogram and precisely above the ashes of Hughes are the words My soul has grown deep like the rivers.
Many of Hughes' papers reside at his alma mater in the Langston Hughes Memorial Library on the campus of Lincoln University, as well as at the James Weldon Johnson Collection within the Yale University Beinecke Rare Book and Manuscript Library. In 1981, Landmark status was given to the Harlem home of Langston Hughes at 20 East 127th Street by the New York City Landmarks Preservation Commission and 127th St. was renamed Langston Hughes Place.[26] On February 1, 2002, The United States Postal Service added the image of Langston Hughes to its Black Heritage series of postage stamps to commemorate both the centennial of Hughes' birth and the 25th anniversary of the Black Heritage series.
Career
1920s
First published in The Crisis in 1921, the verse that would become Hughes's signature poem, The Negro Speaks of Rivers, appeared in his first book of poetry The Weary Blues in 1926:[27]
I've known rivers:
I've known rivers ancient as the world and older than the
flow of human blood in human veins.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near 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
bosom turn all golden in the sunset.
I've known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
Hughes' life and work were enormously influential during the Harlem Renaissance of the 1920s alongside those of his contemporaries, Zora Neale Hurston, Wallace Thurman, Claude McKay, Countee Cullen, Richard Bruce Nugent, and Aaron Douglas, who, collectively, (with the exception of McKay), created the short-lived magazine Fire!! Devoted to Younger Negro Artists.
Hughes and his contemporaries were often in conflict with the goals and aspirations of the black middle class, and of those considered to be the midwives of the Harlem Renaissance, W. E. B. Du Bois, Jessie Redmon Fauset, and Alain LeRoy Locke, whom they accused of being overly fulsome in accommodating and assimilating Eurocentric values and culture for social equality. A primary expression of this conflict was the former's depiction of the "low-life", that is, the real lives of blacks in the lower social-economic strata and the superficial divisions and prejudices based on skin color within the black community.[28] Hughes wrote what would be considered the manifesto for him and his contemporaries published in The Nation in 1926, The Negro Artist and the Racial Mountain:
The younger Negro artists who create now intend to express
our individual dark-skinned selves without fear or shame.
If white people are pleased we are glad. If they are not,
it doesn't matter. We know we are beautiful. And ugly, too.
The tom-tom cries, and the tom-tom laughs. If colored people
are pleased we are glad. If they are not, their displeasure
doesn't matter either. We build our temples for tomorrow,
strong as we know how, and we stand on top of the mountain
free within ourselves.
Hughes was unashamedly black at a time when blackness was démodé, and he didn’t go much beyond the themes of black is beautiful as he explored the black human condition in a variety of depths.[29] His main concern was the uplift of his people who he judged himself the adequate appreciator of and whose strengths, resiliency, courage, and humor he wanted to record as part of the general American experience.[30][31] Thus, his poetry and fiction centered generally on insightful views of the working class lives of 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 explain and illuminate the Negro condition in America and obliquely that of all human kind,"[32] Hughes is quoted as saying. Therefore, in his work he confronted racial stereotypes, protested social conditions, and expanded African America’s image of itself; a “people’s poet” who sought to reeducate both audience and artist by lifting the theory of the black aesthetic into reality.[33] An expression of this is the poem My People:[34]
The night is beautiful,
So the faces of my people.
The stars are beautiful,
So the eyes of my people
Beautiful, also, is the sun.
Beautiful, also, are the souls of my people.
Moreover, Hughes stressed the importance of a racial consciousness and cultural nationalism absent of self-hate that united people of African descent and Africa across the globe and encouraged pride in their own diverse black folk culture and black aesthetic. Langston Hughes was one of the few black writers of any consequence to champion racial consciousness as a source of inspiration for black artists.[35] His African-American race consciousness and cultural nationalism would influence many foreign black writers, such as Jacques Roumain, Nicolás Guillén, Léopold Sédar Senghor, and Aimé Césaire. With Senghor and Césaire and other French-speaking writers of Africa and of African descent from the Caribbean like René Maran from Martinique and Léon Damas from French Guiana in South America, the works of Hughes helped to inspire the concept that became the Négritude movement in France where a radical black self-examination was emphasized in the face of European colonialism.[36][37] Langston Hughes was not only a role model for his calls for black racial pride instead of assimilation, but the most important technical influence in his emphasis on folk and jazz rhythms as the basis of his poetry of racial pride.[38]
The Ways of White Folks by Langston Hughes, 1934. Photograph Yale University Collection of American Literature, Beinecke Rare Book and Manuscript Library
The Ways of White Folks by Langston Hughes, 1934. Photograph Yale University Collection of American Literature, Beinecke Rare Book and Manuscript Library
1930s
In 1930, his first novel, Not Without Laughter, won the Harmon Gold Medal for literature.[39] The protagonist of the story is a boy named Sandy whose family must deal with a variety of struggles imposed upon them due to their race and class in society in addition to relating to one another. Hughes first collection of short stories came in 1934 with The Ways of White Folks.[40][41] These stories provided a series of vignettes revealing the humorous and tragic interactions between whites and blacks. Overall, these stories are marked by a general pessimism about race relations, as well as a sardonic realism.[42] He received a Guggenheim Fellowship in 1935. In 1938, Hughes would establish the Harlem Suitcase Theater followed by the New Negro Theater in 1939 in Los Angeles, and the Skyloft Players in Chicago in 1941.
1940s
The same year Hughes established his theatre troupe in Los Angeles, his ambition to write for the movies materialized when he co-wrote the screenplay for Way Down South.[43] Further hopes by Hughes to write for the lucrative movie trade were thwarted because of racial discrimination within the industry.[44] Through the black publication Chicago Defender, Hughes in 1943 gave creative birth to Jesse B. Semple, often referred to and spelled Simple, the everyday black man in Harlem who offered musings on topical issues of the day. He was offered to teach at a number of colleges, but seldom did. In 1947, Hughes taught a semester at the predominantly black Atlanta University. Hughes, in 1949, spent three months at the integrated University of Chicago Laboratory Schools as a "Visiting Lecturer on Poetry." He wrote novels, short stories, plays, poetry, operas, essays, works for children, and, with the encouragement of his best friend and writer, Arna Bontemps, and patron and friend, Carl Van Vechten, two autobiographies, The Big Sea and I Wonder as I Wander, as well as translating several works of literature into English.
1950s and 1960s
Much of his writing was inspired by the rhythms and language of the black church, and, the blues and jazz of that era, the music he believed to be the true expression of the black spirit; an example is "Harlem" (sometimes called "Dream Deferred") from Montage of a Dream Deferred (1951), from which a line was taken for the title of the play A Raisin in the Sun.[45]
What happens to a dream deferred?
Does it dry up
like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
Or crust and sugar over
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
During the mid-1950s and -1960s, Hughes' popularity among the younger generation of black writers varied as his reputation increased worldwide. With the gradual advancement 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.[46] He in turn found a number of writers like James Baldwin lacking in this same pride, over intellectualizing in their work, and occasionally vulgar.[47][48][49]
Hughes wanted young black writers to be objective about their race, but not scorn or to flee it.[50] He understood the main points of the Black Power movement of the 1960s, but believed that some of the younger black writers who supported it were too angry in their work. Hughes' posthumously published Panther and the Lash in 1967 was intended to show solidarity and understanding with these writers but with more skill and absent of the most virile anger and terse racial chauvinism some showed toward whites.[51][52] Hughes still continued to have admirers among the larger younger generation of black writers who he often helped by offering advice to and introducing to other influential persons in the literature and publishing communities. This latter group, who happened to include Alice Walker who Hughes discovered, looked upon Hughes as a hero and an example to be emulated in degrees and tones within their own work. One of these young black writers observed of Hughes, "Langston set 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 writer,' but only 'I am a Negro writer.' He never stopped thinking about the rest of us."[53]
Recognition:
In 1960, the NAACP awarded Hughes the Spingarn Medal for distinguished achievements by an African American. Hughes was inducted into the National Institute of Arts and Letters in 1961. In 1973, the first Langston Hughes Medal was awarded by the City College of New York.
Political views:
Hughes, like many black writers and artists of his time, was drawn to the promise of Communism as an alternative to a segregated America. Many of his lesser-known political writings have been collected in two volumes published by the University of Missouri Press and reflect his attraction to Communism. An example is the poem A New Song:[54]
I speak in the name of the black millions
Awakening to action.
Let all others keep silent a moment
I have this word to bring,
This thing to say,
This song to sing:
Bitter was the day
When I bowed my back
Beneath the slaver's whip.
That day is past.
Bitter was the day
When I saw my children unschooled,
My young men without a voice in the world,
My women taken as the body-toys
Of a thieving people.
That day is past.
Bitter was the day, I say,
When the lyncher's rope
Hung about my neck,
And the fire scorched my feet,
And the oppressors had no pity,
And only in the sorrow songs
Relief was found.
That day is past.
I know full well now
Only my own hands,
Dark as the earth,
Can make my earth-dark body free.
O thieves, exploiters, killers,
No longer shall you say
With arrogant eyes and scornful lips:
"You are my servant,
Black man-
I, the free!"
That day is past-
For now,
In many mouths-
Dark mouths where red tongues burn
And white teeth gleam-
New words are formed,
Bitter
With the past
But sweet
With the dream.
Tense,
Unyielding,
Strongand sure,
They sweep the earth-
Revolt! Arise!
The Black
And White World
Shall be one!
The Worker's World!
The past is done!
A new dream flames
Against the
Sun!
In 1932, Hughes became part of a group of disparate blacks who went to the Soviet Union to make a film depicting the plight of most blacks living in the United States at the time. The film was never made, but Hughes was given the opportunity to travel extensively through the Soviet Union and to the Soviet controlled regions in Central Asia, the latter parts usually closed to Westerners. In Turkmenistan, Hughes met and befriended the Hungarian polymath Arthur Koestler. Hughes would also manage to travel to China and Japan before returning home to the States.
Hughes' poetry was frequently published in the CPUSA newspaper and he was involved in initiatives supported by Communist organizations, such as the drive to free the Scottsboro Boys. Partly as a show of support for the Republican faction during the Spanish Civil War, in 1937 Hughes travelled to Spain as a correspondent for the Baltimore Afro-American and other various African American newspapers. Hughes was also involved in other Communist-led organizations like the John Reed Clubs and the League of Struggle for Negro Rights, even though he was more of a sympathizer than an active participant. He signed a statement in 1938 supporting Joseph Stalin's purges and joined the American Peace Mobilization in 1940 working to keep the U.S. from participating in World War II. [55] Hughes initially did not favor black American involvement in the war because of the irony of U.S. Jim Crow laws existing at the same time a war was being fought against Fascism and the Axis powers. He came to support the war effort and black American involvement in it after coming to understand that blacks would also be contributing to their struggle for civil rights at home.[56]
Hughes was accused of being a Communist by many on the political right, but he always denied it. When asked why he never joined the Communist Party, he wrote "it was based on strict discipline 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 by Senator Joseph McCarthy. Following his appearance, he distanced himself from Communism and was subsequently rebuked by some who had previously supported him on the Radical Left. Over time, Hughes would distance himself from his most radical poems. In 1959 came the publication of his Selected Poems. Absent from this group of poems was his most controversial work.
Hughes was a longtime resident of Westfield, New Jersey.[57]
Visual media:
In visual media, Hughes' sexuality was the subject of two plays by African American playwrights: Hannibal of the Alps by Michael Dinwiddie and Paper Armor by Eisa Davis. In the 1989 film, Looking for Langston by British filmmaker Isaac Julien, Hughes is reclaimed as a black gay icon — reclamation Julien saw as necessary because Hughes' sexuality has historically been ignored or downplayed. Hughes' iconic status in African American literature is contingent on his heterosexuality.[58]
In the theatrical film Get on the Bus, directed by Spike Lee, a black gay character, played by Isaiah Washington, invokes the name of Hughes and punches a homophobic character while commenting, "This is for James Baldwin and Langston Hughes."
Also in visual media, the diminutive 5'4" Hughes was portrayed in the 2004 film Brother to Brother by 6'1" actor Daniel Sunjata. Prior to this film, in 2003, Hughes was portrayed as a teenager by actor Gary LeRoi Gray in the short film Salvation that was based on a portion of his autobiography the Big Sea.[59]
Regarding documentary film, the New York Center for Visual History included Langston Hughes as part of its Voices & Visions series of notable writers. Hughes' Dream Harlem by producer and director Jamal Joseph and distributed through California Newsreel is another such film where Hughes' steadfast racial pride and artistic independence is discussed.
Bibliography:
Poetry
* The Weary Blues. Knopf, 1926
* Fine Clothes to the Jew. Knopf, 1927
* The Negro Mother and Other Dramatic Recitations, 1931
* Dear Lovely Death, 1931
* The Dream Keeper and Other Poems. Knopf, 1932
* Scottsboro Limited: Four Poems and a Play. N.Y.: Golden Stair Press, 1932
* Shakespeare in Harlem. Knopf, 1942
* Freedom's Plow. 1943
* Fields of Wonder. Knopf,1947
* One-Way Ticket. 1949
* Montage of a Dream Deferred. Holt, 1951
* Selected Poems of Langston Hughes. 1958
* Ask Your Mama: 12 Moods for Jazz. Hill & Wang, 1961
* The Panther and the Lash: Poems of Our Times, 1967
* The Collected Poems of Langston Hughes. Knopf, 1994
* Let America Be America Again 2005
Fiction
* Not Without Laughter. Knopf, 1930
* The Ways of White Folks. Knopf, 1934
* Simple Speaks His Mind. 1950
* Laughing to Keep from Crying, Holt, 1952
* Simple Takes a Wife. 1953
* Sweet Flypaper of Life, photographs by Roy DeCarava. 1955
* Simple Stakes a Claim. 1957
* Tambourines to Glory (book), 1958
* The Best of Simple. 1961
* Simple's Uncle Sam. 1965
* Something in Common and Other Stories. Hill & Wang, 1963
* Short Stories of Langston Hughes. Hill & Wang, 1996
Non-fiction
* The Big Sea. New York: Knopf, 1940
* Famous American Negroes. 1954
* Marian Anderson: Famous Concert Singer. 1954
* I Wonder as I Wander. New York: Rinehart & Co., 1956
* A Pictorial History of the Negro in America, with Milton Meltzer. 1956
* Famous Negro Heroes of America. 1958
* Fight for Freedom: The Story of the NAACP. 1962
Major plays
* Mule Bone, with Zora Neale Hurston. 1931
* Mulatto. 1935 (renamed The Barrier, an opera, in 1950)
* Troubled Island, with William Grant Still. 1936
* Little Ham. 1936
* Emperor of Haiti. 1936
* Don't You Want to be Free? 1938
* Street Scene, contributed lyrics. 1947
* Tambourines to glory. 1956
* Simply Heavenly. 1957
* Black Nativity. 1961
* Five Plays by Langston Hughes. Bloomington: Indiana University Press, 1963.
* Jericho-Jim Crow. 1964
Works for children
* Popo and Fifina, with Arna Bontemps. 1932
* The First Book of the Negroes. 1952
* The First Book of Jazz. 1954
* The First Book of Rhythms. 1954
* The First Book of the West Indies. 1956
* First Book of Africa. 1964
Other
* The Langston Hughes Reader. New York: Braziller, 1958.
* Good Morning Revolution: Uncollected Social Protest Writings by Langston Hughes. Lawrence Hill, 1973.
* The Collected Works of Langston Hughes. Missouri: University of Missouri Press, 2001.
Notes:
1. ^ "African-Native American Scholars". African-Native American Scholars (2008). Retrieved on 2008-07-30.
2. ^ West.Encyclopedia of the Harlem Renaissance, 2003, p.160
3. ^ Hughes recalled his maternal grandmother’s stories: "Through my grandmother’s stories life always moved, moved heroically toward an end. Nobody ever cried in my grandmother’s stories. They worked, schemed, or fought. But no crying." Rampesad, Arnold & Roessel, David (2002). The Collected Poems of Langston Hughes. p.620
4. ^ The poem Aunt Sues’s Stories (1921) is an oblique tribute to his grandmother and his loving Auntie Mary Reed. Rampersad.vol.1, 1986, p.43
5. ^ Imbued by his grandmother with a duty to help his race, he identified with neglected and downtrodden blacks all his life, and glorified them in his work. Brooks, Gwendolyn, (Oct. 12, 1986). The Darker Brother. The New York Times
6. ^ Langston Hughes Reads his poetry with commentary, audiotape from Caedmon Audio
7. ^ Langston Hughes, Writer, 65, Dead. (May 23, 1967). The New York Times
8. ^ Langston Hughes, The Big Sea (1940), pp.54-56
9. ^ James Hughes, a wealthy lawyer and landowner and himself a black man, hated both the racism of the North and Negroes, whom he portrayed in crude racial caricature. Smith, Dinitia (Nov. 26, 1997). Child’s Tale About Race Has a Tale of Its Own. The New York Times
10. ^ And the father, 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. Brooks, Gwendolyn, (Oct. 12, 1986). The Darker Brother. The New York Times
11. ^ Rampersad.vol.1, 1986, p.56
12. ^ Poem or To. F.S. first 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 first met in New York in the early 1920s. Nine years older than Hughes, Smith first influenced the poet to go to sea. Born in Jamaica in 1893, Smith spent most of his life as a ship steward and political activist at sea--and later in New York as a resident of Harlem. Smith was deported back to Jamaica for alleged Communist activities and illegal alien status in 1951. Hughes corresponded with Smith up until 1961, when Smith died. Berry, p.347
13. ^ In 1926, a patron of Hughes, Amy Spingarn, wife of Joel Elias Spingarn, provided the funds ($300) for him to attend Lincoln University. Rampersad.vol.1, 1986,p.122-23
14. ^ In November of 1927, Charlotte Osgood Mason, (“Godmother” as she liked to be called), became Hughes' major patron. Rampersad. vol.1,1986,p.156
15. ^ a b Nero, Charles I. (1997). "Queer Representations: Reading Lives, Reading Cultures." In Martin Duberman (Ed.), Re/Membering Langston, p.192. New York University Press
16. ^ Yale Symposium, Was Langston Gay? commemorating the 100th birthday of Hughes in 2002
17. ^ Schwarz, pp.68-88
18. ^ Although Hughes was extremely closeted, some of his poems hint at his homosexuality. These include: Joy, Desire, Cafe: 3 A.M., Waterfront Streets, Young Sailor, Trumpet Player, Tell Me, F.S. and some poems in Montage of a Dream Deferred. Langston Hughes page [1] Retrieved January 10, 2007
19. ^ ...Cafe 3 A.M. was against gay bashing by police, and Poem for F.S. which was about his friend Ferdinand Smith. Nero, Charles I. (1999), p.500
20. ^ Jean Blackwell Hutson, former chief of the Schomburg Center for Research in Black Culture, said, “He was always eluding marriage. He said marriage and career didn’t work.....It wasn’t until his later years that I became convinced he was homosexual.” Hutson & Nelson. Essence magazine, February 1992. p.96
21. ^ "Though there were infrequent and half-hearted affairs with women, most people considered Hughes asexual, insistent on a skittish, carefree 'innocence.' In fact, he was a closeted homosexual...." McClatchy, J.D. (2002).Langston Hughes: Voice of the Poet. New York: Random House Audio, p.12
22. ^ Aldrich, (2001), p.200
23. ^ "Referring to men of African descent, Rampersad writes "...Hughes found some young men, especially dark-skinned men, appealing and sexully fascinating. (Both in his various artistic representations, in fiction especially, and in his life, he appears to have found young white men of little sexual appeal.) Virile young men of very dark complexion fascinated him. Rampersad, vol.2,1988,p.336
24. ^ Sandra West explicitly states Hughes' "apparent love for black men as evidenced through a series of unpublished poems he wrote to a black male lover named 'Beauty'." West,2003. p.162
25. ^ Whitaker, Charles.Ebony magazine In Langston Hughes:100th birthday celebration of the poet of Black America. April 2002.
26. ^ Jean Carlson(2007). [2]Retrieved June 30, 2007.
27. ^ The Negro Speaks of Rivers: First published in Crisis (June 1921), p.17. Included in "The New Negro" (1925), The Weary Blues, Langston Hughes Reader, and Selected Poems. In The Weary Blues, the poem is dedicated to W.E.B. Du Bois. The dedication does not appear in later printings of the poem. Hughes' first and last published poems appeared in The Crisis; more of his poems appeared in The Crisis than in any other journal. Rampesad, Arnold & Roessel, David (2002). In The Collected Poems of Langston Hughes. p.23 & p.620, Knopf
28. ^ Hughes "disdained the rigid class and color differences the 'best people' drew between themselves and Afro-Americans of darker complextion, of smaller means and lesser formal education. Berry, 1983 & 1992, p.60
29. ^ "....but his tastes and selectivity were not always accurate, and pressures to survive as a black writer in a white society (and it was a miracle that he did for so long) extracted an enormous creative toll. Nevertheless, Hughes, more than any other black poet or writer, recorded faithfully the nuances of black life and its frustrations." Patterson, Lindsay (June 29, 1969). Langston Hughes--The Most Abused Poet in America? The New York Times
30. ^ Brooks, Gwendolyn, (Oct. 12, 1986). The Darker Brother. The New York Times
31. ^ Rampesad, Arnold & Roessel, David (2002). The Collected Poems of Langston Hughes. p.3
32. ^ Rampersad,1988,vol.2,p.418
33. ^ West. 2003, p.162
34. ^ My People: First published as Poem in Crisis (Oct.1923), p. 162, and The Weary Blues (1926). The title My People was used in The Dream Keeper (1932) and the Selected Poems of Langston Hughes (1959). Rampersad, Arnold & Roessel, David (2002). In The Collected Poems of Langston Hughes. p.36 & p.623, Knopt.
35. ^ Rampersad.vol.2, 1988, p.297
36. ^ Rampersad.vol.1, 1986, p. 91
37. ^ Mercer Cook, African American scholar of French culture: "His (Langston Hughes) work had a lot to do with the famous concept of Négritude, of black soul and feeling, that they were beginning to develop." Rampersad.vol.1, 1986, p. 343
38. ^ Rampersad.vol.1, 1986, p. 343
39. ^ Charlotte Mason generously supported him (Hughes) for two years. She supervised the writing of his first novel, Not Without Laughter (1930). Her patronage of Hughes ended about the time the novel appeared. Rampersad. Langston Hughes. In The Concise Oxford Companion to African American Literature, 2001, p.207
40. ^ Noel Sullivan, after working out an agreement with Hughes, became a patron for him in 1933. Rampersad. vol.1, 1986, p.277
41. ^ Sullivan provided Hughes with the opportunity to complete the The Ways of White Folks (1934) in Carmel, California. Hughes stayed a year in a cottage Sullivan provided for him to work in. Rampersad. Langston Hughes. In The Concise Oxford Companion to African American Literature, 2001, p.207
42. ^ Rampersad. “Langston Hughes.” In The Concise Oxford Companion to African American Literature.2001.p.207
43. ^ Co-written with Clarence Muse, African American Hollywood actor and musician. Rampersad.vol.1, 1986, p. 366-69
44. ^ Gwendolyn Brooks, who met Hughes when she was 16 says, "I met Langston Hughes when I was 16 years old, and saw enough of him in subsequent years to observe that, when subjected to offense and icy treatment because of his race, he was capable of jagged anger - and vengeance, instant or retroactive. And I have letters from him that reveal he could respond with real rage when he felt he was treated cruelly by other people. Brooks, Gwendolyn, (Oct. 12, 1986). The Darker Brother. The New York Times
45. ^ Harlem(2): Reprinted in Selected Poems of Langston Hughs under the title Dream Deferred. Rampesad, Arnold & Roessel, David (2002). In The Collected Poems of Langston Hughes. p.426 & p.676, Knopf
46. ^ Rampersad,1988,vol.2,p.207
47. ^ Langstons’s misgivings about the new black writing mainly concerned its emphasis on black criminality and on profanity. Rampersad, vol.2,p.207
48. ^ Hughes said, "There are millions of blacks who never murder anyone, or rape or get raped or want to rape, who never lust after white bodies, or cringe before white stupidity, or Uncle Tom, or go crazy with race, or off-balance with frustration." Rampersad, p.119, vol.2
49. ^ Langston eargerly 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 black....he found this latter quality starkly absent in even the best of them....Rampersad, vol. 2, p.310
50. ^ Rampersad.vol.2, 1988, p. 297
51. ^ "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
52. ^ Hughes' advice on how to deal with racists was "'Always be polite to them...be over-polite. Kill them with kindness.' But, he insisted on recognizing that all whites are not racist, and definitely enjoyed the company of those who sought him out in friendship and with respect." Rampersad, 1988,vol.2,p.368
53. ^ Rampersad, 1988, vol.2, p.409
54. ^ A New Song: The end of the poem was substantially changed when it was included in A New Song (New York: International Workers Order, 1938). The first version, in Opportunity (Jan. 1933), p. 123, and Crisis (March 1933), p.59. reads after line 39:
New words are formed,
Bitter
With the past
And sweet
with the dream.
Tense, silent,
Without a sound.
They fall unuttered--
Yet heard everywhere:
Take care!
Black world
Against the wall,
Open your eyes--
The long white snake of greed has struck to kill!
Be wary and
Be wise!
Before
The darker world
The future lies.
Rampesad, Arnold & Roessel, David (2002). In The Collected Poems of Langston Hughes. p.170 & p.643, Knopf
55. ^ Langston Hughes (2001), Fight for Freedom and Other Writings. p.9, University of Missouri Press
56. ^ Irma Cayton, African American, said "He had told me that it wasn't our war, it wasn't our business, there was too much Jim Crow. But he had changed his mind about all that." Rampersad,1988,vol.2,p.85
57. ^ "AUTHOR TO LEAVE JAPAN.; J.L. Hughes Will Depart After Questioning as to Communism.", The New York Times, July 25, 1933.
58. ^ Highleyman, Liz. (February 27, 2004)Past Out: Langston Hughes' legacy Retrieved October 15, 2006
59. ^ IMDb[3]Retrieved November 4,2006
References:
* Aldrich, Robert (2001). Who's Who in Gay & Lesbian History. Routledge. ISBN 041522974X
* 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, Faith (1983.1992,). Langston Hughes: Before and Beyond Harlem. In On the Cross of the South, p.150; & Zero Hour, p.185-186. Citadel Press ISBN 0-517-14769-6
* Hughes, Langstong (2001). Fight for Freedom and Other Writings on Civil Rights (Collected Works of Langston Hughes, Vol 10). In Christorpher C. DeSantis (Ed). Introduction, p. 9. University of Missouri Press ISBN 0826213715
* Hutson, Jean Blackwell; & Nelson, Jill (February 1992). "Remembering Langston". Essence magazine, p.96.
* Joyce, Joyce A. (2004). A Historical Guide to Langston Hughes. In Steven C. Tracy (Ed.), Hughes and Twentieth-Century Genderracial Issues, p.136. Oxford University Press ISBN 0-19-514434-1
* Nero, Charles I. (1997).Queer Reprensentations: Reading Lives, Reading Cultures. In Martin Duberman (Ed.), Re/Membering Langston, p.192. New York University Press ISBN 0814718833
* Nero, Charles I. (1999).Columbia Reader on Lesbians and Gay Men in Media, Society, and Politics. In Larry P. Gross & James D. Woods (Eds.), In Free Speech or Hate Speech: Pornography and its Means of Production, p.500. Columbia University Press ISBN 0231104472
* Nichols, Charles H. (1980). Arna Bontempts-Langston Hughes Letters, 1925-1967. Dodd, Mead & Company. ISBN 0-396-07687-4
* Ostrom, Hans (1993). Langston Hughes: A Study of the Short Fiction. New York: Twayne. ISBN 0805783431
* Ostrom, Hans (2002). A Langston Hughes Encyclopedia. Westport: Greenwood Press, 2002. ISBN 0313303924
* Rampersad, Arnold (1986). The Life of Langston Hughes Volume 1: I, Too, Sing America. Oxford University Press ISBN 0-19-514642-5
* Rampersad, Arnold (1988). The Life of Langston Hughes Volume 2: I Dream A World. In Ask Your Mama!, p.336. Oxford University Press ISBN 0-19-514643-3
* Schwarz, Christa A.B. (2003). Gay Voices of the Harlem Renaissance. In Langston Hughes: A "true 'people's poet",pp.68-88. Indiana University Press ISBN 0-253-21607-9
* West, Sandra L. (2003). Encyclopedia of the Harlem Renaissance. In Aberjhani & Sandra West (Ed.), Langston Hughes, p.162. Checkmark Press ISBN 0-8160-4540-2
-en.wikipedia.org/wiki/Langston_Hughes
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