By Steven C. Tracy
Langston Hughes has been an idea to generations of readers and writers looking a passionate, clever, and socially liable paintings. during this quantity, Steven C. Tracy has amassed a large variety of critics to provide an interdisciplinary method of the real old and cultural components mirrored in Hughes's paintings. Their essays, all formerly unpublished, position Hughes within the context of Harlem, his hottest geographical and non secular domestic base, in addition to the bigger political, social, musical, and creative milieu of his swiftly altering occasions. They research Hughes's negotiation of his personal ethical and moral flooring in a posh, occasionally opposed global, and display the awesome triumph of a delicate, inventive person who refused to be crushed by way of the forces of discrimination, pessimism, and bitterness that claimed such a lot of writers of his new release. This quantity, with its historic essays, short biography, and illustrated chronology, presents a concise but authoritative portrait of 1 of America's and the world's so much loved writers.
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Extra info for A Historical Guide to Langston Hughes (Historical Guides to American Authors)
In providing excellent supplies for his creative work, she had broadened his cultural life through visits to the Metropolitan Museum of Art, to concerts at Carnegie Hall, and to the musicals of the day. Yet the two of them had disagreed on political philosophy and race. Mason believed that blacks linked American whites to the primitive life and should concern themselves only with building on their cultural foundations. Hughes rejected such a simplistic view of the role of blacks in the modern world.
Yet Hughes turned away from Russia eventually because he refused to live without jazz, which the Communists banned, for they limited artistic freedom generally. Determined to confront worldwide fascism and racism, Hughes returned to San Francisco by way of Asia in . His trip home demonstrates his headstrong personality. Though Westerners in Shanghai had warned him that the watermelons were tainted and potentially fatal there, he ate well, enjoyed the fruit, and lived to write the story. Warned to avoid the Chinese districts, he visited those areas and found the danger illusory.
Although he did not use the letters of introduction by Walter White, William Seabrook, Arthur Spingarn, and James Weldon Johnson to meet upper-class Haitians, Hughes did meet Jacques Roumain, a cultured Haitian who appreciated indigenous folklore. Later, Hughes and Ingram, with approximately four dollars between them, arrived back in Miami. When they returned to Daytona Beach, Bethune cashed a thirty-dollar check for them and asked to share the ride back to New York. About then, Hughes received a grant for one thousand dollars from the Rosenwald Fund to tour black colleges in the South.