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American author and social activist (1901–1967)

Langston Hughes
1936 photo by Carl Van Vechten

1936 photo by Carl Van Vechten
Born James Mercer Langston Hughes
(1901-02-01)February one, 1901
Joplin, Missouri, U.S.
Died May 22, 1967(1967-05-22) (anile 66)
New York Metropolis, New York, U.Southward.
Occupation
  • Poet
  • columnist
  • dramatist
  • essayist
  • novelist
Education Columbia University
Lincoln University
Period 1926–1964
Relatives John Mercer Langston

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

Growing up in a series of Midwestern towns, Hughes became a prolific writer at an early age. He moved to New York City as a young man, where he fabricated his career. He graduated from high schoolhouse in Cleveland, Ohio, and soon began studies at Columbia Academy in New York City. Although he dropped out, he gained observe from New York publishers, first in The Crisis magazine, and then from book publishers and became known in the creative community in Harlem. He eventually graduated from Lincoln University. In addition to poetry, Hughes wrote plays, and brusk stories. He also published several non-fiction works. From 1942 to 1962, as the ceremonious rights move was gaining traction, he wrote an in-depth weekly cavalcade in a leading black paper, The Chicago Defender.

Biography

Beginnings and childhood

Like many African-Americans, Hughes had a circuitous ancestry. Both of Hughes' paternal great-grandmothers were enslaved Africans, and both of his paternal bully-grandfathers were white slave owners in Kentucky. According to Hughes, one of these men was Sam Clay, a Scottish-American whiskey distiller of Henry County, said to be a relative of statesman Henry Dirt. The other putative paternal antecedent whom Hughes named was Silas Cushenberry, a slave trader of Clark Canton.[3] [4] Hughes wrote that Cushenberry was a Jewish slave trader, simply a study of the Cushenberry family genealogy in the nineteenth century has plant no Jewish amalgamation.[5] Hughes's maternal grandmother Mary Patterson was of African-American, French, English 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 subsequently joined John Dark-brown's raid on Harpers Ferry in West Virginia in 1859, where he was fatally wounded.[4]

X years later, in 1869, the widow Mary Patterson Leary married again, into the aristocracy, politically agile Langston family unit. (See The Talented Tenth.) Her second hubby was Charles Henry Langston, of African-American, Euro-American and Native American beginnings.[vi] [vii] He and his younger blood brother John Mercer Langston worked for the abolitionist crusade and helped lead the Ohio Anti-Slavery Society in 1858.[8]

After their matrimony, Charles Langston moved with his family unit to Kansas, where he was active as an educator and activist for voting and rights for African Americans.[six] His and Mary'southward daughter Caroline (known as Carrie) became a schoolteacher and married James Nathaniel Hughes (1871–1934). They had two children; the second was Langston Hughes, by about sources built-in in 1901 in Joplin, Missouri[ix] [ten] (though Hughes himself claims in his autobiography to accept been born in 1902).[11]

Langston Hughes grew up in a series of Midwestern pocket-sized towns. His father left the family presently after the male child was born and after divorced Carrie. The senior Hughes traveled to Cuba and and so Mexico, seeking to escape the enduring racism in the Usa.[12]

Afterward the separation, Hughes's mother traveled, seeking employment. Langston was raised mainly in Lawrence, Kansas, past 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 past his grandmother with a duty to aid his race, Hughes identified with neglected and downtrodden black people all his life, and glorified them in his work.[15] He lived most of his childhood in Lawrence. In his 1940 autobiography The Big Sea, he wrote: "I was unhappy for a long time, and very lonesome, living with my grandmother. Then it was that books began to happen to me, and I began to believe in naught but books and the wonderful world in books—where if people suffered, they suffered in beautiful linguistic communication, not in monosyllables, equally we did in Kansas."[16]

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

His writing experiments began when he was young. While in grammer school in Lincoln, Hughes was elected class poet. He stated that in hindsight he thought it was because of the stereotype most African Americans having rhythm.[xix]

I was a victim of a stereotype. There were only two of us Negro kids in the whole course and our English language teacher was e'er stressing the importance of rhythm in verse. Well, everyone knows, except the states, that all Negroes take rhythm, so they elected me as class poet.[xx]

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

Relationship with father

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

While at Columbia in 1921, Hughes managed to maintain a B+ class average. He published poesy in the Columbia Daily Spectator nether a pen proper name.[25] He left in 1922 because of racial prejudice among students and teachers. He was denied a room on campus considering he was black.[26] He was attracted more to the African-American people and neighborhood of Harlem than to his studies, but he connected writing poetry.[27] Harlem was a middle of vibrant cultural life.

Adulthood

Hughes worked at various odd jobs, earlier serving a cursory tenure every bit a crewman aboard the S.S. Malone in 1923, spending six months traveling to West Africa and Europe.[28] In Europe, Hughes left the S.Due south. Malone for a temporary stay in Paris.[29] There he met and had a romance with Anne Marie Coussey, a British-educated African from a well-to-do Gilt Coast family; they after corresponded but she eventually married Hugh Wooding, a promising Trinidadian lawyer.[30] [31] Wooding later served as chancellor of the University of the West Indies.[32]

During his time in England in the early 1920s, Hughes became part of the blackness expatriate community. In November 1924, he returned to the U.Due south. to live with his mother in Washington, D.C. After assorted odd jobs, he gained white-neckband employment in 1925 every bit a personal assistant to historian Carter Yard. Woodson at the Clan for the Study of African American Life and History. Every bit the work demands limited his time for writing, Hughes quit the position to piece of work equally a busboy at the Wardman Park Hotel. Hughes'due south earlier piece of work had been published in magazines and was about to be nerveless into his first book of poesy when he encountered poet Vachel Lindsay, with whom he shared some poems. Impressed, Lindsay publicized his discovery of a new black poet.

Hughes at Lincoln University in 1928

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

Subsequently Hughes earned a B.A. caste from Lincoln University in 1929, he returned to New York. Except for travels to the Soviet Union and parts of the Caribbean, he lived in Harlem equally his primary home 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's ashes are interred under a cosmogram medallion in the foyer of the Arthur Schomburg Eye in Harlem

Sexuality

Some academics and biographers believe that Hughes was homosexual and included homosexual codes in many of his poems, equally did Walt Whitman, who, Hughes said, influenced his verse. Hughes's story "Blessed Assurance" deals with a father's acrimony over his son'southward effeminacy and "queerness".[37] : 192 [37] : 161 [38] [39] [40] [41] [42] [43] The biographer Aldrich argues that, in society to retain the respect and support of blackness churches and organizations and avoid exacerbating his precarious fiscal 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] Only, in his biography Rampersad denies Hughes'south homosexuality,[46] and concludes that Hughes was probably asexual and passive in his sexual relationships. Hughes did, yet, show a respect and love for his boyfriend blackness man (and woman). Other scholars argue for his homosexuality: his love of black men is evidenced in a number of reported unpublished poems to an alleged black male lover.[47]

Death

On May 22, 1967, Hughes died in the Stuyvesant Polyclinic in New York Metropolis at the age of 66 from complications later abdominal surgery related to prostate cancer. His ashes are interred beneath a floor medallion in the middle of the foyer in the Schomburg Centre for Research in Black Culture in Harlem.[48] It is the archway to an auditorium named for him.[49] The design on the floor is an African cosmogram entitled Rivers. The title is taken from his poem "The Negro Speaks of Rivers". Inside the middle 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 immature.
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 downwardly to New Orleans, and I've seen its muddy
bust turn all gold 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'due south signature poem and was nerveless in his first book of poesy, The Weary Dejection (1926).[51] Hughes'south offset and last published poems appeared in The Crunch; more of his poems were published in The Crisis than in any other journal.[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 also to create the short-lived mag Fire!! Devoted to Younger Negro Artists.

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

The younger Negro artists who create at present intend to limited our private nighttime-skinned selves without fear or shame. If white people are pleased we are glad. If they are non, it doesn't matter. We know we are beautiful. And ugly, also. 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 nosotros know how, and nosotros stand on acme of the mount free within ourselves.[55]

His poetry and fiction portrayed the lives of the working-class blacks in America, lives he portrayed equally total of struggle, joy, laughter, and music. Permeating his work is pride in the African-American identity and its diverse civilization. "My seeking has been to explain and illuminate the Negro condition in America and obliquely that of all homo kind",[56] Hughes is quoted as saying. He confronted racial stereotypes, protested social weather condition, and expanded African America'south image of itself; a "people's poet" who sought to reeducate both audience and artist past lifting the theory of the black aesthetic into reality.[57]

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

The stars are beautiful,
So the optics of my people

Beautiful, also, is the lord's day.
Beautiful, besides, are the souls of my people.

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

Hughes stressed a racial consciousness and cultural nationalism devoid of cocky-detest. His thought united people of African descent and Africa across the earth to encourage pride in their diverse black folk civilisation and black artful. Hughes was one of the few prominent black writers to champion racial consciousness as a source of inspiration for black artists.[59] His African-American race consciousness and cultural nationalism would influence many foreign black 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 S America, the works of Hughes helped to inspire the Négritude motion in French republic. A radical black self-exam was emphasized in the face of European colonialism.[60] [61] In improver to his example in social attitudes, Hughes had an of import technical influence by his accent on folk and jazz rhythms as the basis of his poetry of racial pride.[62]

In 1930, his commencement novel, Not 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 male child named Sandy, whose family must deal with a variety of struggles due to their race and course, in addition to relating to 1 another.

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

In 1931 Prentiss Taylor and Langston Hughes created the Golden 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 celebrate her work with the hit coal miners of the Harlan County War, but it was never performed. It was judged to be a "long, artificial propaganda vehicle as well complicated and also cumbersome to be performed."[66]

Maxim Lieber became his literary agent, 1933–45 and 1949–50. (Chambers and Lieber worked in the underground together effectually 1934–35.)[67]

Hughes' first drove of brusque stories was published in 1934 with The Means of White Folks. He finished the book at a Carmel, California cottage provided for a year by Noel Sullivan, another patron.[68] [69] These stories are a series of vignettes revealing the humorous and tragic interactions between whites and blacks. Overall, they are marked past a general pessimism near race relations, equally well as a sardonic realism.[70] He besides became an advisory board fellow member to the (then) newly formed San Francisco Workers' School (later the California Labor School).

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

In Chicago, Hughes founded The Skyloft Players in 1941, which sought to nurture black playwrights and offering theatre "from the blackness perspective."[72] Before long 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 voice to black people. The cavalcade ran for twenty years. In 1943, Hughes began publishing stories about a character he called Jesse B. Semple, ofttimes referred to and spelled "Simple", the everyday black human in Harlem who offered musings on topical issues of the day.[72] Although Hughes seldom responded to requests to teach at colleges, in 1947 he taught at Atlanta University. In 1949, he spent iii months at the University of Chicago Laboratory Schools equally a visiting lecturer. Between 1942 and 1949, Hughes was a frequent writer and served on the editorial lath of Mutual Basis, a literary magazine focused on cultural pluralism in the Us published past the Common Council for American Unity (CCAU).

He wrote novels, short 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 as I Wander, as well as translating several works of literature into English. With Bontemps, Hughes co-edited the 1949 anthology The Poetry of the Negro, described by The New York Times every bit "a stimulating cross-section of the imaginative writing of the Negro" that demonstrates "talent to the point where ane questions the necessity (other than for its social show) of the specialization of 'Negro' in the title".[73]

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

Hughes wanted young blackness writers to be objective most their race, just not to scorn it or flee it.[59] He understood the main points of the Black Power motion of the 1960s, just believed that some of the younger black writers who supported it were too angry in their work. Hughes'due south work Panther and the Lash, posthumously published in 1967, was intended to prove 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 connected to accept admirers among the larger younger generation of black writers. He oft helped writers by offer advice and introducing them to other influential persons in the literature and publishing communities. This latter grouping, including Alice Walker, whom Hughes discovered, looked upon Hughes every bit a hero and an case to exist emulated inside their own work. One of these young black writers (Loften Mitchell) observed of Hughes:

Langston set up a tone, a standard of brotherhood and friendship and cooperation, for all of usa to follow. You never got from him, 'I am the Negro author,' merely merely 'I am a Negro writer.' He never stopped thinking about the residual of us.[lxxx]

Political views

Hughes was drawn to Communism equally an alternative 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 example is the poem "A New Vocal".[82] [ original inquiry? ]

In 1932, Hughes became office of a grouping of blackness people who went to the Soviet Wedlock to make a picture depicting the plight of African Americans in the United states. The moving picture was never made, merely Hughes was given the opportunity to travel extensively through the Soviet Marriage and to the Soviet-controlled regions in Key Asia, the latter parts normally closed to Westerners. While there, he met Robert Robinson, an African American living in Moscow and unable to exit. In Turkmenistan, Hughes met and befriended the Hungarian author Arthur Koestler, then a Communist who was given permission to travel there.[83]

As later noted in Koestler'due south autobiography, Hughes, together with some 40 other Black Americans, had originally been invited to the Soviet Wedlock to produce a Soviet film on "Negro Life",[84] but the Soviets dropped the pic thought because of their 1933 success in getting the U.s. to recognize the Soviet Union 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 not informed of the reasons for the cancelling, only he and Koestler worked it out for themselves.[85]

Hughes also managed to travel to Prc,[86] Japan,[87] and Korea[88] earlier returning to u.s.a..

Hughes's verse was frequently published in the CPUSA newspaper and he was involved in initiatives supported by Communist organizations, such every bit the drive to complimentary the Scottsboro Boys. Partly every bit a show of back up for the Republican faction during the Spanish Civil State of war,[89] in 1937 Hughes traveled to Spain[90] as 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 Espana a Spanish Republican cultural mag, El Mono Azul, featured Spanish translations of his poems.[89] In November 1937 Hughes departed Spain for which El Mono Azul published a brief good day message entitled "el gran poeta de raza negra" ("the cracking poet of the black race").[89]

Hughes was likewise 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 go on the U.S. from participating in Globe War Ii.[91] [ non-primary source needed ]

Hughes initially did not favor blackness American involvement in the war considering of the persistence of discriminatory U.South. Jim Crow laws and racial segregation and disfranchisement throughout the Due south. He came to support the state of war effort and black American participation after deciding that war service would aid 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 "critical of belief in God. They provided a foundation for nontheistic participation in social struggle." Pinn has establish 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 defendant of being a Communist by many on the political right, but he always denied information technology. When asked why he never joined the Communist Party, he wrote, "it was based on strict discipline and the credence of directives that I, equally a writer, did not wish to accept." In 1953, he was chosen before the Senate Permanent Subcommittee on Investigations led by Senator Joseph McCarthy. He stated, "I never read the theoretical books of socialism or communism or the Democratic or Republican parties for that matter, then my involvement in whatever may be considered political has been non-theoretical, non-sectarian, and largely emotional and born out of my own need to detect some way of thinking nearly this whole problem of myself."[94] Following his testimony, Hughes distanced himself from Communism.[95] He was rebuked by some on the Radical Left who had previously supported him. He moved away from overtly political poems and towards more lyric subjects. When selecting his poetry 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 secret interrogation that took place days before the televised hearing.[96]

Representation in other media

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

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

Hughes' life has been portrayed in motion-picture show and stage productions since the late 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. Film portrayals of Hughes include Gary LeRoi Gray's role equally a teenage Hughes in the brusk subject field film Salvation (2003) (based on a portion of his autobiography The Large Sea), and Daniel Sunjata every bit Hughes in the Brother to Brother (2004). Hughes' Dream Harlem, a documentary past Jamal Joseph, examines Hughes' works and environment.

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

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

Hughes' Ask Your Mama: 12 Moods for Jazz, written in 1960, was performed for the beginning time in March 2009 with specially composed music by Laura Karpman at Carnegie Hall, at the Laurels festival curated past Jessye Norman in celebration of the African-American cultural legacy.[100] Ask Your Mama is the centerpiece of "The Langston Hughes Project",[101] a multimedia concert performance directed past Ron McCurdy, professor of music in the Thornton School of Music at the Academy of Southern California.[102] The European premiere of The Langston Hughes Project, featuring Water ice-T and McCurdy, took identify at the Barbican Eye, 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 between Langston Hughes and Zora Neale Hurston, and tells the story of how their friendship fell apart during their collaboration on the play Mule Bone.[105]

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

Literary athenaeum

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 letters, 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, besides as at the James Weldon Johnson Collection within the Yale University also hold archives of Hughes' piece of work.[107] The Moorland-Spingarn Research Centre at Howard University 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 Poetry Prize.[109]
  • 1935: Hughes was awarded a Guggenheim Fellowship, which immune him to travel to Espana and Russia.
  • 1941: Hughes was awarded a fellowship from the Rosenwald Fund.
  • 1943: Lincoln Academy awarded Hughes an honorary Litt.D.
  • 1954: Hughes won the Anisfield-Wolf Book Award.
  • 1960: the NAACP awarded Hughes the Spingarn Medal for distinguished achievements by an African American.
  • 1961: National Institute of Arts and Letters.[110]
  • 1963: Howard Academy awarded Hughes an honorary doctorate.
  • 1964: Western Reserve University awarded Hughes an honorary Litt.D.

Memorial

  • 1973: the starting time Langston Hughes Medal was awarded past the Metropolis Higher of New York.
  • 1979: Langston Hughes Heart School was created in Reston, Virginia.
  • 1981: New York City Landmark status was given to the Harlem home of Langston Hughes at 20 Due east 127th Street ( 40°48′26.32″N 73°56′25.54″W  /  40.8073111°N 73.9404278°W  / 40.8073111; -73.9404278 ) by the New York City Landmarks Preservation Committee 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 Postal service added the image of Langston Hughes to its Black Heritage serial of postage 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 Putter 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: Academy of Missouri Press, 2001.
  • The Selected Letters of Langston Hughes, edited by Arnold Rampersad and David Roessel. Knopf, 2014.
  • "My Adventures every bit a Social Poet" (essay), Phylon, third Quarter 1947.
  • "The Negro Artist and The Racial Mountain" (article), The Nation, June 23, 1926.

Come across also

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

Notes

  1. ^ Schuessler, Jennifer. "Langston Hughes Just Got a Year Older". The New York Times . Retrieved August 9, 2018.
  2. ^ Francis, Ted (2002). Realism in the Novels of the Harlem Renaissance.
  3. ^ Langston Hughes (1940). The Big Ocean. p. 36. ISBN0-8262-1410-X.
  4. ^ a b Religion Berry, Langston Hughes, Earlier and Beyond Harlem, Westport, CT: Lawrence Hill & Co., 1983; reprint, Citadel Press, 1992, p. 1.
  5. ^ "The frequently-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, Winter 1999. Retrieved Dec 15, 2008.
  7. ^ Laurie F. Leach, Langston Hughes: A Biography, Greenwood Publishing Group, 2004, pp. 2–four. ISBN 9780313324970,
  8. ^ "Ohio Anti-Slavery Society – 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 Baronial Meier (eds), Black Leaders of the Nineteenth Century, University of Illinois Press, 1991, pp. 106–111.
  11. ^ Langston Hughes (1940). The Big Ocean. p. 13. ISBN0-8262-1410-X.
  12. ^ W, Encyclopedia of the Harlem Renaissance, 2003, p. 160.
  13. ^ Hughes recalled his maternal grandmother'south stories: "Through my grandmother's stories life ever moved, moved heroically toward an end. Nobody ever cried in my grandmother's stories. They worked, schemed, or fought. But 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. ane, 1986, p. 43.
  15. ^ Brooks, Gwendolyn (October 12, 1986), "The Darker Brother", The New York Times.
  16. ^ Arnold Rampersad, The Life of Langston Hughes: Book 2: 1914–1967, I Dream a World, Oxford University Press, p. 11. ISBN 9780195146431
  17. ^ Central High School (Cleveland, Ohio); Wirth, Thomas H.; Hughes, Langston; Thomas H. Wirth Drove (Emory University. MARBL) (February 1, 2019). "The Primal High Schoolhouse monthly". Central Loftier. Retrieved February 1, 2019 – via Hathi Trust.
  18. ^ "Ronnick: Within CAMWS Territory: Helen M. Chesnutt (1880–1969), Blackness Latinist". Camws.org . Retrieved February i, 2019.
  19. ^ Langston Hughes Reads His Verse, with commentary, audiotape from Caedmon Sound
  20. ^ "Langston Hughes, Writer, 65, Expressionless". The New York Times. May 23, 1967.
  21. ^ "Langston Hughes | Scholastic". world wide web.scholastic.com . Retrieved June 20, 2017.
  22. ^ "Langston Hughes biography: African-American history: Crossing Boundaries: Kansas Humanities Quango". www.kansasheritage.org . Retrieved June twenty, 2017.
  23. ^ Langston Hughes (1940). The Large Body of water, pp. 54–56.
  24. ^ Brooks, Gwendolyn (October 12, 1986). "Review of The Darker Blood brother". The New York Times. New York City. And the father, Hughes said, 'hated Negroes. I remember 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-v.
  26. ^ "Write Columbia'due south History". c250.columbia.edu . Retrieved February 11, 2022.
  27. ^ Rampersad, vol. i, 1986, p. 56.
  28. ^ "Poem" or "To F.S." offset appeared in The Crisis in May 1925, and was reprinted in The Weary Blues and The Dream Keeper. Hughes never publicly identified "F.S.", simply it is conjectured he was Ferdinand Smith, a merchant seaman whom the poet first met in New York in the early on 1920s. Nine years older than Hughes, Smith influenced the poet to become to sea. Born in Jamaica in 1893, Smith spent nigh of his life as 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 conflicting condition. Hughes corresponded with Smith up until the latter's death in 1961. Drupe, p. 347.
  29. ^ "Langston Hughes". Biography.com . Retrieved June xx, 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 Schoolhouse". Hwls.edu.tt.
  33. ^ In 1926, Amy Spingarn, wife of Joel Elias Spingarn, who was president of the National Association for the Advancement of Colored People (NAACP), served as patron for Hughes and provided the funds ($300) for him to nourish Lincoln University. Rampersad, vol. one, 1986, pp. 122–23.
  34. ^ In November 1927, Charlotte Osgood Mason ("Godmother" as she liked to be called), became Hughes's major patron. Rampersad. vol. one, 1986, p. 156.
  35. ^ "Mule Bone: Langston Hughes and Zora Neale Hurston's Dream Deferred of an African-American Theatre of the Black Word.", African American Review, March 22, 2001. Retrieved March seven, 2008. "In February 1930, Hurston headed northward, settling in Westfield, New Jersey. Godmother Mason (Mrs. Rufus Osgood Stonemason, their white protector) had selected Westfield, safely removed from the distractions of New York City, equally a suitable place for both Hurston and Hughes to work."
  36. ^ "J. L. Hughes Will Depart Afterwards Questioning as 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 birthday 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", "Desire", "Cafe: 3 A.M.", "Waterfront Streets", "Young Sailor", "Trumpet Player", "Tell Me", "F.South." 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.M." was against gay bashing by law, and "Verse form for F.South." was nigh 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 always eluding wedlock. 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, Feb 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-iii. Though in that location 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.
  44. ^ Aldrich (2001), p. 200.
  45. ^ Referring to men of African descent, Rampersad writes: "... Hughes found some young men, peculiarly nighttime-skinned men, appealing and sexually fascinating. (Both in his various artistic representations, in fiction particularly, and in his life, he appears to have found young white men of little sexual appeal.) Virile young men of very nighttime complexion fascinated him." Rampersad, vol. two, 1988, p. 336.
  46. ^ "His fatalism was well placed. Nether such pressure, Hughes's sexual desire, such as it was, became not so much sublimated as vaporized. He governed his sexual desires to an extent rare in a normal adult male; whether his ambition was normal and adult is impossible to say. He understood, however, that Cullen and Locke offered him nothing he wanted, or nothing that promised much for him or his verse. If certain of his responses to Locke seemed like teasing (a habit Hughes would never quite lose with women, or, perhaps, men) they were non therefore necessarily signs of sexual desire; more likely, they showed the lack of it. Nor should one infer quickly that Hughes was held back by a greater fright of public exposure as a homosexual than his friends had; of the 3 men, he was the only one ready, indeed eager, to be perceived as disreputable." "Rampersad, The Life of Langston Hughes, Vol. I, p. 69.
  47. ^ Sandra W states: Hughes'south "apparent love for black men as evidenced through a series of unpublished poems he wrote to a black male person lover named 'Beauty'." West, 2003, p. 162.
  48. ^ Wilson, Scott (2016). Resting Places: The Burial Sites of More Than xiv,000 Famous Persons. Jefferson, Northward Carolina: McFarland & Company. p. 359. ISBN978-0786479924.
  49. ^ Whitaker, Charles, "Langston Hughes: 100th birthday celebration of the poet of Blackness America", Ebony, April 2002.
  50. ^ "The Negro Speaks of Rivers" Archived July 26, 2010, at the Wayback Machine. Audio file, Hughes reading. Poem information from Poets.org.
  51. ^ "The Negro Speaks of Rivers": first 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 dedicated to Westward. Eastward. B. Du Bois in The Weary Blues, merely 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 Collected 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 class and color differences the 'best people' drew betwixt themselves and Afro-Americans of darker complexion, of smaller ways and lesser formal instruction." — Drupe, 1983 & 1992, p. threescore.
  55. ^ "The Negro Artist and the Racial Mountain" (June 1926), The Nation.
  56. ^ Rampersad, 1988, vol. 2, p. 418.
  57. ^ Westward, 2003, p. 162.
  58. ^ "My People" Offset published as "Poem" in The Crisis (Oct 1923), p. 162, and The Weary Dejection (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 civilization wrote: "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.
  62. ^ Rampersad. vol. ane, 1986, p. 343.
  63. ^ Charlotte Mason generously supported Hughes for two years. She supervised his writing his first novel, Not Without Laughter (1930). Her patronage of Hughes ended about the time the novel appeared. Rampersad. "Langston Hughes", in The Curtailed Oxford Companion to African American Literature, 2001, p. 207.
  64. ^ a b Tanenhaus, Sam (1997). Whittaker Chambers: A Biography. Random House. ISBN9780307789266.
  65. ^ millersvillearchives Golden Stair Printing
  66. ^ Anne Loftis (1998), Witnesses to the Struggle, p. 46, University of Nevada Printing, ISBN 978-0-87417-305-5.
  67. ^ Chambers, Whittaker (1952). Witness. New York: Random House. pp. 44–45 (includes description of Lieber), 203, 266fn, 355, 365, 366, 388, 376–377, 377fn, 394, 397, 401, 408, 410. LCCN 52005149.
  68. ^ Noel Sullivan, later on working out an agreement with Hughes, became a patron for him in 1933. — Rampersad, vol. 1, 1986, p. 277.
  69. ^ Sullivan provided Hughes with the opportunity to consummate The Ways of White Folks (1934) in Carmel, California. Hughes stayed a yr 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 histrion and musician. — Rampersad. vol. 1, 1986, pp. 366–69.
  72. ^ a b "Langston Hughes". Chicago Literary Hall of Fame. Chicago Writers Clan. Archived from the original on September 8, 2013. Retrieved June 11, 2013.
  73. ^ Creekmore, Hubert (January 30, 1949). "Ii Rewarding Volumes of Verse; ONE-Way TICKET. By Langston Hughes. Illustrated past Jacob Lawrence. 136 pp. New York: Alfred A. Knopf. $two.75. THE POETRY OF THE NEGRO: 1746–1949. Edited by Arna Bontemps and Langston Hughes. 429 pp. New York: Doubleday & Co. $5". The New York Times. p. xix.
  74. ^ Rampersad, 1988, vol. ii, p. 207.
  75. ^ Langston's misgivings well-nigh the new black writing were because of its emphasis on black misdeed and frequent use of profanity. — Rampersad, vol. 2, p. 207.
  76. ^ Hughes said: "There are millions of blacks who never murder anyone, or rape or become raped or want to rape, who never lust after white bodies, or blench before white stupidity, or Uncle Tom, or go crazy with race, or off-residual with frustration." — Rampersad, vol. two, p. 119.
  77. ^ Langston eagerly looked to the day when the gifted immature writers of his race would become beyond the clamor of ceremonious rights and integration and have a genuine pride in beingness black ... he found this latter quality starkly absent in even the best of them. — Rampersad, vol. 2, p. 310.
  78. ^ "As for whites in full general, Hughes did not similar them ... He felt he had been exploited and humiliated by them." — Rampersad, 1988, vol. ii, p. 338.
  79. ^ Hughes's communication on how to deal with racists was, "'Always be polite to them ... be over-polite. Kill them with kindness.' Just, 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.
  80. ^ Rampersad, 1988, vol. two, 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. seven (2): 133–147. doi:ten.1080/14794010902868298. S2CID 145749786.
  82. ^ The end of "A New Vocal" was substantially changed when information technology was included in A New Vocal (New York: International Workers Order, 1938).
  83. ^ Scammell, Michael. "Langston Hughes in the USSR". New York Review of Books. ISSN 0028-7504. Retrieved February 20, 2021.
  84. ^ Tanenhaus, Sam (1997). Whittaker Chambers: A Biography. Random House. ISBN9780307789266. Malcolm Cowley, Floyd Dell, and Chambers were also involved in this intended film.
  85. ^ Arthur Koestler, "The Invisible Writing", Ch. 10.
  86. ^ Lai-Henderson, Selina (2020). "Color effectually the Earth: Langston Hughes and Black Internationalism in China". MELUS. 45 (2): 88–107. doi:ten.1093/melus/mlaa016.
  87. ^ Kiuchi, Toru (2008). "The Critical Response in Nihon 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.two.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 (2): 144–145. doi:10.5325/langhughrevi.27.2.0137.
  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 Printing, p. 9.
  92. ^ Rampersad, Arnold (2002). The Life of Langston Hughes: Volume II: 1941–1967, I Dream a World. Oxford University Press. p. 85. ISBN978-0-19-988227-4.
  93. ^ Winston, Kimberly (February 22, 2012). "Blacks say atheists were unseen ceremonious rights heroes". The Washington Post. Religion News Service.
  94. ^ Executive Sessions of the Senate Permanent Subcommittee on Investigations of the Committee on Regime Operations, Volume 2, Volume 107, Issue 84 of Southward. prt, Beth Bolling, ISBN 9780160513626. Permanent Subcommittee on Investigations, Publisher: U.S. 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:x.1037/e578982009-004.
  97. ^ Cohen, Aaron I. (1987). International Encyclopedia of Women Composers. Books & Music (United states). ISBN978-0-9617485-2-4.
  98. ^ Donald V. Calamia, "Review: 'Hannibal of the Alps'". Archived Nov 22, 2015, at the Wayback Car. Pride Source, from Between The Lines, June ix, 2005.
  99. ^ "We are African Americans for Humanism". African Americans for Humanism . Retrieved February two, 2015.
  100. ^ Jeff Lunden, "'Ask Your Mama': A Music And Poetry Premiere", NPR.
  101. ^ "THE LANGSTON HUGHES Projection". 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 Machine, Artform press releases.
  104. ^ "The Langston Hughes Projection, Thursday 24 September 2015", Serious. Commodity past Margaret Busby, first 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 Post.
  107. ^ "Langston Hughes Memorial Library". Lincoln University. Retrieved November xiii, 2013.
  108. ^ Nunes, Zita Cristina (November 20, 2018). "Cataloging Black Knowledge: How Dorothy Porter Assembled and Organized a Premier Africana Inquiry Collection". Perspectives on History . Retrieved November 24, 2018.
  109. ^ "Langston Hughes, Poet". The Los Angeles Times. Los Angeles. September 26, 1926. p. 66. Retrieved January seven, 2021. The Witter Bynner undergraduate verse prize for 1926 was awarded to Langston Hughes, Lincoln Academy, whom Carl Van Vechten ranks with amid the best of the younger American poets.
  110. ^ "Langston Hughes — Poet". h2g2: The Hitchhiker'south Guide to the Galaxy. Retrieved July 24, 2010.
  111. ^ Jen Carlson (June 18, 2007)."Langston Hughes Lives On In Harlem", Archived February two, 2008, at the Wayback Car, Gothamist. Retrieved November 22, 2015.
  112. ^ "National Register Information System". National Register of Historic Places. National Park Service. March 13, 2009.
  113. ^ Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York: Prometheus Books. ISBN ane-57392-963-eight.
  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's 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, Faith (1983.1992,). "Langston Hughes: Before and Beyond Harlem". In On the Cross of the South, Citadel Press, p. 150; & Nothing 60 minutes, pp. 185–186. ISBN 0-517-14769-6
  • Chenrow, Fred; Chenrow, Carol (1973). Reading Exercises in Black History, Book 1, Elizabethtown, PA: The Continental Press, Inc. p. 36. ISBN 08454-2107-vii.
  • Hughes, Langston (2001). "Fight for Liberty and Other Writings on Ceremonious Rights" (Collected Works of Langston Hughes, Vol. x). In Christopher C. DeSantis (ed.). Introduction, p. 9. University of Missouri Press. ISBN 0-8262-1371-5
  • Hutson, Jean Blackwell; & Jill Nelson (February 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 Issues, Oxford University Press, p. 136. ISBN 0-19-514434-1
  • Nero, Charles I. (1997). "Re/Membering Langston: Homphobic Textuality and Arnold Rampersad's Life of Langston Hughes". In Martin Duberman (ed.), Queer Representations: Reading Lives, Reading Cultures, New York University Printing, p. 192. ISBN 0-8147-1884-i
  • Nero, Charles I. (1999). "Gratuitous Oral communication or Hate Spoken communication: Pornography and its Means of Production". In Larry P. Gross & James D. Woods (eds), Columbia Reader on Lesbians and Gay Men in Media, Lodge, and Politics, Columbia University Press, p. 500. ISBN 0-231-10447-ii
  • 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 Study of the Short Fiction, New York: Twayne. ISBN 0-8057-8343-one
  • Ostrom, Hans (2002). A Langston Hughes Encyclopedia, Westport: Greenwood Printing. ISBN 0-313-30392-iv
  • 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, Volume 2: I Dream A Earth. Oxford University Press. ISBN 0-xix-514643-3
  • Schwarz, Christa A. B. (2003). "Langston Hughes: A truthful 'people'due south poet'". In Gay Voices of the Harlem Renaissance, Indiana University Printing, pp. 68–88. ISBN 0-253-21607-nine
  • West, Sandra Fifty. (2003). "Langston Hughes". In Aberjhani & Sandra West (eds), Encyclopedia of the Harlem Renaissance, Checkmark Press, p. 162. ISBN 0-8160-4540-two

External links

  • Langston Hughes on Poets.org With poems, related essays, and links.
  • Profile and poems of Langston Hughes, including audio files and scholarly essays, at the Poetry Foundation.
  • Cary Nelson, "Langston Hughes (1902–1967)". Contour at Modern American Poetry.
  • 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 Volume and Manuscript Library.
  • Langston Hughes Papers at the Wisconsin Center for Film and Theater Research
  • Resources at Library of Congress including audio.
  • Representative Verse Online, University of Toronto
  • Works by Langston Hughes at Project Gutenberg
  • Works by Langston Hughes at Faded Page (Canada)
  • Works past or about 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 collection from the Raymond Danowski Poetry Library, 1932–1969
  • Thyra Edwards' drove of Langston Hughes material, 1935–1941

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

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