Langston Hughes

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James Mercer Langston Hughes, born February 1, 1901 and died May 22, 1967, was an American poet, social activist, novelist, playwright, and columnist from Joplin, Missouri. One of the earliest innovators of the then-new literary art form called jazz poetry, Hughes is best known as a leader of the Harlem Renaissance. He famously wrote about the period that “the Negro was in vogue”, which was later paraphrased as “when Harlem was in vogue.”

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 made his career. He graduated from high school in Cleveland, Ohio and soon began studies at Columbia University in New York City. Although he dropped out, he gained notice 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 short stories. He also published several non-fiction works. From 1942 to 1962, as the civil rights movement was gaining traction, he wrote an in-depth weekly column in a leading black newspaper, The Chicago Defender.

His Work

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”, which became Hughes’s signature poem, was collected in his first book of poetry The Weary Blues(1926). Hughes’s first and last published poems appeared in The Crisis; more of his poems were published in The Crisis than in any other journal. 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. Except for McKay, they worked together also to create the short-lived magazine Fire!! Devoted to Younger Negro Artists.

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

His poetry and fiction portrayed the lives of the working-class blacks in America, lives he portrayed as full of struggle, joy, laughter, and music. Permeating his work is pride in the African-American identity and its diverse culture. “My seeking has been to explain and illuminate the Negro condition in America and obliquely that of all human kind”, Hughes is quoted as saying. 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.

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.

—”My People” in The Crisis (October 1923)

Hughes stressed a racial consciousness and cultural nationalism devoid of self-hate. His thought united people of African descent and Africa across the globe to encourage pride in their diverse black folk culture and black aesthetic. Hughes was one of the few prominent black writers to champion racial consciousness as a source of inspiration for black artists. 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 South America, the works of Hughes helped to inspire the Négritude movement in France. A radical black self-examination was emphasized in the face of European colonialism. In addition to his example in social attitudes, Hughes had an important technical influence by his emphasis on folk and jazz rhythms as the basis of his poetry of racial pride.

In 1930, his first novel, Not Without Laughter, won the Harmon Gold Medal for literature. At a time before widespread arts grants, Hughes gained the support of private patrons and he was supported for two years prior to publishing this novel. The protagonist of the story is a boy named Sandy, whose family must deal with a variety of struggles due to their race and class, in addition to relating to one another.

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

In 1932, Hughes and Ellen Winter wrote a pageant to Caroline Decker in an attempt to celebrate her work with the striking coal miners of the Harlan County War, but it was never performed. It was judged to be a “long, artificial propaganda vehicle too complicated and too cumbersome to be performed.”^[61]

Maxim Lieber became his literary agent, 1933–45 and 1949–50. (Chambers and Lieber worked in the underground together around 1934–35.) The Ways of White Folks, Hughes’ first short story collection

Hughes’ first collection of short stories was published in 1934 with The Ways of White Folks. He finished the book at a Carmel, California cottage provided for a year by Noel Sullivan, another patron. These stories are a series of vignettes revealing the humorous and tragic interactions between whites and blacks. Overall, they are marked by a general pessimism about race relations, as well as a sardonic realism. He also became an advisory board member to the (then) newly formed San Francisco Workers’ School (later the California Labor School).

In 1935, Hughes received a Guggenheim Fellowship. The same year that Hughes established his theatre troupe in Los Angeles, he realized an ambition related to films by co-writing the screenplay for Way Down South. Hughes believed his failure to gain more work in the lucrative movie 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 offer theatre “from the black perspective.” Soon 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 column ran for twenty years. In 1943, Hughes began publishing stories about a character he called Jesse B. Semple, often referred to and spelled “Simple”, the everyday black man in Harlem who offered musings on topical issues of the day. Although Hughes seldom responded to requests to teach at colleges, in 1947 he taught at Atlanta University. In 1949, he spent three months at the University of Chicago Laboratory Schools as a visiting lecturer. Between 1942 and 1949, Hughes was a frequent writer and served on the editorial board of Common Ground, a literary magazine focused on cultural pluralism in the United States published by 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 as “a stimulating cross-section of the imaginative writing of the Negro” that demonstrates “talent to the point where one questions the necessity (other than for its social evidence) of the specialization of ‘Negro’ in the title”. Langston Hughes, 1943. Photo by Gordon Parks

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 black pride and its corresponding subject matter out of date. They considered him a racial chauvinist. He found some new writers, among them James Baldwin, lacking in such pride, over-intellectual in their work, and occasionally vulgar.

Hughes wanted young black writers to be objective about their race, but not to scorn it or flee it. 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’s work Panther and the Lash, posthumously published in 1967, was intended to show solidarity with these writers, but with more skill and devoid of the most virulent anger and racial chauvinism some showed toward whites. Hughes continued to have admirers among the larger younger generation of black writers. He often helped writers by offering advice and introducing them to other influential persons in the literature and publishing communities. This latter group, including Alice Walker, whom Hughes discovered, looked upon Hughes as a hero and an example to be emulated within their own work.

Resources

Poetry for Young People: Langston Hughes by David Roessel

WINNER OF THE 2007 CORETTA SCOTT KING ILLUSTRATOR HONOR AWARD! A fresh design and appealing new cover enliven this award-winning collection in the acclaimed Poetry for Young Peopleseries. Showcasing the extraordinary Langston Hughes, its edited by two leading poetry experts and features gallery-quality art by Benny Andrews that adds rich dimension to the words. Hughess magnificent, powerful words still resonate today, and the anthologized poems in this splendid volume include his best-loved works: “The Negro Speaks of Rivers”; “My People”; “Words Like Freedom”; “Harlem”; and “I, Too”–his sharp, pointed response to Walt Whitmans “I Hear America Singing.”

That Is My Dream!: A picture book of Langston Hughes’s “Dream Variation” by Langston Hughes

Langston Hughes’s inspiring and timeless message of pride, joy, and the dream of a better life is brilliantly and beautifully interpreted in Daniel Miyares’s gorgeous artwork.

Follow one African-American boy through the course of his day as the harsh reality of segregation and racial prejudice comes into vivid focus. But the boy dreams of a different life—one full of freedom, hope, and wild possibility, where he can fling his arms wide in the face of the sun. 

Coming Home: From the Life of Langston Hughes by Floyd Cooper

Young Langston Hughes was a dreamer. He dreamed about heroes like Booker T. Washington, who was black just like him. When he heard the clackety-clack of train wheels, he dreamed about the places it had been. But most of all, he dreamed about having a happy home. And so, one day, he began turning those dreams into beautiful prose. As he did, he discovered where his home really was—in the words and rhythms of his poetry that reached people all over the world. The beloved Langston Hughes comes to life in a book for poets, dreamers, children, and adults—anyone who has ever thought of what home means to them. 

The Collected Poems of Langston Hughes by Langston Hughes

Here, for the first time, are all the poems that Langston Hughes published during his lifetime, arranged in the general order in which he wrote them. Lyrical and pungent, passionate and polemical, the result is a treasure of a book, the essential collection of a poet whose words have entered our common language.

The collection spans five decades, and is comprised of 868 poems (nearly 300 of which never before appeared in book form) with annotations by Arnold Rampersad and David Roessel. Alongside such famous works as “The Negro Speaks of Rivers” and Montage of a Dream Deferred, The Collected Poems includes Hughes’s lesser-known verse for children; topical poems distributed through the Associated Negro Press; and poems such as “Goodbye Christ” that were once suppressed.