One Friday Morning free essay sample

Langston Hughes From Wikipedia, the free encyclopedia For other uses, see  Langston Hughes (disambiguation). James Mercer Langston Hughes  (February 1, 1902  Ã¢â‚¬â€œ May 22, 1967) was an American poet, social activist, novelist, playwright, and columnist. He was one of the earliest innovators of the then-new literary art form  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. 1] Contents  Ã‚  [hide]   * 1  Biography * 1. 1  Ancestry and childhood * 1. 2  Relationship with father * 1. 3  Adulthood * 1. 4  Death * 2  Career * 3  Political views * 4  Representation in other media * 5  Literary archives * 6  Honors and awards * 7  Bibliography * 7. 1  Poetry collections * 7. 2  Novels and short story collections * 7. 3  Non-fiction books * 7. 4  Major plays * 7. 5  Books for children * 8  Further r eading * 9  See also * 10  Notes * 11 References * 12  External links * 12. 1  Profiles * 12.   Archive and works| - Biography Ancestry and childhood Both of Hughes paternal great-grandmothers were African-American and both of his paternal great-grandfathers were white slave owners of Kentucky. One of these men was Sam Clay, a Scottish-American whiskey distiller of Henry County and supposedly a relative of  Henry Clay, and the other was Silas Cushenberry, a Jewish-American slave trader of Clark County. [2][3]  Hughess maternal grandmother Mary Patterson was of African-American, French, English and Native American descent. One of the first women to attend  Oberlin College, she first married  Lewis Sheridan Leary, also of mixed race. Lewis Sheridan Leary  subsequently joined  John Browns Raid  on  Harpers Ferry  in 1859 and died from his wounds. [3] In 1869 the widow Mary Patterson Leary married again, into the elite, politically active Langston family. Her second husband was  Charles Henry Langston, of African-American, Native American, and Euro-American ancestry. [4][5]  He and his younger brother  John Mercer Langston  worked for the  abolitionist  cause and helped lead the Ohio Anti-Slavery Society  [6]  in 1858. Charles Langston later moved to Kansas, where he was active as an educator and activist for voting and rights for African Americans. [4]  Charles and Marys daughter Caroline was the mother of Langston Hughes. [7] Hughes in 1902 Langston Hughes was born in  Joplin, Missouri, the second child of school teacher Carrie (Caroline) Mercer Langston and James Nathaniel Hughes (1871–1934). [8]  Langston Hughes grew up in a series of Midwestern small towns. Hughess father left his family and later divorced Carrie, going to  Cuba, and then  Mexico, seeking to escape the enduring racism in the United States. 9] After the separation of his parents, while his mother traveled seeking employment, young Langston Hughes was raised mainly by his maternal grandmother, Mary Patterson Langston, in  Lawrence, Kansas. Through the black American oral tradition and drawing from the activist experiences of her generation, Mary Langston instilled in her grandson a lasting sense of racial prid e. [10][11][12]  He spent most of his childhood in Lawrence, Kansas. After the death of his grandmother, he went to live with family friends, James and Mary Reed, for two years. In  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 nothing but books and the wonderful world in books — where if people suffered, they suffered in beautiful language, not in monosyllables, as we did in Kansas. [13] Later, Hughes lived again with his mother Carrie in  Lincoln,  Illinois. She had remarried when he was still an adolescent, and eventually they lived inCleveland,  Ohio, where he attended high school. While in  grammar school  in Lincoln, Hughes was elected class poet. Hughes stated that in retrospect he thought it was because of the stereotype that African Americans have rhythm. [14] 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. [15] During high school in Cleveland, 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 in high school. It was during this time that he discovered his love of books. [citation needed] Relationship with father Hughes had a very poor relationship with his father. He lived with his father in Mexico for a brief period in 1919. Upon graduating from high school in June 1920, Hughes returned to Mexico to live with his father, hoping to convince him to support Langstons plan to attend  Columbia University. Hughes later said that, prior to arriving in Mexico: I had been thinking about my father and his strange dislike of his own people. I didnt understand it, because I was a Negro, and I liked Negroes very much. [16][17]  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 but did not support his desire to be a writer. Eventually, Hughes and his father came to a compromise: Hughes would study engineering, so long as he could attend Columbia. His tuition provided; Hughes left his father after more than a year. While at Columbia in 1921, Hughes managed to maintain a B+ grade average. He left in 1922 because of racial prejudice, and his interests revolved more around the neighborhood of  Harlem  than his studies, though he continued writing poetry. [18] Adulthood Langston Hughes 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. [19]  In Europe, Hughes left the S. S. Malone  for a temporary stay in  Paris. During his time in England in the early 1920s, Hughes became 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 worked at various odd jobs before gaining a white-collar job in 1925 as a personal assistant to the historianCarter G. Woodson  at the  Association for the Study of African American Life and History. As the work demands limited his time for writing, Hughes quit the position to work as a busboy at the Wardman Park Hotel. There he encountered the poet  Vachel Lindsay, with whom he shared some poems. Impressed with the poems, Lindsay publicized his discovery of a new black poet. By this time, Hughess earlier work had been published in magazines and was about to be collected into his first book of poetry. Hughes at university in 1928 The following year, Hughes enrolled in  Lincoln University, a  historically black university  in  Chester County, Pennsylvania. He joined the  Omega Psi Phifraternity. [20][21]  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. After Hughes earned a  B. A. degree from Lincoln University in 1929, he returned to New York. Except for travels to the Soviet Union and parts of theCaribbean, Hughes lived in Harlem as his primary home for the remainder of his life. During the 1930s, Hughes became a resident of  Westfield, New Jersey. [22][23] Some academics and biographers today believe that Hughes was homosexual and included homosexual codes in many of his poems, similar in manner toWalt Whitman. Hughes has cited him as an influence on his poetry. Hughess story Blessed Assurance deals with a fathers anger over his sons effeminacy and queerness. [24][24][25][26][27][28][29][30]  The biographer Aldrich argues that, in order to retain the respect and support of black churches and organizations and avoid exacerbating his precarious financial situation, Hughes remained closeted. 31] Hughess ashes are interred under a cosmogram medallion in the foyer of the Arthur Schomburg Center in Harlem Arnold Rampersad, the primary biographer of Hughes, determined that Hughes exhibited a preference for other African-American men in his work and life. [32]  However, Rampersad denies Hughess homosexuality in his biography. [33]  Rampersad concludes that H ughes was probably asexual and passive in his sexual relationships. He did, however show a respect and love for his fellow black man (and woman). Other scholars argue for Hughess homosexuality: his love of black men is evidenced in a number of reported unpublished poems to an alleged black male lover. [34] Death 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 in the  Arthur Schomburg Center for Research in Black Culture  in Harlem. It is the entrance to an auditorium named for him. [35]  The design on the floor is an African  cosmogram  titled  Rivers. The title is taken from his poem, The Negro Speaks of Rivers. Within the center of the cosmogram is the line: My soul has grown deep like the rivers. - Career My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young. I danced in the Nile when I was old 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 Ive seen its muddy   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  bosom turn all golden in the sunset. â€Å" † from The Negro Speaks of Rivers (1920), in  The Weary Blues  (1926)  [36] First published in  The Crisis  in 1921, The Negro Speaks of Rivers, which became Hughess signature poem, was collected in his first book of poetryThe Weary Blues  (1926). [37]  Hughess first and last published poems appeared in  The Crisis; more of his poems were published in  The Crisis  than in any other journal. [38]  Hughess 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. They criticized the men known as the midwives of the Harlem Renaissance:  W. E. B. Du Bois,  Jessie Redmon Fauset, and  Alain LeRoy Locke, as being overly accommodating and assimilating eurocentric values and culture to achieve social equality. 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 based on skin color within the black community. 39]  Hughes wrote what would be considered their manifesto, The Negro Artist and the Racial Mountain 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 doesnt matter. We know we a re 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 doesnt matter either. We build our temples for tomorrow, trong as we know how, and we stand on top of the mountain free within ourselves. â€Å" † from  The Nation  in 1926 Hughes identified as unashamedly black at a time when blackness was demode. He stressed the theme of black is beautiful as he explored the black human condition in a variety of depths. [40]  His main concern was the uplift of his people, whose strengths, resiliency, courage, and humor he wanted to record as part of the general American experience. [17][41] 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,[42]  Hughes is quoted as saying. He confronted racial stereotypes, protested social conditions, and expanded African America’s image of itself; a â€Å"people’s poet† who sought to reeducate both audience and artist by lifting the theory of the black aesthetic into reality. [43] 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. â€Å" † My People in  Crisis  (October 1923)[44] 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. [45]  His African-American race consciousness and cultural nationalism would influence many foreign black writers, such as  Jacques Roumain,Nicolas Guillen,  Leopold Sedar Senghor, and  Aime Cesaire. Along with the works of Senghor, Cesaire, and other French-speaking writers of  Africa  and of African descent from the Caribbean, such as  Rene Maran  from  Martinique  and  Leon Damas  fromFrench Guiana  in  South America, the works of Hughes helped to inspire the  Negritude  movement in France. A radical black self-examination was emphasized in the face of European colonialism. [46][47]  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. 48] 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. [49]  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 add ition 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. 50]  In 1932, he was part of a board to produce a Soviet film on Negro Life with  Malcolm Cowley,  Floyd Dell, and Chambers. [51] 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. [52] Maxim Lieber  became his literary agent, 1933–1945 and 1949-1950. (Chambers and Lieber worked in the underground together around 1934–1935. [53]) 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. [54][55]  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. [56] In 1935 Hughes received a  Guggenheim Fellowship. The same year that Hughes established his theater troupe in Los Angeles, he realized an ambition related to films by co-writing the screenplay for  Way Down South. 57]  Hughes believed his failure to gain more work in the lucrative movie trade was due to racial discrimination within the industry. 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 Co uncil for American Unity (CCAU). 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. 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. Langston Hughes, 1943. Photo by  Gordon Parks During the mid? 1950s and ? 1960s, Hughes popularity among the younger generation of black writers varied even 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. [58]  He found some new writers, including  James Baldwin, lacking in such pride, overintellectual in their work, and occasionally vulgar. 59][60][61] Hughes wanted young black writers to be objective about their race, but not to scorn it or flee it. [45]  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. Hughess workPanther 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. [62][63]  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. One of these young black writers (Loften Mitchell) 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. [64] - 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. [65] In 1932, Hughes became part of a group of black people who went to the  Soviet Union  to make a film depicting the plight of African Americans in the United States. The film was never made, but Hughes was given the opportunity to travel extensively through the Soviet Union and to the Soviet-controlled regions in Central Asia, the latter parts usually closed to Westerners. While there, he met  Robert Robinson, an African American living in Moscow and unable to leave. In  Turkmenistan, Hughes met and befriended the  Hungarian  author  Arthur Koestler, then a Communist sympathizer and given permission to travel there. Hughes also managed to travel to China and Japan before returning to the States. Hughess 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 traveled to Spain[66]  as a correspondent for the  Baltimore Afro-American  and other various African-American newspapers. Hughes was also 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 Stalins  purges  and joined the  American Peace Mobilization  in 1940 working to keep the U. S. from participating in  World War II. [67] Hughes initially did not favor black American involvement in the war because of the persistence of discriminatory U. S. Jim Crow laws  and racial segregation and disfranchisement throughout the South. He came to support the war effort and black American participation after deciding that war service would aid their struggle for  civil rights  at home. 68]  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 found that such writers are sometimes ignored in the narrative of American history that chiefly credits the civil rights movement to the wor k of affiliated Christian people. [69] 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. He stated, I never read the theoretical books of socialism or communism or the Democratic or Republican parties for that matter, and so my interest in whatever may be considered political has been non-theoretical, non-sectarian, and largely emotional and born out of my own need to find some way of thinking about this whole problem of myself. [70]  Following his testimony, Hughes distanced himself from Communism. [71]  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. [71]