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Langston hughes' symbolism
Langston Hughes and the Harlem Renaissance
Racial issues faced in the Harlem Renaissance
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1920’s Harlem was a time of contrast and contradiction, on one hand it was a hotbed of crime and vice and on the other it was a time of creativity and rebirth of literature and at this movement’s head was Langston Hughes. Hughes was a torchbearer for the Harlem Renaissance, a literary and musical movement that began in Harlem during the Roaring 20’s that promoted not only African-American culture in the mainstream, but gave African-Americans a sense of identity and pride. Like most, the stories we hear as children leave lasting impacts in our heads and stay with us for lifetimes. Hughes was greatly influenced by the stories told by his grandmother as they instilled a sense of racial pride that would become a recurring theme in his works as well as become a staple in the Harlem Renaissance movement. During Hughes’ prominence in the 20’s, America was as prejudiced as ever and the African-American sense of pride and identity throughout the U.S. was at an all time low. Hughes took note of this and made it a common theme to put “the everyday black man” in most of his stories as well as using traditional “negro dialect” to better represent his African-American brethren. Also, at this time Hughes had major disagreements with members of the black middle class, such as W.E.B. DuBois for trying to assimilate and promote more european values and culture, whereas Hughes believed in holding fast to the traditions of the African-American people and avoid having their heritage be whitewashed by black intellectuals. Of the few short stories penned by Hughes, one that stands out the most was his series of weekly writings from the Chicago Defender in the 1940’s about a middle aged black man and a narrator who would speak on a variety of issu... ... middle of paper ... ...can writers, a guardian of traditional African-American culture, a civil rights activist through his writing and and as the face of the Harlem Renaissance. His importance to not only the Harlem Renaissance but the African-American identity is immeasurable and for that we should be forever grateful and pay him the highest regard. Works Cited "A Centennial Tribute to Langston Hughes." Library System - Howard University. Howard University, n.d. Web. 13 Jan. 2014. Donald, David H. "Good Race Men." Rev. of Short Stories of Langston Hughes. New York Times 01 Sept. 1996: n. pag. Nytimes.com. Arthur Ochs Sulzberger, Jr. Web. 12 Jan. 2014. Hughes, Langston. Simple's Uncle Sam. New York: Hill and Wang, 2000. Print. "Langston Hughes." Wikipedia. Wikimedia Foundation, 01 Nov. 2014. Web. 12 Jan. 2014. "Langston Hughes." : The Poetry Foundation. N.p., n.d. Web. 12 Jan. 2014.
In his poems, Langston Hughes treats racism not just a historical fact but a “fact” that is both personal and real. Hughes often wrote poems that reflect the aspirations of black poets, their desire to free themselves from the shackles of street life, poverty, and hopelessness. He also deliberately pushes for artistic independence and race pride that embody the values and aspirations of the common man. Racism is real, and the fact that many African-Americans are suffering from a feeling of extreme rejection and loneliness demonstrate this claim. The tone is optimistic but irritated. The same case can be said about Wright’s short stories. Wright’s tone is overtly irritated and miserable. But this is on the literary level. In his short stories, he portrays the African-American as a suffering individual, devoid of hope and optimism. He equates racism to oppression, arguing that the African-American experience was and is characterized by oppression, prejudice, and injustice. To a certain degree, both authors are keen to presenting the African-American experience as a painful and excruciating experience – an experience that is historically, culturally, and politically rooted. The desire to be free again, the call for redemption, and the path toward true racial justice are some of the themes in their
Attention Getter: “If one looks to uncover linkages between the Black Arts Movement of the 1960s and 1970s and the earlier radicalism of the 1930s and 1940s, the work of Langston Hughes as a writer, editor, and cultural catalyst during the 1950’s and 1960’s is a good place to start” (Smethurst, pg.1225). In the article, “Don’t Say Goodbye to the Porkpie Hat”: Langston Hughes, the Left, and the Black Arts movement by James Smethurst discusses how Hughes deals with social inequality through his writing.
In the early 1940s an African American writer by the name of Langston Hughes, who flourished during the Harlem Renaissance in New York, had established a character in his short story writings named Jesse B. Semple. Through these short stories he used this character to represent the black man of his times. However the question remains, is Jesse B. Semple an accurate representation of the black man of 1940s? This question can best be answered by looking at the conditions of society during that time period, what the mind set of the black man in that era and comparing it to the representation that Hughes created with Jesse B. Semple.
Hughes, Langston. The Negro mother, and other dramatic recitations. Freeport, N.Y.: Books for Libraries Press, 1971. Print.
To understand why someone writes the way they do, we must understand where they come from. Hughes was born in Joplin, Missouri, in nineteen-oh-two. He grew up with his grandmother due to his parents being separated. Growing up with his grandmother, Hughes was told stories of how slavery should be ended and this filled him with a great deal of pride and respect for not only himself, but his race. (“Hughes”)
James Langston Hughes was born February 1, 1902, in Joplin , Missouri . His parents divorced when he was a small child, and his father moved to Mexico . He was raised by his grandmother until he was thirteen, when he moved to Lincoln , Illinois , to live with his mother and her husband, before the family eventually settled in Cleveland , Ohio . It was in Lincoln , Illinois , that Hughes began writing poetry. Following graduation, he spent a year in Mexico and a year at Columbia University . During these years, he held odd jobs as an assistant cook, launderer, and a busboy, and travelled to Africa and Europe working as a seaman. In November 1924, he moved to Washington , D.C. Hughes's first book of poetry, The Weary Blues, was published by Alfred A. Knopf in 1926. He finished his college education at Lincoln University in Pennsylvania three years later. In 1930 his first novel, Not Without Laughter, won the Harmon gold medal for literature.
Hansen, Tom. "Hughes's Harlem." Explicator 58.2 (2000): 106. Biography Reference Bank (H.W. Wilson). Web. 13 Nov. 2013. < http://library.limestone.edu:2379/eds/detail?vid=17&sid=5fe3beae-440d-404f-b673-7e4da96a214b%40sessionmgr114&hid=3&bdata>
Taylor, Patricia. "Langston Hughes and the Harlem Renaissance." The Harlem Renaissance Remembered. Ed. Bontemps, Arna. New York: Dodd, Mead & Company, 1972. 90-102.
James Nathaniel Langston Hughes has a very significant role in the Harlem Renaissance. The Harlem Renaissance, also called the New Negro Movement, was a literary movement of the African Americans in the 1920s and 1930s. Langston Hughes was born on February 1, 1902 and he is not only a poet, but he is also a social activist, playwright, and novelist. His works are mainly influenced by his life in Harlem and he is often considered as the “Poem Laureate of the Harlem Renaissance.” Also, Langston Hughes’ “literary works helped shape American literature and politics” (“Langston Hughes”). Some of his role during the Harlem Renaissance was to promote racial equality, celebrate the life of black people, and encourage his fellow African Americans.
In 1921, with the financial support of his father,” Langston entered Columbia University in New York.” “He soon became very unhappy with the university.” “Langston then wrote the poem “Negro” while staying in Harlem.” “Due to Langston’s unhappiness with the university he decided to withdraw from the school.” “Langston took time off from college and visited Paris, West Africa, and Italy, gaining cultural knowledge and inspiration for his future works.”
The "Langston Hughes" Poets.org. Academy of American Poets, n.d. Web. The Web. The Web. 03 Dec. 2013.
Thesis: The poems “Negro”, “I Too”, and “Song for a Dark Girl” by Langston Hughes was written around an era of civil inequality. A time when segregation was a customary thing and every African American persevered through civil prejudice. Using his experience, he focuses his poems on racial and economic inequality. Based on his biographical information, he uses conflict to illustrate the setting by talking about hardships only a Negro would comprehend and pride only a Negro can experience, which helps maintain his racial inequality theme.
Hughes, Langston. "The Negro Artist and the Racial Mountain." The Portable Harlem Renaissance Reader. David Levering Lewis, ed. New York: Viking Penguin, 1994, 91-95.
Hughes, Langston. "Harlem." [1951] Literature. 5th ed. Eds. James H. Pickering and Jeffery D. Hoeper. Upper Saddle River, NJ: Prentice, 1027-28.
Hughes, Langston. “Harlem.” Literature for Composition. Ed. Sylvan Barnet, William Burto and William E. Cain.10th ed. New York: Pearson, 2014. 136. Print. 8 Apr. 2014.