By Steven C. Tracy
Langston Hughes has been an idea to generations of readers and writers looking a passionate, clever, and socially liable artwork. during this quantity, Steven C. Tracy has collected a large variety of critics to supply an interdisciplinary method of the real historic and cultural parts mirrored in Hughes's paintings. Their essays, all formerly unpublished, position Hughes within the context of Harlem, his most popular geographical and non secular domestic base, in addition to the bigger political, social, musical, and creative milieu of his swiftly altering occasions. They study Hughes's negotiation of his personal ethical and moral flooring in a fancy, occasionally adverse international, and display the awesome triumph of a delicate, artistic individual who refused to be beaten via the forces of discrimination, pessimism, and bitterness that claimed such a lot of writers of his new release. This quantity, with its ancient essays, short biography, and illustrated chronology, presents a concise but authoritative portrait of 1 of America's and the world's such a lot cherished writers.
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Extra info for A Historical Guide to Langston Hughes (Historical Guides to American Authors)
Hughes considered the advice but did not act upon it until his trip was over. He and Ingram spent the summer in Haiti. Although he did not use the letters of introduction by Walter White, William Seabrook, Arthur Spingarn, and James Weldon Johnson to meet upper-class Haitians, Hughes did meet Jacques Roumain, a cultured Haitian who appreciated indigenous folklore. Later, Hughes and Ingram, with approximately four dollars between them, arrived back in Miami. When they returned to Daytona Beach, Bethune cashed a thirty-dollar check for them and asked to share the ride back to New York.
Hughes was not impressed; in less than a week, he was bored with palaces, churches, and paintings, as well as English tourists. He conﬁrmed that Venice, too, had back alleys and poor people. He left for New York, where he took a few poems to Countee Cullen, whom he had already met and whose work he admired. With Cullen, he attended an NAACP beneﬁt party, where he met Carl Van Vechten. In , Hughes met Arna Bontemps, a crossing of paths that would have happy consequences for the two writers throughout their lives.
In providing excellent supplies for his creative work, she had broadened his cultural life through visits to the Metropolitan Museum of Art, to concerts at Carnegie Hall, and to the musicals of the day. Yet the two of them had disagreed on political philosophy and race. Mason believed that blacks linked American whites to the primitive life and should concern themselves only with building on their cultural foundations. Hughes rejected such a simplistic view of the role of blacks in the modern world.
A Historical Guide to Langston Hughes (Historical Guides to American Authors) by Steven C. Tracy