| Langston Hughes | |
|---|---|
 Hughes in 1925 |
|
| Born | February 1, 1902 Joplin, Missouri United States |
| Died | May 22, 1967 (aged 65) New York City, New York, United States |
| Occupation | poet, columnist, dramatist, essayist, lyricist, novelist, social activist, writer |
| Nationality | American |
| Ethnicity | African American, White American and Native American |
| Period | 1926-1964 |
James Mercer Langston Hughes, (February 1, 1902 – May 22, 1967) was an American poet, novelist, playwright, short story writer, and columnist. He was one of the earliest innovators of the new literary art form jazz poetry. Hughes is best-known for his work during the Harlem Renaissance. He is also best known for what he wrote about the Harlem Renaissance, "Harlem was in vogue."
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Langston Hughes was born in Joplin, Missouri, the second child of school teacher Carrie (Caroline) Mercer Langston and her husband James Nathaniel Hughes (1871-1934). Both parents were mixed-race, and Langston Hughes was of African American, European American and Native American descent. He grew up in a series of Midwestern small towns.[1] Both his paternal great-grandmothers were African American, and both his paternal great-grandfathers were white: one of Scottish and one of Jewish descent.[2]
Hughes was named after both his father and his great-uncle, John Mercer Langston who, in 1888, became the first black to be elected to the United States Congress from Virginia. Hughes' 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. He joined the men in John Brown's Raid on Harper's Ferry in 1859 and died from his wounds.
In 1869 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.[3][4] He and his younger brother John Mercer Langston worked for the abolitionist cause and helped lead the Ohio Anti-Slavery Society in 1858.
Charles Langston later moved to Kansas where he was active as an educator and activist for voting and rights for African Americans.[3] Charles and Mary's daughter Caroline Mercer Langston was the mother of Langston Hughes.[5]
Hughes' father left his family and later divorced Carrie. He went to Cuba, and then Mexico, seeking to escape the enduring racism in the United States.[6] After the separation of his parents, while his mother travelled seeking employment, young Langston 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 the young Langston Hughes a lasting sense of racial pride.[7][8][9] He spent most of childhood in Lawrence, Kansas. After the death of his grandmother, he went to live with family friends, James and Mary Reed, for two years. Because of the unstable early life, his childhood was not an entirely happy one, but it was one that heavily influenced the poet he would become. Later, Hughes lived again with his mother Carrie in Lincoln, Illinois, who had remarried when he was still an adolescent, and eventually in Cleveland, Ohio, where he attended high school. The Hughes' home in Cleveland was sold in foreclosure in 1918; the 2.5-story, wood-frame house on the city's east side was sold at a sheriff's auction in February for $16,667.
While in grammar school in Lincoln, Illinois, Hughes was elected class poet. Hughes stated in retrospect he thought it was because of the stereotype that African Americans have rhythm.[10] "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."[11] During high school in Cleveland, Ohio, 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 still in high school. It was during this time that he discovered his love of books. From this early period in his life, Hughes would cite as influences on his poetry the American poets Paul Laurence Dunbar and Carl Sandburg.
Hughes had a very poor relationship with his father.[citation needed] He lived with his father in Mexico for a brief period in 1919.[citation needed] Upon graduating from high school in June 1920, Hughes returned to live with his father, hoping to convince him to provide money to attend Columbia University. Hughes later said that, prior to arriving in Mexico again:
| “ | I had been thinking about my father and his strange dislike of his own people. I didn't understand it, because I was a Negro, and I liked Negroes very much.[12][13][14] | ” |
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. James Hughes did not support his son's desire to be a writer. Eventually, Langston and his father came to a compromise. Langston would study engineering, so long as he could attend Columbia. His tuition provided, Hughes left his father after more than a year of living with him. While at Columbia in 1921, Hughes managed to maintain a B+ grade average. He left in 1922 because of racial prejudice within the institution, and his interests revolved more around the neighborhood of Harlem than his studies, though he continued writing poetry.[15]
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.[16] 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 again found work doing various odd jobs before gaining white-collar employment in 1925 as a personal assistant to the historian Carter G. Woodson at the Association for the Study of African American Life and History. Not satisfied with the demands of the work and its time constraints that limited his writing, Hughes quit to work as a busboy in a hotel. It was while working as a busboy that Hughes would encounter the poet Vachel Lindsay. Impressed with the poems Hughes showed him, Lindsay publicized his discovery of a new black poet. By this time, Hughes' earlier work had already been published in magazines and was about to be collected into his first book of poetry.
The following year, Hughes enrolled in Lincoln University, a historically black university in Chester County, Pennsylvania. There he became a member of the Omega Psi Phi Fraternity, a black fraternal organization founded at Howard University in Washington, D.C.[17][18] 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.
Hughes earned a B.A. degree from Lincoln University in 1929. He then moved to New York. Except for travels to areas that included parts of the Caribbean, Hughes lived in Harlem as his primary home for the remainder of his life.
Some academics and biographers today believe that Hughes was a homosexual and included homosexual codes in many of his poems, similar in manner to Walt Whitman, whose work Hughes cited as another influence on his poetry. Hughes' story "Blessed Assurance" deals with a father's anger over his son's effeminacy and queerness.[19][19][20][21][22][23][24][25] To retain the respect and support of black churches and organizations and avoid exacerbating his precarious financial situation, Hughes remained closeted.[26]
Arnold Rampersad, the primary biographer of Hughes, determined that Hughes exhibited a preference for other African-American men in his work and life.[27] However, Rampersad denies Hughes' homosexuality in his biography as well.[28] Rampersad comes to the conclusion that Hughes was probably asexual and passive in his sexual relationships. He did, however show a respect and love for his fellow white man (and woman). Still, others argue for Hughes' homosexuality: his love of black men is evidenced in a number of reported unpublished poems to an alleged black male lover.[29]
On May 22, 1967, Langston 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 leading to the auditorium named for him within the Arthur Schomburg Center for Research in Black Culture in Harlem.[30] The design on the floor covering his cremated remains is an African cosmogram titled Rivers. The title is taken from the poem The Negro Speaks of Rivers by Hughes. Within the center of the cosmogram and precisely above the ashes of Hughes are the words My soul has grown deep like the rivers.
The Langston Hughes Memorial Library on the campus of Lincoln University, as well as at the James Weldon Johnson Collection within the Yale University Beinecke Rare Book and Manuscript Library.
First published in The Crisis in 1921, the verse that would become Hughes' signature poem, "The Negro Speaks of Rivers", appeared in his first book of poetry The Weary Blues in 1926:[31]
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, who, collectively (with the exception of McKay), created the short-lived magazine Fire!! Devoted to Younger Negro Artists.
Hughes and his contemporaries were often in conflict with the goals and aspirations of the black middle class, and of those considered to be the midwives of the Harlem Renaissance, W. E. B. Du Bois, Jessie Redmon Fauset, and Alain LeRoy Locke, whom they accused of being overly fulsome in accommodating and assimilating Eurocentric values and culture for social equality. A primary expression of this conflict was the former's depiction of the "low-life", that is, the real lives of blacks in the lower social-economic strata and the superficial divisions and prejudices based on skin color within the black community.[32] Hughes wrote what would be considered the manifesto for him and his contemporaries published in The Nation in 1926, The Negro Artist and the Racial Mountain:
Hughes was unashamedly black at a time when blackness was démodé, and he didn’t go much beyond the themes of black is beautiful as he explored the black human condition in a variety of depths.[33] His main concern was the uplift of his people, of whom he judged himself the adequate appreciator, and whose strengths, resiliency, courage, and humor he wanted to record as part of the general American experience.[34][35] Thus, his poetry and fiction centered generally on insightful views of the working class lives of 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,"[36] Hughes is quoted as saying. Therefore, in his work 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.[37] An expression of this is the poem My People:[38]
Moreover, Hughes stressed the importance of a racial consciousness and cultural nationalism devoid of self-hate that united people of African descent and Africa across the globe and encouraged pride in their own diverse black folk culture and black aesthetic. Langston Hughes was one of the few black writers of any consequence to champion racial consciousness as a source of inspiration for black artists.[39] His African-American race consciousness and cultural nationalism would influence many foreign black writers, such as Jacques Roumain, Nicolás Guillén, Léopold Sédar Senghor, and Aimé Césaire. With Senghor and Césaire and other French-speaking writers of Africa and of African descent from the Caribbean like René Maran from Martinique and Léon Damas from French Guiana in South America, the works of Hughes helped to inspire the concept that became the Négritude movement in France where a radical black self-examination was emphasized in the face of European colonialism.[40][41] Langston Hughes was not only a role model for his calls for black racial pride instead of assimilation, but the most important technical influence in his emphasis on folk and jazz rhythms as the basis of his poetry of racial pride.[42]
In 1930, his first novel, Not Without Laughter, won the Harmon Gold Medal for literature.[43] The protagonist of the story is a boy named Sandy whose family must deal with a variety of struggles imposed upon them due to their race and class in society in addition to relating to one another. Hughes's first collection of short stories came in 1934 with The Ways of White Folks.[44][45] These stories provided a series of vignettes revealing the humorous and tragic interactions between whites and blacks. Overall, these stories are marked by a general pessimism about race relations, as well as a sardonic realism.[46] He received a Guggenheim Fellowship in 1935.
The same year Hughes established his theater troupe in Los Angeles, his ambition to write for the movies materialized when he co-wrote the screenplay for Way Down South.[47] Further hopes by Hughes to write for the lucrative movie trade were thwarted because of racial discrimination within the industry.[48] Through the black publication Chicago Defender, Hughes in 1943 gave creative birth to Jesse B. Semple, often referred to and spelled Simple, the everyday black man in Harlem who offered musings on topical issues of the day. He received offers to teach at a number of colleges, but seldom did. In 1947, Hughes taught at Atlanta University. Hughes, in 1949, spent three months at University of Chicago Laboratory Schools as a visiting lecturer. He wrote novels, short stories, plays, poetry, operas, essays, works for children, and, with the encouragement of his best friend and writer, Arna Bontemps, and patron and friend, Carl Van Vechten, two autobiographies, The Big Sea and I Wonder as I Wander, as well as translating several works of literature into English.
During the mid-1950s and -1960s, Hughes' popularity among the younger generation of black writers varied 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.[49] He in turn found a number of writers like James Baldwin lacking in this same pride, overintellectualizing in their work, and occasionally vulgar.[50][51][52]
Hughes wanted young black writers to be objective about their race, but not to scorn it or flee it.[53] 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 posthumously published Panther and the Lash in 1967 was intended to show solidarity and understanding with these writers, but with more skill and devoid of the most virile anger and terse racial chauvinism some showed toward whites.[54][55] Hughes still continued to have admirers among the larger younger generation of black writers, whom he often helped 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 in degrees and tones within their own work. One of these young black writers 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."[56]
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":[60]
In 1932, Hughes became part of a group of blacks 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 African-American Robert Robinson, living in Moscow and unable to leave. In Turkmenistan, Hughes met and befriended the Hungarian polymath Arthur Koestler. Hughes also managed to travel to China and Japan before returning to the States.
Hughes' 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[61] as a correspondent for the Baltimore Afro-American and other various African-American newspapers. Hughes was also involved in other Communist-led organizations like 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 statement in 1938 supporting Joseph Stalin's purges and joined the American Peace Mobilization in 1940 working to keep the U.S. from participating in World War II.[62]
Hughes initially did not favor black American involvement in the war because of the persistence of discriminatory U.S. Jim Crow laws existing while blacks were encouraged to fight against Fascism and the Axis powers. He came to support the war effort and black American involvement in it after deciding that blacks would also be contributing to their struggle for civil rights at home.[63]
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. Following his appearance, he distanced himself from Communism and was subsequently rebuked by some who had previously supported him on the Radical Left. Over time, Hughes would distance himself from his most radical poems. In 1959 his collection of Selected Poems was published. He excluded his most controversial work from this group of poems.
Hughes' life has been depicted in many stage and film productions. Hannibal of the Alps by Michael Dinwiddie and Paper Armor by Eisa Davis are plays by African-American playwrights which deal with Hughes' sexuality. In the 1989 film, Looking for Langston, British filmmaker Isaac Julien claimed Hughes as a black gay icon — Julien thought that Hughes' sexuality had historically been ignored or downplayed. In the film Get on the Bus, directed by Spike Lee, a black gay character, played by Isaiah Washington, invokes the name of Hughes and punches a homophobic character while commenting, "This is for James Baldwin and Langston Hughes." Film portrayals of Hughes include Gary LeRoi Gray's role as a teenage Hughes in the 2003 short subject film Salvation (based on a portion of his autobiography The Big Sea) and Daniel Sunjata as Hughes in the 2004 film Brother to Brother. Hughes' Dream Harlem, a documentary by Jamal Joseph, examines Hughes' works and environment.
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.
Langston Hughes (1902-02-01 – 1967-05-22) was an American poet, novelist, playwright and newspaper columnist.
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Go home and write
a page tonight.
And let that page come out of you —
Then, it will be true.
Langston Hughes (1902 – May 22, 1967) was a famous American poet, novelist, playwright and short story writer. Hughes was one of the writers and artists whose work was called the Harlem Renaissance.
Hughes grew up as a poor boy from Missouri, the descendant of African people who had been taken to America as slaves. At that time, the term used for African-Americans was "Negro" which means a person with black skin. Most "Negroes" did not remember or think about their link with the people of Africa, even though it was a big influence on their culture and, in particular, their music. Hughes was unusual for his time, because he went back to West Africa to understand more about his own culture. Through his poetry, plays and stories, Hughes helped other black Americans to see themselves as part of a much bigger group of people, so that now the term "African-American" is used with pride.
Hughes became a famous writer, but all his life he remembered how he started out, and he helped and encouraged many other struggling writers.
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Langston Hughes was born on February 1,1902 in Joplin,Missouri. His parents were James Nathaniel Hughes and Carrie Langston Hughes who was a teacher. Langston's father, James Hughes, was so upset about the racism towards African-Americans that he left his family and moved to Mexico.[1] Young Langston was cared for by his grandmother, in Lawrence, Kansas while his mother worked to support the family. Langston's Grandmother was a great story teller. She told stories that made him feel proud to be an African-American.
After his grandmother died Hughes went to live with some family friends for a time, and then, as a teenager went to live in Lincoln, Illinois, with his mother, who had remarried. He was often left alone because his mom was at work. Even though his childhood was difficult and had lots of changes, he was able to use these things in the poetry that he started to write while he was at school. He never forgot the stories of his grandmother and tried to help other African-Americans when they were having problems. These were the people that he later wrote about in his own stories.
When Hughes went to school in Lincoln, there were only two African-American children in the class. The teacher talked to them about poetry. She said that what a poem needed most was rhythm. Langston later said that he had rhythm in his blood because, "as everyone knows", all African-Americans have rhythm. The children made him the "class poet".[2]
At high school in Cleveland, Ohio, Langston learned to love reading. He loved the poetry of the American poets Paul Laurence Dunbar and Carl Sandburg. He wrote articles for the school newspaper, he edited the school yearbook and he wrote his first short stories and plays.
When Langston Hughes was 17 he went to spend some time with his father in Mexico. He was so unhappy while he was there that he thought about committing suicide. Hughes could not understand how his father felt. He said: "I had been thinking about my father and his strange dislike of his own people. I didn't understand it, because I was a Negro, and I liked Negroes very much!"[3]
Hughes later wrote this poem:
When he was finished at high school in Lincoln in 1920, he went back to Mexico, to ask his father to pay for him to go to university. Hughes' father was a lawyer and a wealthy landowner. He could afford to send his son to university but he made difficulties about it. He said that Hughes could only go to university if he went overseas and studied engineering. Hughes wanted to go to university in the US. After a time, they made an agreement that he should go to Columbia University but study engineering, not an arts degree. He went to Columbia in 1921 but left in 1922, partly because of the racism in the university.[5]
Until 1926 Hughes did many different types of work. In 1923 he went as a crewman on the ship "S.S.Malone" and went to West Africa and Europe. He left the ship and stayed for a short time in Paris where he joined several other African-Americans who were living there. In November 1924, Hughes returned to the U.S. to live with his mother in Washington, D.C.. In 1925 he got a job as an assistant to Carter G. Woodson who worked with the Association for the Study of African American Life and History. Hughes did not enjoy his work because he did not have enough time to write, so he left and got a job as a "busboy", wiping tables and washing dishes at a hotel. Hughes is sometimes called "The Busboy Poet". Meanwhile, some of his poems were published in magazines and were being collected together for his first book of poetry. While he was working at the hotel he met the poet Vachel Lindsay, who helped to make Hughes known as a new African-American poet.
In 1926 Hughes began studying at Lincoln University, Pennsylvania. He had help from patrons, Amy Spingarn, who gave him $300 and "Godmother" Charlotte Osgood Mason.[6] Hughes graduated with a Bachelor of Arts in 1929 and became a Doctor of Letters in 1943. He was also given an honorary doctorate by Howard University. For the rest of his life, except when he travelled to the Caribbean or West Indies, Hughes lived in Harlem, New York.
Langston Hughes sometimes went out with women, but he never married. People who have studied his life and poetry are sure that he was homosexual. In the 1930s it was harder to be open about being gay than it is nowadays. His poetry has lots of symbols which are used by other homosexual writers. Hughes thought that men who had very dark skin were particularly beautiful. It seems from his poetry that he was in love with an African-American man. He also wrote a story which might tell of his own experience. Blessed Assurance is the story of a father's anger because his son is "queer" and acts like a girl.[7][8][9]
Hughes' life and work were an important part of the Harlem Renaissance of the 1920s, alongside those Zora Neale Hurston, Wallace Thurman, Countee Cullen, Richard Bruce Nugent, and Aaron Douglas, who together started a magazine Fire!! Devoted to Younger Negro Artists. Hughes and these friends did not always agree with the ideas of some of the other African-American writers who were also part of the Harlem Renaissance because they thought their ideas were Middle class and that they treated others who had darker skin, less education and less money with discrimination.[10] All his life, Hughes never forgot the lessons that he learned about poor and uneducated African-Americans in the stories that his grandmother told.
In 1960, the NAACP awarded Hughes the "Spingarn Medal" for "distinguished achievements by an African American". Hughes became a member of the National Institute of Arts and Letters in 1961. In 1973, an award was named after him, the "Langston Hughes Medal", awarded by the City College of New York.
Hughes became a famous American poet, but he was always ready to help other people, particularly young black writers. He was worried that many young writers hated themselves, and expressed these feelings to the world. He tried to help people feel pride, and not worry about the prejudice of other people. He also tried to help young African-Americans not to express hatred and prejudice towards white Americans.
Hughes wrote:
On May 22, 1967, Hughes died at the age of 65 after having surgery for cancer. His ashes are buried under the floor of the Langston Hughes Auditorium in the Arthur Schomburg Center for Research in Black Culture in Harlem.[11] Over his ashes is a circle with a beautiful African design called "Rivers". At the centre of the design are words from a poem by Hughes: "My soul has grown deep like the rivers".
   | A selection of Langston Hughes's more political poetry - A Selection of the Poetry of Langston Hughes |
| | Representative Poetry Online, University of Toronto - Representative Poetry Online Redirection Page |
| | 1988 audio interview of Arnold Rampersad, author of The Life of Langston Hughes. Interview by Don Swaim of CBS Radio - RealAudio - Arnold Rampersad Interview about Langston Hughes with Don Swaim |
| | Smithsonian "The Music in Poetry: Langston Hughes & His use of the Blues" - Smithsonian Education - Educators - Publications |
 | Langston Hughes & His Poetry, Library of Congress - David Kresh on Langston Hughes (Journeys and Crossings, Library of Congress Digital Reference Section) |
| | Langston Hughes in Lawrence, KS: Photographs & Biographical Resources - Langston Hughes in Lawrence (KS): Photographs & Biographical Resources, by Denise Low & T.F. Pecore Weso: | Harlem Renaissance | Kansas History Web Sites |
| | Beinecke Library,Yale University, Langston Hughes at 100 - Beinecke Library: Langston Hughes at 100 |
| | The Negro Artist and The Racial Mountain by Langston Hughes - Langston Hughes, The Negro Artist and the Racial Mountain |
| | Atrium where the ashes of Langston Hughes reside in the Schomburg Center for Research in Black Culture in Harlem - NYPL, Langston Hughes Atrium |
| | Sweet Flypaper of Life with Roy DeCarava - African-American History: Roy DeCarava and Langston Hughes |
| | Langston Hughes -- "Dream Deferred,"Clip from the Langston Hughes program the Voices & Visions video - Voices & Visions Spotlight -- Langston Hughes Video Clip |
| | Poems by Langston Hughes at PoetryFoundation.org - Langston Hughes : The Poetry Foundation : Find Poems and Poets. Discover Poetry. |
| | Representative Poetry Online, University of Toronto - RPO -- Selected Poetry of Langston Hughes (1902-1967) |
| | Academy of American Poets - Langston Hughes - Poets.org - Poetry, Poems, Bios & More |
| | 20 East 127th Street - 20 East 127th Street, new york new york - Google Maps |
| | Poetry and Quotes of Langston Hughes - Poet: Langston Hughes Poems and Poetry - Quotes and Poems dot com |
| | Hughes' Homosexuality - glbtq >> literature >> Hughes, Langston |
| | "Good Morning Revolution": The Unpublished Social Protest Writings of Langston Hughes - Amazon.com: Good Morning, Revolution: Uncollected Social Protest Writings: Langston Hughes, Saunders Redding, Faith Berry: Books |
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