..., literalizing the trope of passing liners through a fresh enumeration of some archives of shipboard and portside poetry. Reckoning the blind resemblances between the poems of Hart Crane, Federico García Lorca, Salvador Novo, Langston Hughes, and others, the essay proposes a divergent history of transnational...

..., George Edmund Haynes, Langston Hughes, George Schuyler, and James Weldon Johnson), this chapter reveals a spiritual grammar at the very center of the cultural imagining of the New Negro. Chesnutt Charles Dunbar Paul Laurence Great Migration Alain Locke sees as producing a new racial spirit Ku Klux...

...The conclusion of Stain Removal summarizes the implications of thinking ethics and race through the stain by musing upon the dreams of ethical and racial futures as guided by the poetry of Langston Hughes. Rather than aggressively reenlist the vivid dream of ethically unmarked...

...This chapter focuses on young Langston Hughes, an avant-garde New Negro poet, a conduit for both white and black audiences to a racially authentic aesthetic emerging from Harlem's cobblestone streets. As a young crewman on the S.S. Malone, Hughes had left New York for Europe's...

... Hughes Page Patti Baraka Amiri Black Arts movement Clarke John Henrik “Dawn in the Heart of Africa” Lumumba “Final Call” L Hughes networks African diaspora Poems from Black Africa L Hughes Time Langston Hughes “The Negro Speaks of Rivers” Harlem Renaissance Crisis (magazine) NAACP Langston...

... war with Italy for the Pittsburgh Courier and Langston Hughes' reports from the Spanish Civil War for the Baltimore Afro-American. Journalists’ political radicalization intensified their efforts to gain professional recognition and workplace independence within...

... such as Sidney Meller, Sholem Asch, Louis Hazam, Kurt Weill, and Langston Hughes. Each offered new ways for making sense of urban space, yet these works also revealed contradictions and uncertainties, most notably in an inability to meld competing impulses toward assimilation and particularism. Interpreting...

..., the chapter examines Hurston’s many roles: ethnographer, protégé of white patrons, and native informant for her white colleagues. Correspondence with Langston Hughes and Franz Boas while she was conducting field work reveals her methods for getting inside black folk communities, and how her approach to her...

...This chapter focuses on the dispute between two important figures of the Harlem Renaissance: George Schuyler and Langston Hughes. Schuyler's critique of the African American avant-garde in his essay “The Negro-Art Hokum” (1926) and Hughes's response in “The Negro Artist and the Racial Mountain...

...This chapter enters a closed-door hearing of the Subcommittee on Congressional Investigations where, in 1953, Langston Hughes gives a lesson in literary interpretation. Hughes’s testimony offers perspective on why in a 1950 interview he identified Black literary criticism as the one cultural area...

...This chapter turns to weak forms of a strong religion. Against the contrasting examples of Paul Bowles, Mark Twain, and Edith Wharton, the blurry Islam in Henri Matisse, James Joyce, Ezra Pound, and Langston Hughes underwrites some of the boldest experiments in twentieth-century art, fiction...

... Southern food Langston Hughes Chicago National Urban League Brownie’s Book Chicago Defender Nannie Helen Burroughs Neighborhood Union “The Watermelon Dance,” a children’s short story written by Peggy Poe in 1920, features her cheerful reoccurring protagonist “Happy,” a young boy who lives in rural...

... there. The expressive culture of southern black people, the folklore that included stories, sermons, spirituals, work songs, and blues offered writers inspiration and models, along with black vernacular speech. The works of Langston Hughes, Jean Toomer, Sterling Brown, Hurston, and James Weldon Johnson are discussed...

... Gem of the Ocean and Langston Hughes' “The Negro Speaks of Rivers” illustrate the indelible relationship between bodies of water and human bodies. Water is ancestrally embodied in these works, and encounters with it therefore often function as both confrontations with traumatic memory...

...This chapter focuses on Langston Hughes, who brought Nina into the circle of black talent that headed to Lagos December 13. Their friendship had blossomed during the 1960 Newport festival, and ever since the two had kept in touch. Langston periodically sent Nina books along with an occasional...

... generally support Pinn's concept of “truce,” such as those of Eulalie Spence, Willis Richardson, Andrew Burris, Langston Hughes, and Owen Dodson. These plays also contributed to Benjamin Mays' thought that African American literature had crossed a frontier into new territory. Maffly Kipp Laurie Mays...

...This chapter demonstrates how the Simple Stories came from Langston Hughes’s desire to create a working-class character for a working-class audience. In a 1945 article for Phylon magazine titled “Simple and Me,” Hughes explained the origins of his popular creation. According to him...

... of the Pittsburgh Courier and in other black weeklies across the country. When the first collection of Bootsie cartoons, Bootsie and Others, was released in 1958, Langston Hughes wrote the introduction in which he called Harrington “Negro America’s favorite cartoonist.” Harrington...

... criticized the “race chauvinism” of the older generation, led by William Edward Burghardt Du Bois, who used art as propaganda. He also castigated sordid representations of black people developed by many of the younger artists, led by Langston Hughes, who were influenced by modernism. Because Davis...

...America’s poets and musicians have fostered a symbiotic relationship, especially in the last five decades. Some of the poets who have been influenced by the blues they have heard range from Amiri Baraka and Carl Sandburg to Jayne Cortez, Lucille Clifton, Michael Harper, Langston Hughes, Yusef...