Langston Hughes

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James Mercer Langston Hughes (February 1, 1902 – May 22, 1967) was an American poet, social activist, novelist, playwright, and columnist from Joplin, Missouri.

He moved to New York City as a young man, where he made his career.

One of the earliest innovators of the then-new literary art form called 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."Growing up in a series of Midwestern towns, Hughes became a prolific writer at an early age.

He graduated from high school in Cleveland, Ohio and soon began studies at Columbia University in New York City.

Although he dropped out, he gained notice from New York publishers, first in The Crisis magazine, and then from book publishers and became known in the creative community in Harlem.

He eventually graduated from Lincoln University.

In addition to poetry, Hughes wrote plays, and short stories.

He also published several non-fiction works.

From 1942 to 1962, as the civil rights movement was gaining traction, he wrote an in-depth weekly column in a leading black newspaper, The Chicago Defender.

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Career

In 1921, first published in The Crisis — the National Association for the Advancement of Colored People's official magazine — "The Negro Speaks of Rivers" became Hughes' signature poem and was included in his first book of poetry, The Weary Blues (1926). In The Crisis, Hughes' first and last published poems appeared; in The Crisis, more of his poems were published in The Crisis than in any other journal. Hughes lived and worked during the Harlem Renaissance of the 1920s, as did his compatriots, Zora Neale Hurston, Wallace Thurman, Claude McKay, Countee Nugent, Richard Bruce Nugent, and Aaron Douglas. Except for McKay, the two brothers worked together to create Fire!!, the short-lived magazine. Younger Negro Artists has been voted out of office.

Hughes and his contemporaries had different aspirations and aspirations than the black middle class. Hughes and his colleagues attempted to depict the "low-life" in their art, i.e. the true lives of blacks in the lower socioeconomic strata. They criticized racial inequalities and prejudices among the black community based on skin color. In 1926, Hughes wrote "The Negro Artist and the Racial Mountain," which would have been considered their manifesto.

His poetry and fiction portrayed the lives of the working-class blacks in America, whose lives he portrayed as full of struggle, love, laughter, and music. The African-American identity and its diverse culture are lauded in his work. Hughes writes, "My job has been to explain and illuminate the Negro illness in America and obliquely that of all human kind." He debuffed racial stereotypes, protested socioeconomic, and increased African America's image of itself; a "people's poet" who wanted to reeducate both audience and artist by lifting the theory of the black aesthetic into reality.

Hughes emphasized a racial awareness and cultural nationalism devoid of self-hate. His idea brought people of African descent and Africa together to promote their African black folk culture and black aesthetic. Hughes was one of the few black writers to promote racial consciousness as a source of inspiration for black writers. Jacques Roumain, Nicolás Guillén, Léopold Senghor, and Aimé Césaire's African-American race consciousness and cultural nationalism would influence many foreign black writers, including Jacques Roumain, Nicolás Guillén, Aimé Césaire. Hughes' writings, as well as Senghor, Césaire's, and other French-speaking writers of Africa and the Caribbean, such as René Maran from Martinique and Léon Damas from France, inspired the Négritude movement in France. In the aftermath of European colonialism, a radical black self-examination was emphasized. Hughes had a major educational influence by his emphasis on folk and jazz rhythms as a pillar of his poetry of racial pride, in addition to his example in social attitudes.

The Harmon Gold Medal for literature was awarded to Not Without Laughter, his first book, in 1930. Hughes obtained the support of private patrons and was sponsored for two years before releasing this book. Sandy, the story's protagonist, is a boy named Sandy, whose family faces a variety of challenges due to their ethnicity and class, as well as relating to one another.

Hughes, a Columbia University associate, and playwright Paul Peters helped establish the "New York Suitcase Theater" in 1931 with playwright Paul Peters, artist Jacob Burck, and writer Whittaker Chambers. He was a member of a group commissioned to produce a Soviet film starring Malcolm Cowley, Floyd Dell, and Chambers in 1932.

Prentiss Taylor and Langston Hughes founded the Golden Stair Press in 1931, issuing broadsides and books based on Prentiss Taylor's artwork and Langston Hughes' texts. Based on the testimony of the Scottsboro Boys, they released The Scottsboro Limited in 1932.

In 1932, Hughes and Ellen Winter held a pageant to Caroline Decker in an attempt to honor her service with the Harlan County miners, but it was never successful. It was determined that it was a "long, complex propaganda machine" that was too cumbersome and heavy to be carried out.

Maxim Lieber was his literary agent from 1933-1945 to 1949. (Chambers and Lieber worked in the underground together from 1934-35.)

In 1934, Hughes' first collection of short stories was published in The Ways of White Folks. He finished the book at a Carmel, California cottage that Noel Sullivan, another patron, had for a year. These stories are a collection of vignettes that reveal the humorous and tragic interactions between whites and blacks. Overall, they are characterized by a general lack of knowledge of race relations, as well as a sardonic realism. He also served as an advisory board member to the (then) newly formed San Francisco Workers' School (later the California Labor School).

Hughes was awarded a Guggenheim Fellowship in 1935. He fulfilled an aspiration related to film co-writing the screenplay for Way Down South in the same year that Hughes founded his theatre company in Los Angeles. Hughes attributed his inability to find more jobs in the lucrative film industry to racial discrimination within the sector.

Hughes founded The Skyloft Players in Chicago in 1941, which aimed to foster black playwrights and bring "from the black perspective." He was hired to write a column for the Chicago Defender, in which he did some of his "most influential and influential work" in which he spoke out against black people. The column ran for ten years. Hughes began writing stories about Jesse B. Semple, the everyday black man in Harlem who gave musings on current events. Although Hughes rarely responded to calls to teach at colleges, he taught at Atlanta University in 1947. He spent three months at the University of Chicago Laboratory Schools as a visiting lecturer in 1949. Hughes, a frequent writer and editor on the editorial board of Common Ground, a literary journal that focuses on cultural pluralism in the United States, which was released by the Common Council for American Unity (CCAU).

He wrote novels, short stories, plays, poetry, operas, essays, and children's books. Arna Bontemps, his favorite writer and writer, as well as translating several works of literature into English, he wrote two volumes of autobiography, The Big Sea and I Wander as I Wander, as well as converting several works of literature into English. Hughes co-edited the 1949 anthology The Poetry of the Negro, which The New York Times characterized it as "a stimulating cross-section of the Negro's imaginative writing" that shows "talent to the point where one question asks the necessity (other than for its social proof) of 'Negro's specialization in the title.'

Hughes' fame among the younger generation of black writers varied internationally from the 1950s to the mid-1960s, even as his fame grew globally. Many black writers considered his writings on black pride and its related subject matter out of date as a result of racial integration's progress. He was regarded as a racial chauvinist by the people. He discovered some young writers, one of whom was James Baldwin, were lacking in such pride, over-intellectual in their writing, and occasionally vulgar.

Hughes wanted young black writers to be honest about their race, but not to scorn it or flee it. He was familiar with the main points of the 1960s Black Power movement but felt that some of the younger black writers who supported it were too dissatisfied with their work. The Lash's book, which was posthumously published in 1967, was supposed to demonstrate solidarity with these writers, but it was lacking in compassion and devoid of the most virulent rage and racial chauvinism that others had seen toward whites. Among the younger generation of black writers, Hughes continued to have admirers. He helped writers by giving tips and introducing them to other influential people in the literature and publishing industries. This latter group, which included Alice Walker, who Hughes discovered, viewed Hughes as a hero and an example to be imitated within their own work. Hughes was viewed by one of these young black writers (Loften Mitchell).

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