Langston Hughes’s Bio. Anonymous This ebook available in following formats: Web version
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African-American poet, novelist, and playwright, who became one of the foremost interpreters of racial relationships in the United States. Influenced by the Bible, W. E. B. Du Bois, and Walt Whitman, Hughes depicted realistically the ordinary lives of black people. Many of his poems, written in rhythmical language, have been set to music. Hughes’s poems were meant ’to be read aloud, crooned, shouted and sung’. "Rest at pale evening...
A tall slim tree...
Night coming tendrerly
Black like me.
(from Dream Variations, 1926)

James Langston Hughes was born in Joplin, Missouri. His mother was a school teacher, she also wrote poetry. His father, James Nathaniel Hughes, was a storekeeper. He had wanted to become a lawyer, but he had been denied to take the bar exam. Hughes’s parents separated and his mother moved from city to city in search of work. In his rootless childhood, Hughes lived in Mexico, Topeka, Kansas, Colorado, Indiana and Buffalo. Part of his childhood Hughes lived with his grandmother. At the age of 13 he moved back with his mother and her second husband. Later the family moved to Cleveland, Ohio, where Hughes’s stepfather worked in the steel mills. During this period Hughes found the poems of Carl Sandburg, whose unrhymed free verse influenced him deeply. After graduating from a high school in Cleveland, Hughes spent a year in Mexico with his light-skinned father, who had found there a release as a successful cattle rancher from racism of the North. On the train, when he returned to the north, Hughes wrote one of his most famous poems, ’The Negro Speaks of Rivers’. It appeared in the African-American journal Crisis (1921). As an adolescent in Cleveland he participated in the activity of Karamu Players, and published in 1921 his first play, THE GOLDEN PIECE in 1921.

Supported by his father, Hughes entered in the early 1920s the Columbia University, New York. For the permanent disappointment of his father, Hughes soon abandoned his studies, and participated in more entertaining jazz and blues activities in nearby Harlem. Disgusted with life at the university and to see the world, he enlisted as a steward on a freighter bound to West Africa. He traveled to Paris, worked as a doorman and a bouncer of a night club, and continued to Italy.

After his return to the United States, Hughes worked in menial jobs and wrote poems, which earned him scholarship to Lincoln University in Pennsylvania. According an anecdote, Hughes was "discovered" by the poet Vachel Lindsay in Washington. Lindsay was dining at the Wardman Park Hotel, where Hughes worked as a busboy, and dropped his poems beside the Lindsay’s dinner plate. Lindsay included several of them in his poetry reading. It prompted interviews of the "busboy poet". Hughes quit his job and moved to New York City.

In 1929 Hughes received his bachelor’s degree. He was celebrated as a young promising poet of the generation, publishing his poetry in Crisis (1923-24) and in Alain Locke’s anthology The New Negro (1925). His first book of verse, THE WEARY BLUES, supported by Carl Van Vechten, appeared in 1926. "My news is this: that I handed The Weary Blues to Knopf yesterday with the proper incantations. I do not feel particularly dubious about the outcome: your poems are too beautiful to escape appreciation. I find they have a subtle haunting quality which lingers in the memory and an extraordinary sensitivity to all that is kind and lovely." (from Van Vechten’s letter to Hughes in Remember me to Harlem, ed. by Emily Bernard, 2001) Hughes valued Van Vechten’s criticism and dedicated him his second collection of poetry, FINE CLOTHES TO THE JEW (1927). Their correspondence, which lasted until Van Vechten’s death in 1964, was published in 2001. The Weary Blues assimilated techniques associated with the secular music with verse, while its content reflected the lives of African-Americans. "Drowning a drowsy syncopated tune, / Rocking back and forth to a mellow croon, / I heard a Negro play. / By the pale dull pallor of an old gas light / He did a lazy sway... / He did a lazy sway..." (from ’The Weary Blues,’ the title poem of the collection)

Hughes was considered one of the leading voices in the Harlem Renaissance of the 1920s His first novel, NOT WITHOUT LAUGHTER (1930), Hughes wrote with the financial support of Charlotte Mason, a wealthy white woman. The book had a cordial reception and Hughes bought a Ford. He toured the colleges of southern America as a teacher and poet.

Hughes was one of the first black authors, who could support himself by his writings. In the 1930s Hughes traveled in the Soviet Union, Haiti, and Japan. During his visit in the Soviet Union, to write the English dialogue for a film about black American workers, he had also an affair with an Oriental ballerina. Hughes’s poem ’Goodbye, Christ’, written during the journey, was attacked by a right-wing religious group in the 1940s. Although Hughes decided to repudiate the poem publicly, he also embraced radical politics, publishing a collection of satiric short stories, THE WAY OF WHITE FOLKS (1943), and returned to satire and racial prejudices later in LAUGHING TO KEEP FROM CRYING (1952) and SOMETHING IN COMMON (1963). Hughes emphasized the importance of African culture and shared Du Bois’s belief that renewal could only come from an understanding of African roots.

"My old man died in a fine big house.
My ma died in a shack.
I wonder where I’m gonna die,
Being neither white nor black?"
(from ’Cross’)

Hughes’s play THE MULATTO (1935), revised without his knowledge, opened on Broadway in 1935. The producer inserted a rape in it. Alterations displeased Hughes, but in the same year he won a Guggenheim Fellowship. He founded in the 1930s and 1940s black theatre groups in Harlem, Chicago, and Los Angeles. In the Spanish Civil War (1937) he served as a newspaper correspondent for the Baltimore Afro-American. During this time he became a friend of Ernest Hemingway, with whom he attended bullfights. In 1942 he made Harlem his permanent home, although he began lecturing at universities around the country. Hughes wrote children’s stories, non-fiction, and numerous works for the stage, including lyrics for Kurt Weill’s and Elmer Rice’s opera Street Scene, screenplay for the Hollywood film Way Down South with the actor Clarence Muse, and translated the poetry of Federico García Lorca and Gabriela Mistral. Hughes’s Christmas play, Black Nativity, has been produced every year by major black theaters.

Hughes’s inaccurate reputation for being a Communist dates from his poems in the 1930s. In 1953, during the era of McCarthyism, Hughes tested to the Senate committee that he was not, and never had been, a Communist. He named no names, well aware of blacklisting and its effects on such radicals as Paul Robeson. In several of his poems, Hughes had expressed with ardent voice sociopolitical protests. He portrayed people, whose lives were impacted by racism and sexual conflicts, he wrote about southern violence, Harlem street life, poverty, prejudice, hunger, hopelessness. But basically he was a conscientious artist, kept his middle-of-the road stance and worked hard to chronicle the black American experience, contrasting the beauty of the soul with the oppressive circumstance.

"Wear it
Like a banner
For the proud -
Not like a shroud."
(from Color, 1943)

In the 1950s Hughes published among others MONTAGE OF A DREAM DEFERRED (1951), which included his famous poem ’Harlem’, PICTORIAL HISTORY OF NEGRO IN AMERICA (1956), and edited THE BOOK OF NEGRO FOLKLORE (1958) with Arna Bontemps. Hughes’s autobiographicals books include THE BIG SEA (1940) and I WONDER AS I WANDER (1956). For juveniles he did a series of ’Famous’ biographies, beginning with FAMOUS AMERICAN NEGROES (1954). His popular comic character Jesse B. Semple, or "Simple," appeared in columns for the Chicago Defender and the New York Post. Hughes had met the prototype of the character in a bar. The ironic comments of the street-wise Harlem dweller were first collected into SIMPLE SPEAKS HIS MIND (1950). In the last Simple collection, SIMPLE’S UNCLE SAM (1965), Hughes wrote: "My mama should have named me Job instead of Jesse B. Semple. I have been underfed, underpaid, undernourished, and everything but undertaken - yet I am still here. The only thing I am afraid of now - is that I will die before my time."

In his later years Hughes held posts at the Universities of Chicago and Atlanta. The poet also witnessed that doctoral dissertations already begun to be written about him - the earliest book on his work appeared already in the 1930s. Hughes never married and there has been unrelevant speculations about his sexuality. Several of his friends were homosexual, among them Carl Van Vechten, who wrote the controversial novel Nigger Heaven (1926) - Hughes had recommended the choice of the title - but several were not. Hughes died in Polyclinic Hospital in New York, on May 22, 1967, of complications after surgery. His collection of political poems, THE PANTHER AND THE LASH (1967), reflected the anger and militancy of the 1960s. The book had been rejected first by Knopf in 1964 as too risky. Hughes’s own history of NAACP appeared in 1962; he had received a few year’s earlier the NAACP’S Spingarn Medal.

Hughes published more than 35 books, he was a versatile writer, but he hated "long novels, narrative poems", as he once said. Although the Harlem Renaissance faded away during the Great Depression, its influence is seen in the writings of later authors, such as James Baldwin, who, however, criticized Hughes’s poetic achievement. From the late 1940’s through the 1950’s Hughes revised under pressure his poems- may of them became less tough.

Selected works:

THE NEGRO SPEAKS OF RIVERS, 1921 ( poem published in the journal Crisis) THE GOLD PIECE, 1921 THE WEARY BLUES, 1926 (incl. poem Dream Variation) FINE CLOTHES TO THE JEW, 1927 NOT WITHOUT LAUGHTER, 1930 THE NEGRO MOTHER AND OTHER DRAMATIC RECITATIONS, 1931 MULE BONE, 1931 (with Zora Neale Hurston) DEAR LOVELY DEATH, 1931 THE DREAM KEEPER, 1932 SCOTTSBORO LIMITED, 1932 POPO AND FIFINA, 1932 (with Arna Bontemps) THE WAYS OF THE WHITE FOLKS, 1934 LITTLE HAM, 1935 (play) THE MULATTO, 1935 (play) EMPEROR OF HASITI, 1936 (play) TROUBLED ISLAND, 1936 (play) WHEN THE JACK HOLLERS, 1936 (play) FRONT PORCH, 1937 (play) JOY TO MY SOUL, 1937 (play) SOUL GONE HOME, 1937 (play) DON’T YOU WANT TO BE FREE?, 1938 (play) A NEW SONG, 1938 THE EM-FUEHRER JONES, 1938 (play) LIMITATIONS OF LIFE, 1938 (play) LITTLE EVA’S END, 1938 (play) THE ORGANIZER, 1939 (play) THE BIG SEA, 1940 SHAKESPEARE IN HARLEM, 1941 THE SUN DO MOVE, 1942 (play) WAY DOWN SOUTH, 1942 (screenplay) FOR THIS WE FIGHT, 1943 (play) FREEDOM’S PLOW, 1943 JIM CROW’S LAST STAND, 1943 LAMENTS FOR DARK PEOPLES, 1944 FIELDS OF WONDER, 1947 translation: Jacques Roumain’s Masters of Dew, 1947 (with M. Cook) translation: Nicholas Guillen’s Cuba Libre, 1948 (with F. Carruthers) ONE-WAY TICKET, 1949 THE POETRY OF THE NEGRO, 1949 (ed.) SIMPLE SPEAKS HIS MIND, 1950 THE BARRIES, 1950 (play) MONTAGE OF A DREAM DEFERRED, 1951 (incl. poem Harlem) LAUGHING TO KEEP FROM CRYING, 1952 THE FIRST BOOK OF NEGROES, 1952 SIMPLE TAKES A WIFE, 1953 FAMOUS AMERICAN NEGROES, 1954 THE FIRST BOOK OF RHYTHMS, 1954 FAMOUS NEGRO MUSIC MAKERS, 1955 THE FIRST BOOK OF JAZZ, 1955 THE SWEET FLY-PAPER OF LIFE, 1955 I WONDER AS I WANDER, 1956 THE FIST BOOK OF WEST INDIES, 1956 A PICTORIAL HISTORY OF NEGRO IN AMERICA, 1956 (with Milton Meltzer) translation: Selected Poems of Gabriel Mistral, 1957 SIMPLE STAKES A CLAIM, 1957 SIMPLY HEAVEN, 1957 (play) TAMBOURINES GO TO GLORY, 1958 FAMOUS NEGRO HEROES OF AMERICA, 1958 THE BOOK OF NEGRO FOLKLORE, 1958 (ed. with Arna Bontemps) THE FIRST BOOK OF AFRICA, 1960 THE BEST OF SIMPLE, 1961 ASK YOUR MAMA, 1961 BLACK NATIVITY, 1961 (play) GOSPEL GLORY, 1962 FIGHT FOR FREEDOM: THE STORY OF THE NAACP, 1962 FIVE PLAYS BY LANGSTON HUGHES, 1963 (plays) JERICO JIM CROW, 1963 SOMETHING IN COMMON, 1963 SIMPLE’S UNCLE SAM, 1965 THE PRODIGAL, 1965 (play) SOUL YESTERDAY AND TODAY, 1965 (play) ANGELO HERDNON-JONES, 1966 (play) MOTHER AND CHILD, 1966 (play) OUTSHINES THE SUN, 1966 (play) TROUBLE WITH ANGELS, 1966 (play) THE PANTHER AND THE LASH, 1967 BLACK MAGIC, 1967 (with Milton Meltzer) BLACK MISERY, 1969 GOOD MORNING REVOLUTION, 1973 THE COLLECTED POEMS OF LANGSTON HUGHES, 1994 THE PASTEBOARD BANDIT, 1997 ( illustrated by Peggy Turley) COLLECTED WORKS OF LANGSTON HUGHES, 2001-2002 (18 vols.)

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