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February 1, 2002 marks the 100th birthday of Langston Hughes. To commemorate the centennial of his birth, Arnold Rampersad has contributed new Afterwords to both volumes of his highly-praised biography of this most extraordinary and prolific American writer. The second volume in this masterful ...

February 1, 2002 marks the 100th birthday of Langston Hughes. To commemorate the centennial of his birth, Arnold Rampersad has contributed new Afterwords to both volumes of his highly-praised biography of this most extraordinary and prolific American writer. The second volume in this masterful biography finds Hughes rooting himself in Harlem, receiving stimulation from his rich cultural surroundings. Here he rethought his view of art and radicalism, and cultivated relationships with younger, more militant writers such as Richard Wright, Ralph Ellison, James Baldwin, and Amiri Bakara. Rampersad's Afterword to volume two looks further into his influence and how it expanded beyond the literary as a result of his love of jazz and blues, his opera and musical theater collaborations, and his participation in radio and television. In addition, Rempersad explores the controversial matter of Hughes's sexuality and the possibility that, despite a lack of clear evidence, Hughes was homosexual. Exhaustively researched in archival collections throughout the country, especially in the Langston Hughes papers at Yale University's Beinecke Library, and featuring fifty illustrations per volume, this anniversary edition will offer a new generation of readers entrance to the life and mind of one of the twentieth century's greatest artists.

Though known primarily as a poet, Langston Hughes crafted well over 40 theatrical works. This book examines Hughes's stage pieces from his first published play, The Gold Piece (1921), through his post-radical wartime effort, For This We Fight (1943). Hughes's stage writing of this period includes ...

Though known primarily as a poet, Langston Hughes crafted well over 40 theatrical works. This book examines Hughes's stage pieces from his first published play, The Gold Piece (1921), through his post-radical wartime effort, For This We Fight (1943). Hughes's stage writing of this period includes such forms as the folk comedy, the protest drama, the historical play and the blues opera. McLaren concludes that the "democratic" argument is ultimately employed by Hughes to challenge segregation in the military and that Hughes's iconography prefigures the black aesthetic of the 1960s. Photographs complement the text.

Langston Hughes has been an inspiration to generations of readers and writers seeking a passionate, intelligent, and socially responsible art. In this volume, Steven C. Tracy has gathered a broad range of critics to produce an interdisciplinary approach to the important historical and cultural ...

Langston Hughes has been an inspiration to generations of readers and writers seeking a passionate, intelligent, and socially responsible art. In this volume, Steven C. Tracy has gathered a broad range of critics to produce an interdisciplinary approach to the important historical and cultural elements reflected in Hughes's work. Their essays, all previously unpublished, place Hughes in the context of Harlem, his preferred geographical and spiritual home base, as well as the larger political, social, musical, and artistic milieu of his rapidly changing times. They examine Hughes's negotiation of his own moral and ethical ground in a complex, sometimes hostile world, and demonstrate the remarkable triumph of a sensitive, creative human being who refused to be overwhelmed by the forces of discrimination, pessimism, and bitterness that claimed so many writers of his generation. This volume, with its historical essays, brief biography, and illustrated chronology, provides a concise yet authoritative portrait of one of America's and the world's most beloved writers.