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Contents: The Adventures of Huckleberry Finn (novel by Mark Twain); from Life on the Mississippi (fiction by Mark Twain); The Negro Speaks of Rivers (poem by Langston Hughes); Narrative of Daniel Fisher (autobiography by Daniel Fisher); Three Days of Forest, A River, Free (poem by Rita Dove); The Outlaws (short story by Selma Lagerlof); from Nine Pounds of Luggage (autobiography by Maud Parrish); Freedom (poem by William Stafford); and from Mississippi Solo (travel narrative by Eddy Harris).
Langston Hughes's stories about Jesse B. Simple--first composed for a weekly column in the Chicago Defender and then collected in Simple Speaks His Mind, Simple Takes a Wife, and Simple Stakes a Claim--have been read and loved by hundreds of thousands of readers. In The Best of Simple, the author picked his favorites from these earlier volumes, stories that not only have proved popular but are now part of a great and growing literary tradition. Simple might be considered an Everyman for black Americans. Hughes himself wrote: "...these tales are about a great many people--although they are stories about no specific persons as such. But it is impossible to live in Harlem and not know at least a hundred Simples, fifty Joyces, twenty-five Zaritas, and several Cousin Minnies--or reasonable facsimiles thereof." As Arnold Rampersad has written, Simple is "one of the most memorable and winning characters in the annals of American literature, justly regarded as one of Hughes's most inspired creations."
This collection of 47 stories covers a period of Black American writing that spans almost 70 years.
Illus. in black-and-white. This classic collection of poetry is available in a handsome new gift edition that includes seven additional poems written after The Dream Keeper was first published. In a larger format, featuring Brian Pinkney's scratchboard art on every spread, Hughes's inspirational message to young people is as relevant today as it was in 1932.From the Trade Paperback edition.
Langston Hughes vividly recalls the most dramatic and intimate moments of his life in the turbulent 1930s. His wanderlust leads him to Cuba, Haiti, Russia, Soviet Central Asia, Japan, Spain (during its Civil War), through dictatorships, wars, revolutions. He meets and brings to life the famous and the humble, from Arthur Koestler to Emma, the Black Mammy of Moscow. It is the continuously amusing, wise revelation of an American writer journeying around the often strange and always exciting world he loves.
Langston Hughes is best known as a poet, a key figure in the Harlem Renaissance of the 1920s and '30s, and one of the first literary artists to realistically portray black American life. Hughes's immense talent, literary output, and social influence, however, extend far beyond the limited stereotype of him as "the bard of Harlem." In this meticulously researched volume, Faith Berry treats Hughes in the context of his time--as "one of the most prolific and versatile American writers of his generation" and a true man of letters. Concentrating on Hughes's development before he moved to Harlem in the 1940s, Berry focuses on the major influences that shaped his life and career--from his rootless childhood and early "addiction" to reading to his world travels (including journeys to Africa, Europe, and the Soviet Union) and relationships with other prominent American intellectuals. A portrait emerges of a shy, self-effacing man who, despite considerable hardship, never lost his determination or his vision of a more just world, and who overcame the racism of his day to become a poet, playwright, translator, librettist, author, and social activist of international stature.
The poems collected here offer a hopeful, truly democratic vision for America. Incantatory and stirring, passionate and provocative, they are as resonant for our times as they were over half a century ago.
Langston Hughes's spare yet eloquent tribute to his people has been cherished for generations. Langston Hughes (1902-1967) is one of America's most beloved and cherished chroniclers of the black experience. Best known for his work during the Harlem Renaissance, Hughes's work was consistently groundbreaking throughout his forty-six year career.
Hughes has long been acknowledged as the voice of the Harlem Renaissance, and this poem is considered the movement's song. Artist Lewis acts as interpreter and visionary, using watercolor to pay tribute to Hughes's timeless anthem, a poem that every child deserves to know.
A leading figure of the Harlem Renaissance, poet Hughes wrote only one novel - but it is an incredibly powerful and moving work. This 1930s coming-of-age tale, which unfolds amid an African-American family in rural Kansas, explores the dilemmas of life in racially divided society.
I am the American heartbreak--The rock on which FreedomStumped its toe--The great mistake That Jamestown madeLong ago.-- Langston Hughes, "American Heartbreak" From the publication of his first book in 1926, Langston Hughes was America's acknowledged poet of color, the first to commemorate the experience--and suffering--of African Americans in a voice that no reader, black or white, could fail to hear. In this, his last collection of verse, Hughes's voice is more pointed than ever before, as he explicitly addresses the racial politics of the sixties in such pieces as "Prime," "Motto," "Dream Deferred," "Frederick Douglass: 1817-1895," "Still Here," "Birmingham Sunday," "History," "Slave," "Warning," and "Daybreak in Alabama." Sometimes ironic, sometimes bitter, always powerful, the poems in The Panther and the Lash are the last testament of a great American writer who grappled fearlessly and artfully with the most compelling issues of his time.
From the publication of his first book in 1926, Langston Hughes was America's acknowledged poet of color, the first to commemorate the experience--and suffering--of African-Americans in a voice that no reader, black or white, could fail to hear. In this, his last collection of verse, Hughes's voice is more pointed than ever before, as he explicitly addresses the racial politics of the sixties in such pieces as "Prime," "Motto," "Dream Deferred," "Frederick Douglas: 1817-1895," "Still Here," "Birmingham Sunday." " History," "Slave," "Warning," and "Daybreak in Alabama." Sometimes Ironic, sometimes bitter, always powerful, the poems in The Panther and the Lash are the last testament of a great American writer who grappled fearlessly and artfully with the most compelling issues of his time.
This is the first comprehensive selection from the correspondence of the iconic and beloved Langston Hughes. It offers a life in letters that showcases his many struggles as well as his memorable achievements. Arranged by decade and linked by expert commentary, the volume guides us through Hughes's journey in all its aspects: personal, political, practical, and--above all--literary. His letters range from those written to family members, notably his father (who opposed Langston's literary ambitions), and to friends, fellow artists, critics, and readers who sought him out by mail. These figures include personalities such as Carl Van Vechten, Blanche Knopf, Zora Neale Hurston, Arna Bontemps, Vachel Lindsay, Ezra Pound, Richard Wright, Kurt Weill, Carl Sandburg, Gwendolyn Brooks, James Baldwin, Martin Luther King, Jr., Alice Walker, Amiri Baraka, and Muhammad Ali. The letters tell the story of a determined poet precociously finding his mature voice; struggling to realize his literary goals in an environment generally hostile to blacks; reaching out bravely to the young and challenging them to aspire beyond the bonds of segregation; using his artistic prestige to serve the disenfranchised and the cause of social justice; irrepressibly laughing at the world despite its quirks and humiliations. Venturing bravely on what he called the "big sea" of life, Hughes made his way forward always aware that his only hope of self-fulfillment and a sense of personal integrity lay in diligently pursuing his literary vocation. Hughes's voice in these pages, enhanced by photographs and quotations from his poetry, allows us to know him intimately and gives us an unusually rich picture of this generous, visionary, gratifyingly good man who was also a genius of modern American letters.From the Hardcover edition.
With the publication of his first book of poems, The Weary Blues, in 1926, Langston Hughes electrified readers and launched a renaissance in black writing in America. The poems Hughes wrote celebrated the experience of invisible men and women: of slaves who "rushed the boots of Washington"; of musicians on Lenox Avenue; of the poor and the lovesick; of losers in "the raffle of night." They conveyed that experience in a voice that blended the spoken with the sung, that turned poetic lines into the phrases of jazz and blues, and that ripped through the curtain separating high from popular culture. They spanned the range from the lyric to the polemic, ringing out "wonder and pain and terror-- and the marrow of the bone of life."The poems in this collection were chosen by Hughes himself shortly before his death in 1967 and represent work from his entire career, including "The Negro Speaks of Rivers," "The Weary Blues," "Still Here," "Song for a Dark Girl," "Montage of a Dream Deferred," and "Refugee in America." It gives us a poet of extraordinary range, directness, and stylistic virtuosity.From the Trade Paperback edition.
This collection of forty-seven stories written between 1919 and 1963--the most comprehensive available--showcases Langston Hughes's literary blossoming and the development of his personal and artistic concerns. Many of the stories assembled here have long been out of print, and others never before collected. These poignant, witty, angry, and deeply poetic stories demonstrate Hughes's uncanny gift for elucidating the most vexing questions of American race relations and human nature in general.
Finally available in trade paperback, Langston Hughes's breezy parable of good and evil, friendship and betrayal, is an unforgettable portrait of 1950s Harlem and two women called to the pulpit for very different reasons.For every bustling jazz joint that opened in Korean War-era Harlem, a new church seemed to spring up. Tambourines to Glory introduces you to an unlikely team behind a church whose rock was the curb at 126th and Lenox.Essie Belle Johnson and Laura Reed live in adjoining tenement flats, adrift on public relief. Essie wants to somehow earn enough money to reunite with her daughter and provide her with a nice home; Laura loves young men, mink coats, and fine Scotch. On a day of inspiration, the friends decide to use a thrift-store tambourine and a layaway Bible to start a church.Their sidewalk services are a hit: Laura's a natural street performer who loves the limelight, while Essie is a charismatic singer with a quiet spirituality. Before long they move to a thousand-seat theatre called the Tambourine Temple. The two women are joined in their ministering by Birdie Lee, the little-old-lady trap drummer who can work the congregation to a feverish pitch, and Deacon Crow-For-Day, an impassioned confessor.But then Laura falls for Buddy, a scam artist who suggests selling to the faithful lucky numbers from Scripture and bottles of tap water as "Holy Water from the Jordan." Even with a Cadillac and piles of money from Laura, Buddy won't stay faithful, igniting a crime of passion and betrayal.Harlem Moon Classics is proud to reintroduce readers of all generations to this sparkling gem from the canon of Langston Hughes.
In these acrid and poignant stories, Hughes depicted black people colliding--sometimes humorously, more often tragically--with whites in the 1920s and '30s.From the Trade Paperback edition.
In these acrid and poignant stories, Hughes depicted black people colliding--sometimes humorously, more often tragically--with whites in the 1920s and '30s.
Nearly ninety years after its first publication, this celebratory edition of The Weary Blues reminds us of the stunning achievement of Langston Hughes, who was just twenty-four at its first appearance. Beginning with the opening "Proem" (prologue poem)--"I am a Negro: / Black as the night is black, / Black like the depths of my Africa"--Hughes spoke directly, intimately, and powerfully of the experiences of African Americans at a time when their voices were newly being heard in our literature. As the legendary Carl Van Vechten wrote in a brief introduction to the original 1926 edition, "His cabaret songs throb with the true jazz rhythm; his sea-pieces ache with a calm, melancholy lyricism; he cries bitterly from the heart of his race . . . Always, however, his stanzas are subjective, personal," and, he concludes, they are the expression of "an essentially sensitive and subtly illusive nature." That illusive nature darts among these early lines and begins to reveal itself, with precocious confidence and clarity. In a new introduction to the work, the poet and editor Kevin Young suggests that Hughes from this very first moment is "celebrating, critiquing, and completing the American dream," and that he manages to take Walt Whitman's American "I" and write himself into it. We find here not only such classics as "The Negro Speaks of Rivers" and the great twentieth-century anthem that begins "I, too, sing America," but also the poet's shorter lyrics and fancies, which dream just as deeply. "Bring me all of your / Heart melodies," the young Hughes offers, "That I may wrap them / In a blue cloud-cloth / Away from the too-rough fingers / Of the world."From the Hardcover edition.
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