Langston Hughes

Stories capturing “the vibrancy of Harlem life, the passions of ordinary black people, and the indignities of everyday racism” by “a great American writer” (Kirkus Reviews). 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 in the decades that preceded the passage of the Civil Rights Act. 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. “[Hughes’s fiction] manifests his ‘wonder at the world.’ As these stories reveal, that wonder has lost little of its shine.” —The Cleveland Plain Dealer

A publishing event: for the first time ever, a glorious comprehensive selection from the correspondence of the canonical African American author-a virtual "life in letters," showcasing his struggles and extraordinary achievement. This unprecedented collection of Langston Hughes's letters is arranged by decades, with helpful interstitial material and notes throughout to guide us through Hughes's journey in all its aspects: literary, personal, political, practical. His correspondents include such luminaries as Carl Van Vechten, Blanche Knopf, Ezra Pound, Countee Cullen, Paul Robeson, and Richard Wright. The letters tell the story of a writer finding his voice; struggling with how to support himself in a literary career; reaching out to students in segregated schools in the South; using his artistic clout in the service of the disenfranchised or wrongly accused; and discovering, above all, that as an African American writer in a segregated America, his only true freedom...

Langston Hughes electrified readers and launched a renaissance in Black writing in America—the poems in this collection were chosen by Hughes himself shortly before his death and represent stunning work from his entire career. 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 collection includes "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.

Langston Hughes's most beloved character comes back to life in this extraordinary collectionLangston Hughes is best known as a poet, but he was also a prolific writer of theater, autobiography, and fiction. None of his creations won the hearts and minds of his readers as did Jesse B. Semple, better known as "Simple. " Simple speaks as an Everyman for African Americans in Uncle Sam's America. With great wit, he expounds on topics as varied as women, Gospel music, and sports heroes--but always keeps one foot planted in the realm of politics and race. In recent years, readers have been able to appreciate Simple's situational humor as well as his poignant questions about social injustice in The Best of Simple and The Return of Simple. Now they can, once again, enjoy the last of Hughes's original Simple books.

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.

<p>Hughes's last collection of poems commemorates the experience of Black Americans in a voice that no reader could fail to hear—the last testament of a great American writer who grappled fearlessly and artfully with the most compelling issues of his time.</p> <p>“Langston Hughes is a titanic figure in 20th-century American literature ... a powerful interpreter of the American experience.” —The Philadelphia InquirerFrom the publication of his first book in 1926, Langston Hughes was America's acknowledged poet of color. Here, Hughes's voice—sometimes ironic, sometimes bitter, always powerful—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.</p> <p>" " History," "Slave," "Warning," and "Daybreak in Alabama.</p> <p>"</p> <p>I am the American heartbreak--<br>The rock on which Freedom<br>Stumped its toe--<br>The great mistake <br>That Jamestown made<br>Long ago.<br>-- Langston Hughes, "American Heartbreak"<br><br>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 <u>The Panther and the Lash</u> are the last testament of a great American writer who grappled fearlessly and artfully with the most compelling issues of his time. <p>I am the American heartbreak--<br>The rock on which Freedom<br>Stumped its toe--<br>The great mistake <br>That Jamestown made<br>Long ago.<br>-- Langston Hughes, "American Heartbreak"<br><br>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 <u>The Panther and the Lash</u> are the last testament of a great American writer who grappled fearlessly and artfully with the most compelling issues of his time.

Collected humorous stories from the iconic American writer’s newspaper column, featuring his most memorable and spirited fictional character. In 1940, Langston Hughes introduced Jesse B. Semple, or “Simple,” to readers in his Chicago Defender column, “From Here to Yonder.” From his familiar perch in a fictional Harlem bar, Simple held forth on a variety of subjects—low wages, interracial marriage, birth control, race riots, the police—then central to black life in urban America. More than fifty years later, Simple’s concerns are, startlingly, still ours, and his voice, ringing with poetic wisdom and humor, reminds us of the rich African American folk tradition Langston Hughes helped to revive. This brilliantly edited collection by Akiba Sullivan Harper brings together the best stories from a number of Simple volumes long out of print and a few never before published. Its feel is so contemporary and relevant to American life one must marvel at Hughes’s ability to pass through the barrier of time. Praise for The Return of Simple“A glorious revelation . . . a chance for fairweather Hughes fans to acquaint themselves with something other than his poems and plays. This is the author as loquacious unleashed social commentator, who—prompted by ‘just one more beer, my friend’—holds up a mirror and shows us the world, which hasn’t changed very much, not in all this time.” —Boston Globe“Hughes’s slices of urban black life belong also to the larger continuum of great American humor, from Mark Twain to Armistead Maupin. Quite simply, an indispensable part of our cultural heritage.” —Kirkus Reviews

<b>A beautiful new edition of this beloved poet's first collection, originally published in 1926 when he was just twenty-four.</b><br><br>From the opening "Proem" (prologue poem) he offers in this first book-"I am a Negro: / Black as night is black, / Black 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 his Knopf editor Carl Van Vechten wrote in a brief introduction to the original 1926 volume, illuminating the potential of this promising young voice, "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,... <p>This celebratory edition of the classic poetry collection reminds us of Hughes's stunning achievement, speaking directly, intimately, and powerfully of Black experiences at a time when Black voices were newly being heard in American literature. • With an introduction by poet Kevin Young.</p> <p>Beginning with the opening “Proem” (prologue poem) Huges writes, “I am a Negro: / Black as the night is black, / Black like the depths of my Africa.</p> <p>"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.</p> <p>In a new introduction to the work, the poet and editor Kevin Young suggests that Hughes, who was 24 at the time of the original publication, 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.”</p>