The Second Black Renaissance Essays In Black Literature

The elder Hughes came to feel a deep dislike and revulsion for other African-Americans.) Although Hughes had trouble with both black and white critics, he was the first black American to earn his living solely from his writing and public lectures.

“Regrettably, in different poems, he is fatally prone to sympathize with starkly antithetical politics of race,” Lieberman commented. The age demands intellectual commitment from its spokesmen.

A poetry whose chief claim on our attention is moral, rather than aesthetic, must take sides politically.” Hughes’s position in the American literary scene seems to be secure.

He sought to honestly portray the joys and hardships of working-class black lives, avoiding both sentimental idealization and negative stereotypes. Much of Hughes’s early work was roundly criticized by many black intellectuals for portraying what they thought to be an unattractive view of black life.

As he wrote in his essay “The Negro Artist and the Racial Mountain,” “We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame. In his autobiographical characterized me as ‘the poet low- rate of Harlem.’ Others called the book a disgrace to the race, a return to the dialect tradition, and a parading of all our racial defects before the public. The Negro critics and many of the intellectuals were very sensitive about their race in books.

If he seems for the moment upstaged by angrier men, by more complex artists, if ‘different views engage’ us, necessarily, at this trying stage of the race war, he may well outlive them all, and still be there when it’s over. Hughes’ [greatness] seems to derive from his anonymous unity with his people.

He to speak for millions, which is a tricky thing to do.His tales of his troubles with work, women, money, and life in general often reveal, through their very simplicity, the problems of being a poor black man in a racist society.“White folks,” Simple once commented, “is the cause of a lot of inconvenience in my life.” Simple’s musings first appeared in 1942 in “From Here to Yonder,” a column Hughes wrote for the critic who noted Simple’s addressing of such issues as political correctness, children’s rights, and the racist undercurrent behind contraception and sterilization proposals. Dickinson wrote in his that "[the] charm of Simple lies in his uninhibited pursuit of those two universal goals, understanding and security.As David Littlejohn observed in his "On the whole, Hughes’ creative life [was] as full, as varied, and as original as Picasso’s, a joyful, honest monument of a career.There [was] no noticeable sham in it, no pretension, no self-deceit; but a great, great deal of delight and smiling irresistible wit.But long after Baldwin and the rest of us are gone, I suspect Hughes’ poetry will be blatantly around growing in stature until it is recognized for its genius. was unashamedly black at a time when blackness was démodé.He had the wit and intelligence to explore the black human condition in a variety of depths, but his tastes and selectivity were not always accurate, and pressures to survive as a black writer in a white society (and it was a miracle that he did for so long) extracted an enormous creative toll.Simple lived in a world they knew, suffered their pangs, experienced their joys, reasoned in their way, talked their talk, dreamed their dreams, laughed their laughs, voiced their fears—and all the while underneath, he affirmed the wisdom which anchored at the base of their lives.” Hoyt W.Fuller believed that, like Simple, "the key to Langston Hughes … Profound because it was both willed and ineffable, because some intuitive sense even at the beginning of his adulthood taught him that humanity was of the essence and that it existed undiminished in all shapes, sizes, colors and conditions.Fuller commented that Hughes "chose to identify with plain black people …precisely because he saw more truth and profound significance in doing so.

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