About the Author
of 
HARVEST
Langston Hughes"Sing
me a song of the Revolution
Marching like fire over the world,
Weaving from the earth its bright red banner
For the hands of the masses to unfurl."
-Langston Hughes, 1933
Many people know Langston Hughes
as a brilliant poet and a giant of the Harlem Renaissance. But most
people are totally unaware that throughout the 1930s and on into the 1940s,
the vast majority of Langston Hughes' poems, plays, and shorts stories openly
advocated revolution, unionism, and socialism. Even in the decades after
Hughes' had very consciously broken his ties with the political left, he
continued to author daring poems and plays that beautifully articulated the
struggle for human dignity and disgust for the evils of racial oppression.
Each Black History Month, social studies teachers
across the country pin up cardboard images of Langston Hughes at the front of
the classroom portraying him as little more than a toothless,
mainstream-approved icon of racial pride and artistic ability. But we at
Subversive Theatre feel this two-dimensional interpretation of Hughes' life
and work is an outrage. We are proud to do our small part to help keep
alive the full depth of Hughes' vision, courage, and genius by highlighting
the social and political significance of his work.
For that reason, we're including the following
biographical overview of Hughes' life and work. Of particular interest
in the material below, the section "Political Views" speaks
very directly to some of the more controversial issues in his poetry as well
as some of his more overtly radical political activity.
James
Mercer Langston Hughes, (February 1, 1902 – May 22, 1967) was an
American poet, novelist, playwright, short story writer, and columnist. He was
one of the earliest innovators of the new literary art form jazz poetry.
Hughes is best-known for his work during the Harlem Renaissance. He is also
best known for what he wrote about the Harlem Renaissance, "Harlem was in
vogue."
Contents
1 Biography
1.1 Ancestry and childhood
1.2 Relationship with father and Columbia
1.3 Adulthood
1.4 Death
2 Career
2.1 1920s
2.2 1930s
2.3 1940s
2.4 1950s and 1960s
3 Recognition and honors
4 Political views
5 Stage and film depictions
6 Literary archives
7 Bibliography
7.1 Poetry
7.2 Fiction
7.3 Non-fiction
7.4 Major plays
7.5 Works for children
7.6 Other
 Ancestry
and childhood
Langston
Hughes was born in Joplin, Missouri, the second child of school teacher Carrie
(Caroline) Mercer Langston and her husband James Nathaniel Hughes (1871-1934).
Both parents were mixed-race, and Langston Hughes was of African American,
European American and Native American descent. He grew up in a series of
Midwestern small towns. Both his paternal great-grandmothers were African
American, and both his paternal great-grandfathers were white: one of Scottish
and one of Jewish descent
Hughes
was named after both his father and his great-uncle, John Mercer Langston who,
in 1888, became the first black to be elected to the United States Congress
from Virginia. Hughes' maternal grandmother Mary Patterson was of African
American, French, English and Native American descent. One of the first women
to attend Oberlin College, she first married Lewis Sheridan Leary, also of
mixed race. He joined the men in John Brown's Raid on Harper's Ferry in 1859
and died from his wounds.
In
1869 Mary Patterson Leary married again, into the elite, politically active
Langston family. Her second husband was Charles Henry Langston, of African
American, Native American, and Euro-American ancestry. He and his younger
brother John Mercer Langston worked for the abolitionist cause and helped lead
the Ohio Anti-Slavery Society in 1858.
Charles
Langston later moved to Kansas where he was active as an educator and activist
for voting and rights for African Americans. Charles and Mary's daughter
Caroline Mercer Langston was the mother of Langston Hughes.
Hughes'
father left his family and later divorced Carrie. He went to Cuba, and then
Mexico, seeking to escape the enduring racism in the United States. After the
separation of his parents, while his mother travelled seeking employment,
young Langston was raised mainly by his maternal grandmother Mary Patterson
Langston in Lawrence, Kansas. Through the black American oral tradition and
drawing from the activist experiences of her generation, Mary Langston
instilled in the young Langston Hughes a lasting sense of racial pride. He
spent most of childhood in Lawrence, Kansas. After the death of his
grandmother, he went to live with family friends, James and Mary Reed, for two
years. Because of the unstable early life, his childhood was not an entirely
happy one, but it was one that heavily influenced the poet he would become.
Later, Hughes lived again with his mother Carrie in Lincoln, Illinois, who had
remarried when he was still an adolescent, and eventually in Cleveland, Ohio,
where he attended high school. The Hughes' home in Cleveland was sold in
foreclosure in 1918; the 2.5-story, wood-frame house on the city's east side
was sold at a sheriff's auction in February for $16,667.
While
in grammar school in Lincoln, Illinois, Hughes was elected class poet. Hughes
stated in retrospect he thought it was because of the stereotype that African
Americans have rhythm. "I was a victim of a stereotype. There were only
two of us Negro kids in the whole class and our English teacher was always
stressing the importance of rhythm in poetry. Well, everyone knows — except
us — that all Negroes have rhythm, so they elected me as class poet."
During high school in Cleveland, Ohio, he wrote for the school newspaper,
edited the yearbook, and began to write his first short stories, poetry, and
dramatic plays. His first piece of jazz poetry, "'When Sue Wears
Red", was written while he was still in high school. It was during this
time that he discovered his love of books. From this early period in his life,
Hughes would cite as influences on his poetry the American poets Paul Laurence
Dunbar and Carl Sandburg.
Relationship with father and Columbia
Langston
Hughes, 1923Hughes had a very poor relationship with his father. He lived with
his father in Mexico for a brief period in 1919. Upon graduating from high
school in June 1920, Hughes returned to live with his father, hoping to
convince him to provide money to attend Columbia University. Hughes later said
that, prior to arriving in Mexico again:
“I
had been thinking about my father and his strange dislike of his own people. I
didn't understand it, because I was a Negro, and I liked Negroes very much.
”
Initially,
his father had hoped for Hughes to attend a university abroad, and to study
for a career in engineering. On these grounds, he was willing to provide
financial assistance to his son. James Hughes did not support his son's desire
to be a writer. Eventually, Langston and his father came to a compromise.
Langston would study engineering, so long as he could attend Columbia. His
tuition provided, Hughes left his father after more than a year of living with
him. While at Columbia in 1921, Hughes managed to maintain a B+ grade average.
He left in 1922 because of racial prejudice within the institution, and his
interests revolved more around the neighborhood of Harlem than his studies,
though he continued writing poetry.
 Adulthood
Langston
Hughes while attending Lincoln University, Hughes worked various odd jobs,
before serving a brief tenure as a crewman aboard the S.S. Malone in 1923,
spending six months traveling to West Africa and Europe. In Europe, Hughes
left the S.S. Malone for a temporary stay in Paris.
During
his time in England in the early 1920s, Hughes became part of the black
expatriate community. In November 1924, Hughes returned to the U.S. to live
with his mother in Washington, D.C. Hughes again found work doing various odd
jobs before gaining white-collar employment in 1925 as a personal assistant to
the historian Carter G. Woodson at the Association for the Study of African
American Life and History. Not satisfied with the demands of the work and its
time constraints that limited his writing, Hughes quit to work as a busboy in
a hotel. It was while working as a busboy that Hughes would encounter the poet
Vachel Lindsay. Impressed with the poems Hughes showed him, Lindsay publicized
his discovery of a new black poet. By this time, Hughes' earlier work had
already been published in magazines and was about to be collected into his
first book of poetry.
The
following year, Hughes enrolled in Lincoln University, a historically black
university in Chester County, Pennsylvania. There he became a member of the
Omega Psi Phi Fraternity, a black fraternal organization founded at Howard
University in Washington, D.C. Thurgood Marshall, who later became an
Associate Justice of the Supreme Court of the United States, was an alumnus
and classmate of Langston Hughes during his undergraduate studies at Lincoln
University.
Hughes
earned a B.A. degree from Lincoln University in 1929. He then moved to New
York. Except for travels to areas that included parts of the Caribbean, Hughes
lived in Harlem as his primary home for the remainder of his life.
Former
residence of Langston Hughes in the Dupont Circle neighborhood of Washington,
D.C.Some academics and biographers today believe that Hughes was a homosexual
and included homosexual codes in many of his poems, similar in manner to Walt
Whitman, whose work Hughes cited as another influence on his poetry. Hughes'
story "Blessed Assurance" deals with a father's anger over his son's
effeminacy and queerness. To retain the respect and support of black churches
and organizations and avoid exacerbating his precarious financial situation,
Hughes remained closeted.
Arnold
Rampersad, the primary biographer of Hughes, determined that Hughes exhibited
a preference for other African-American men in his work and life. However,
Rampersad denies Hughes' homosexuality in his biography as well. Rampersad
comes to the conclusion that Hughes was probably asexual and passive in his
sexual relationships. He did, however show a respect and love for his fellow
white man (and woman). Still, others argue for Hughes' homosexuality: his love
of black men is evidenced in a number of reported unpublished poems to an
alleged black male lover.
Death
On
May 22, 1967, Langston Hughes died from complications after abdominal surgery,
related to prostate cancer, at the age of 65. His ashes are interred beneath a
floor medallion in the middle of the foyer leading to the auditorium named for
him within the Arthur Schomburg Center for Research in Black Culture in
Harlem. The design on the floor covering his cremated remains is an African
cosmogram titled Rivers. The title is taken from the poem The Negro Speaks of
Rivers by Hughes. Within the center of the cosmogram and precisely above the
ashes of Hughes are the words My soul has grown deep like the rivers.
The
Langston Hughes Memorial Library on the campus of Lincoln University, as well
as at the James Weldon Johnson Collection within the Yale University Beinecke
Rare Book and Manuscript Library.
Career
1920s
Langston Hughes, The Weary Blues, 1926First
published in The Crisis in 1921, the verse that would become Hughes' signature
poem, "The Negro Speaks of Rivers", appeared in his first book of
poetry The Weary Blues in 1926:
I've
known rivers:
I've
known rivers ancient as the world and older than the
flow of human blood in human veins.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I danced in the Nile when I was old
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I
heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I've seen its muddy
bosom turn all golden in the sunset.
I've
known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
Hughes'
life and work were enormously influential during the Harlem Renaissance of the
1920s alongside those of his contemporaries, Zora Neale Hurston, Wallace
Thurman, Claude McKay, Countee Cullen, Richard Bruce Nugent, and Aaron
Douglas, who, collectively (with the exception of McKay), created the
short-lived magazine Fire!! Devoted to Younger Negro Artists.
Hughes
and his contemporaries were often in conflict with the goals and aspirations
of the black middle class, and of those considered to be the midwives of the
Harlem Renaissance, W. E. B. Du Bois, Jessie Redmon Fauset, and Alain LeRoy
Locke, whom they accused of being overly fulsome in accommodating and
assimilating Eurocentric values and culture for social equality. A primary
expression of this conflict was the former's depiction of the
"low-life", that is, the real lives of blacks in the lower
social-economic strata and the superficial divisions and prejudices based on
skin color within the black community. Hughes wrote what would be considered
the manifesto for him and his contemporaries published in The Nation in 1926,
The Negro Artist and the Racial Mountain:
The
younger Negro artists who create now intend to express
our individual dark-skinned selves without fear or shame.
If white people are pleased we are glad. If they are not,
it doesn't matter. We know we are beautiful. And ugly, too.
The tom-tom cries, and the tom-tom laughs. If colored people
are pleased we are glad. If they are not, their displeasure
doesn't matter either. We build our temples for tomorrow,
strong as we know how, and we stand on top of the mountain
free within ourselves.
Hughes
was unashamedly black at a time when blackness was démodé, and he didn’t
go much beyond the themes of black is beautiful as he explored the black human
condition in a variety of depths. His main concern was the uplift of his
people, of whom he judged himself the adequate appreciator, and whose
strengths, resiliency, courage, and humor he wanted to record as part of the
general American experience. Thus, his poetry and fiction centered generally
on insightful views of the working class lives of blacks in America, lives he
portrayed as full of struggle, joy, laughter, and music. Permeating his work
is pride in the African American identity and its diverse culture. "My
seeking has been to explain and illuminate the Negro condition in America and
obliquely that of all human kind," Hughes is quoted as saying. Therefore,
in his work he confronted racial stereotypes, protested social conditions, and
expanded African America’s image of itself; a “people’s poet” who
sought to reeducate both audience and artist by lifting the theory of the
black aesthetic into reality. An expression of this is the poem My People:
Langston
Hughes, Charles S. Johnson, E. Franklin Frazier, Rudolph Fisher, & Hubert
Delany. African American writers influenced the Négritude movement in France.
Hughes, W. E. B. Du Bois, and Claude Mckay were the most influential.
The
night is beautiful,
So the faces of my people.
The
stars are beautiful,
So the eyes of my people
Beautiful,
also, is the sun.
Beautiful, also, are the souls of my people.
Moreover,
Hughes stressed the importance of a racial consciousness and cultural
nationalism devoid of self-hate that united people of African descent and
Africa across the globe and encouraged pride in their own diverse black folk
culture and black aesthetic. Langston Hughes was one of the few black writers
of any consequence to champion racial consciousness as a source of inspiration
for black artists. His African-American race consciousness and cultural
nationalism would influence many foreign black writers, such as Jacques
Roumain, Nicolás Guillén, Léopold Sédar Senghor, and Aimé Césaire. With
Senghor and Césaire and other French-speaking writers of Africa and of
African descent from the Caribbean like René Maran from Martinique and Léon
Damas from French Guiana in South America, the works of Hughes helped to
inspire the concept that became the Négritude movement in France where a
radical black self-examination was emphasized in the face of European
colonialism. Langston Hughes was not only a role model for his calls for black
racial pride instead of assimilation, but the most important technical
influence in his emphasis on folk and jazz rhythms as the basis of his poetry
of racial pride.
1930s
In
1930, his first novel, Not Without Laughter, won the Harmon Gold Medal for
literature. The protagonist of the story is a boy named Sandy whose family
must deal with a variety of struggles imposed upon them due to their race and
class in society in addition to relating to one another. Hughes's first
collection of short stories came in 1934 with The Ways of White Folks. These
stories provided a series of vignettes revealing the humorous and tragic
interactions between whites and blacks. Overall, these stories are marked by a
general pessimism about race relations, as well as a sardonic realism. He
received a Guggenheim Fellowship in 1935.
1940s
The
same year Hughes established his theater troupe in Los Angeles, his ambition
to write for the movies materialized when he co-wrote the screenplay for Way
Down South. Further hopes by Hughes to write for the lucrative movie trade
were thwarted because of racial discrimination within the industry. Through
the black publication Chicago Defender, Hughes in 1943 gave creative birth to
Jesse B. Semple, often referred to and spelled Simple, the everyday black man
in Harlem who offered musings on topical issues of the day. He received offers
to teach at a number of colleges, but seldom did. In 1947, Hughes taught at
Atlanta University. Hughes, in 1949, spent three months at University of
Chicago Laboratory Schools as a visiting lecturer. He wrote novels, short
stories, plays, poetry, operas, essays, works for children, and, with the
encouragement of his best friend and writer, Arna Bontemps, and patron and
friend, Carl Van Vechten, two autobiographies, The Big Sea and I Wonder as I
Wander, as well as translating several works of literature into English.
1950s and 1960s
During
the mid-1950s and -1960s, Hughes' popularity among the younger generation of
black writers varied as his reputation increased worldwide. With the gradual
advancement toward racial integration, many black writers considered his
writings of black pride and its corresponding subject matter out of date. They
considered him a racial chauvinist. He in turn found a number of writers like
James Baldwin lacking in this same pride, over-intellectualizing in their
work, and occasionally vulgar.
Hughes
wanted young black writers to be objective about their race, but not to scorn
it or flee it. He understood the main points of the Black Power movement of
the 1960s, but believed that some of the younger black writers who supported
it were too angry in their work. Hughes's posthumously published Panther and
the Lash in 1967 was intended to show solidarity and understanding with these
writers, but with more skill and devoid of the most virile anger and terse
racial chauvinism some showed toward whites. Hughes still continued to have
admirers among the larger younger generation of black writers, whom he often
helped by offering advice and introducing them to other influential persons in
the literature and publishing communities. This latter group, including Alice
Walker, whom Hughes discovered, looked upon Hughes as a hero and an example to
be emulated in degrees and tones within their own work. One of these young
black writers observed of Hughes, "Langston set a tone, a standard of
brotherhood and friendship and cooperation, for all of us to follow. You never
got from him, 'I am the Negro writer,' but only 'I am a Negro writer.' He
never stopped thinking about the rest of us."
 Recognition
and honors
In
1943, Lincoln University awarded Hughes an honorary Litt.D.
In
1960, the NAACP awarded Hughes the Spingarn Medal for distinguished
achievements by an African American.
1961
- Hughes was inducted into the National Institute of Arts and Letters.
1963
- Howard University awarded Hughes an honorary doctorate.
In
1973, the first Langston Hughes Medal was awarded by the City College of New
York.
In
1981, New York City Landmark status was given to the Harlem home of Langston
Hughes at 20 East 127th Street by the New York City Landmarks Preservation
Commission and 127th St. was renamed Langston Hughes Place.
On
February 1, 2002, The United States Postal Service added the image of Langston
Hughes to its Black Heritage series of postage stamps.
In
2002, scholar Molefi Kete Asante listed Langston Hughes on his list of 100
Greatest African Americans.
In
1979, Langston Hughes Middle School was created in Reston, Virginia.
 Political
views
Hughes,
like many black writers and artists of his time, was drawn to the promise of
Communism as an alternative to a segregated America. Many of his lesser-known
political writings have been collected in two volumes published by the
University of Missouri Press and reflect his attraction to Communism. An
example is the poem "A New Song":[60]
I
speak in the name of the black millions
Awakening to action.
Let all others keep silent a moment
I have this word to bring,
This thing to say,
This song to sing:
Bitter
was the day
When I bowed my back
Beneath the slaver's whip.
That
day is past.
Bitter
was the day
When I saw my children unschooled,
My young men without a voice in the world,
My women taken as the body-toys
Of a thieving people.
That
day is past.
Bitter
was the day, I say,
When the lyncher's rope
Hung about my neck,
And the fire scorched my feet,
And the oppressors had no pity,
And only in the sorrow songs
Relief was found.
That
day is past.
I
know full well now
Only my own hands,
Dark as the earth,
Can make my earth-dark body free.
O
thieves, exploiters, killers,
No longer shall you say
With arrogant eyes and scornful lips:
"You are my servant,
Black man-
I, the free!"
That
day is past-
For
now,
In many mouths-
Dark mouths where red tongues burn
And white teeth gleam-
New words are formed,
Bitter
With the past
But sweet
With the dream.
Tense,
Unyielding,
Strong and sure,
They
sweep the earth-
Revolt!
Arise!
The
Black
And White World
Shall be one!
The
Worker's World!
The
past is done!
A
new dream flames
Against the
Sun!
In
1932, Hughes became part of a group of blacks who went to the Soviet Union to
make a film depicting the plight of African Americans in the United States.
The film was never made, but Hughes was given the opportunity to travel
extensively through the Soviet Union and to the Soviet-controlled regions in
Central Asia, the latter parts usually closed to Westerners. While there, he
met African-American Robert Robinson, living in Moscow and unable to leave. In
Turkmenistan, Hughes met and befriended the Hungarian polymath Arthur Koestler.
Hughes also managed to travel to China and Japan before returning to the
States.
Hughes'
poetry was frequently published in the CPUSA newspaper and he was involved in
initiatives supported by Communist organizations, such as the drive to free
the Scottsboro Boys. Partly as a show of support for the Republican faction
during the Spanish Civil War, in 1937 Hughes traveled to Spain as a
correspondent for the Baltimore Afro-American and other various
African-American newspapers. Hughes was also involved in other Communist-led
organizations like the John Reed Clubs and the League of Struggle for Negro
Rights. He was more of a sympathizer than an active participant. He signed a
statement in 1938 supporting Joseph Stalin's purges and joined the American
Peace Mobilization in 1940 working to keep the U.S. from participating in
World War II.
Hughes
initially did not favor black American involvement in the war because of the
persistence of discriminatory U.S. Jim Crow laws existing while blacks were
encouraged to fight against Fascism and the Axis powers. He came to support
the war effort and black American involvement in it after deciding that blacks
would also be contributing to their struggle for civil rights at home.
Hughes
was accused of being a Communist by many on the political right, but he always
denied it. When asked why he never joined the Communist Party, he wrote
"it was based on strict discipline and the acceptance of directives that
I, as a writer, did not wish to accept." In 1953, he was called before
the Senate Permanent Subcommittee on Investigations led by Senator Joseph
McCarthy. Following his appearance, he distanced himself from Communism and
was subsequently rebuked by some who had previously supported him on the
Radical Left. Over time, Hughes would distance himself from his most radical
poems. In 1959 his collection of Selected Poems was published. He excluded his
most controversial work from this group of poems.
Stage and film depictions
Hughes'
life has been depicted in many stage and film productions. Hannibal of the
Alps by Michael Dinwiddie and Paper Armor by Eisa Davis are plays by
African-American playwrights which deal with Hughes' sexuality. In the 1989
film, Looking for Langston, British filmmaker Isaac Julien claimed Hughes as a
black gay icon — Julien thought that Hughes' sexuality had historically been
ignored or downplayed. In the film Get on the Bus, directed by Spike Lee, a
black gay character, played by Isaiah Washington, invokes the name of Hughes
and punches a homophobic character while commenting, "This is for James
Baldwin and Langston Hughes." Film portrayals of Hughes include Gary
LeRoi Gray's role as a teenage Hughes in the 2003 short subject film Salvation
(based on a portion of his autobiography The Big Sea) and Daniel Sunjata as
Hughes in the 2004 film Brother to Brother. Hughes' Dream Harlem, a
documentary by Jamal Joseph, examines Hughes' works and environment.
Literary archives
The
Beinecke Rare Book and Manuscript Library at Yale University holds the
Langston Hughes papers (1862-1980) and the Langston Hughes collection
(1924-1969) containing letters, manuscripts, personal items, photographs,
clippings, artworks, and objects that document the life of Hughes.
Bibliography
Poetry
The
Weary Blues, Knopf, 1926
Fine Clothes to the Jew, Knopf, 1927
The Negro Mother and Other Dramatic Recitations, 1931
Dear Lovely Death, 1931
The Dream Keeper and Other Poems, Knopf, 1932
Scottsboro Limited: Four Poems and a Play, Golden Stair Press, N.Y., 1932
Let America Be America Again, 1938
Shakespeare in Harlem, Knopf, 1942
Freedom's Plow, 1943
Fields of Wonder, Knopf, 1947
One-Way Ticket, 1949
Montage of a Dream Deferred, Holt, 1951
Selected Poems of Langston Hughes, 1958
Ask Your Mama: 12 Moods for Jazz, Hill & Wang, 1961
The Panther and the Lash: Poems of Our Times, 1967
The Collected Poems of Langston Hughes, Knopf, 1994
Spring,
2005
Madam and The Rent Man
Thank you, m'am
Mother to son
Dreams
Life Is Fine
Fiction
Not
Without Laughter. Knopf, 1930
The Ways of White Folks. Knopf, 1934
Simple Speaks His Mind. 1950
Laughing to Keep from Crying, Holt, 1952
Simple Takes a Wife. 1953
Sweet Flypaper of Life, photographs by Roy DeCarava. 1955
Simple Stakes a Claim. 1957
Tambourines to Glory (book), 1958
The Best of Simple. 1961
Simple's Uncle Sam. 1965
Something in Common and Other Stories. Hill & Wang, 1963
Short Stories of Langston Hughes. Hill & Wang, 1996
Ardella by Langston Hughes
Negro Speaks of Rivers by Langston Hughes
Non-fiction
The
Big Sea. New York: Knopf, 1940
Famous American Negroes. 1954
Marian Anderson: Famous Concert Singer. 1954
I Wonder as I Wander. New York: Rinehart & Co., 1956
A Pictorial History of the Negro in America, with Milton Meltzer. 1956
Famous Negro Heroes of America. 1958
Fight for Freedom: The Story of the NAACP. 1962
Major
plays
Mule
Bone, with Zora Neale Hurston. 1931
Mulatto. 1935 (renamed The Barrier, an opera, in 1950)
Troubled Island, with William Grant Still. 1936
Little Ham. 1936
Emperor of Haiti. 1936
Don't You Want to be Free? 1938
Street Scene, contributed lyrics. 1947
Tambourines to glory. 1956
Simply Heavenly. 1957
Black Nativity. 1961
Five Plays by Langston Hughes. Bloomington: Indiana University Press, 1963.
Jericho-Jim Crow. 1964
Works
for children
Popo
and Fifina, with Arna Bontemps. 1932
The First Book of the Negroes. 1952
The First Book of Jazz. 1954
The First Book of Rhythms. 1954
The First Book of the West Indies. 1956
First Book of Africa. 1964
Other
The
Langston Hughes Reader. New York: Braziller, 1958.
Good
Morning Revolution: Uncollected Social Protest Writings by Langston Hughes.
Lawrence Hill, 1973.
The
Collected Works of Langston Hughes. Missouri: University of Missouri Press,
2001.
African
Morning
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