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LANGSTON
HUGHES, THE HEART OF HARLEM
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In a very real sense, Langston Hughes was the poet
laureate of Harlem during its famous
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Renaissance;
having come there after living in cities such as Paris, he was able to view
Harlem
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against a backdrop of broad experience. His signal contribution
to the Harlem Renaissance was to
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further the development of a poetic
language that recorded the voices he heard around him in all
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their variety. He was
concerned with the Black metropolis—that is, with those elements that
unified
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Black urban communities despite the
differences in the specific places they were found. Returning
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to this theme again and
again, he wrote about Harlem more often and more fully than any other
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poet. As Hughes wrote about himself, “I
live in the heart of Harlem.” He said of its people, “I love the
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color of their language
and, being a Harlemite myself, their problems and interests are my problems
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and interests.” Despite the many places
he had lived, Hughes came to be associated almost
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exclusively with Harlem
as his career developed.
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→ When Hughes’s first publication, The Weary Blues (1926), appeared,
the New Negro Movement
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was in full swing; Harlem, as the
intellectual center of the movement, had become the Mecca
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of all aspiring young
Black writers and artists. In the early 1920s, Harlem was a newly created
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Manhattan suburb north of Central Park
where thousands of African-American families had settled.
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Settlements there had
originally been founded by the Dutch, but a real estate bust there created
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openings for new residents just as a huge
black population was migrating from the South. By 1925
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there were around
200,000 African-Americans living in Harlem. Black political organizations
and
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churches opened next door to black
theaters and dance halls, which led to a fantastic melting
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pot of poets,
musicians, intellectuals, and entrepreneurs, a development that in turn
gave rise to
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the Harlem Renaissance. This so-called
Renaissance not only encouraged and inspired the Black
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creative artist, but it
served also to focus as never before the attention of America upon the
Black
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artist and scholar. As a result of this
new interest, Harlem became a gathering place for downtown
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intellectuals and
bohemians—many of them honestly seeking knowledge of Black art and culture.
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→ For a period of about ten years, the
most obvious and sensational aspect of the New Negro
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Movement for downtown New York was the
nightlife of Harlem, and in particular the cabaret scene.
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In fact, Langston Hughes
was first drawn to New York by the massive success of the first all-black
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musical, Shuffle Along, composed by Eubie
Blake and Noble Sissle. One of Hughes’s favorite
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methods of
composition—whether in New York, Washington, DC, or Paris—was to write
poetry
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while sitting in a club listening to jazz
or the blues. In Washington in 1925, he wrote, “I tried to write
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poems like the songs
they sang on Seventh Street (these songs) had the pulse beat of the people
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who keep on going.” The 1925 Renaissance,
of course, was not just a cabaret boom, and it would
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be decidedly unfair to
give the impression that it was. But the Harlem cabaret life of the period
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was definitely an important by-product of
the new interest in Afro-American culture created by the
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movement, and this life
strongly influenced the early poetry of Langston Hughes.
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Langston Hughes died in
1967 at the end of a prolific career that saw the publication of sixteen
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books of poems, two novels, three
collections of short stories, four volumes of “editorial” and
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“documentary” fiction,
twenty plays, children’s poetry, musicals and operas, three autobiographies,
a
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dozen radio and television scripts, and
dozens of magazine articles, in addition to seven anthologies
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of poetry that he
edited.
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