Langston Hughes (Bloom's Modern Critical Views), New Edition by Harold Bloom (Editor)
By Harold Bloom (Editor)
Whereas his brief tales and autobiographies, the large Sea and that i ask yourself as I Wander, stay very readable, the everlasting popularity of Langston Hughes is guaranteed via his poetry. The identify examines the author's poetry, together with his use of simplicity and humanistic thoughts. This sequence is edited by way of Harold Bloom, Sterling Professor of the arts, Yale collage; Henry W. and Albert A. Berg Professor of English, ny collage Graduate college; preeminent literary critic of our time. The lives of the best writers of the realm are explored within the new sequence Bloom’s BioCritiques. as well as a long biography, each one ebook contains an intensive serious research of the writer’s paintings, in addition to serious perspectives through very important literary critics all through background. those volumes are the suitable creation to severe research of the real authors presently learn and mentioned in excessive colleges, schools, and graduate faculties.
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Additional resources for Langston Hughes (Bloom's Modern Critical Views), New Edition
12. “Blues Fantasy,” Weary Blues, p. 37. 13. George M. McClellan to LH, 14 July 1926; Langston Hughes Papers, Beinecke Rare Books and Manuscript Library, Yale University. 14. Langston Hughes to Alain Locke, 12 August ; Alain Locke Papers, Moorland-Spingarn Research Center, Howard University. 15. Big Sea, p. 237. 16. “Hard Luck,” Fine Clothes to the Jew, p. 18. 17. Big Sea, p. 264. 18. ]; Langston Hughes Papers. 19. Arthur Spingarn to Langston Hughes, 3 February 1927; Langston Hughes Papers.
By disingenuously remaining “in their place,” Cora and Sallie have milked the white overlord for all that they can. Though the two might be referred to oﬃcially as the Norwood maids, neither undertakes many of the tasks of domestics. Rather, Cora and Sallie have domestics in their service and enjoy many of the luxuries that a white wife and a white daughter of a rich planter would. As long as they disguise their privileges under seeming servility to Norwood, as long as they forego the use of the front door and do not proclaim their true relationship to the Colonel (Cora calls him “Tom,” but only in private), the beneﬁts to be reaped from the white authority are innumerable.
I’m not a nigger, Colonel Tom. I’m your son. Norwood: (Testily) You’re Cora’s boy. Robert: Women don’t have children by themselves. Norwood: Nigger women don’t know the fathers. You’re a bastard. (Robert clenches his ﬁst. . ) Robert: I’ve heard that before. I’ve heard it from Negroes, and I’ve 36 Germain J. Bienvenu heard it from white folks. Now I hear it from you. (Slowly) You’re talking about my mother. Norwood: I’m talking about Cora, yes. Her children are bastards. Robert: (Quickly) And you’re their father.