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| omnipoetics:the_negro_speaks_of_rivers [2025/03/05 22:49] – [Form] mary | omnipoetics:the_negro_speaks_of_rivers [2025/04/24 00:56] (current) – holly | ||
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| + | //Serpent and the Fire// (pp. 374-375) | ||
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| ====== The Negro Speaks of Rivers ====== | ====== The Negro Speaks of Rivers ====== | ||
| Published by Langston Hughes in 1921. | Published by Langston Hughes in 1921. | ||
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| Throughout the 1930s and 1940s, Hughes became increasingly more interested in theatre, contributing to plays such as the //Mule Bone// with Zora Neal Hurston and the Broadway musical //Street Scene//. Hughes also traveled frequently during this period, sharing his poetry and lectures throughout the South and abroad in places like the Soviet Union, Japan, and Haiti. It was also during this time when Hughes published one of his more well-known and celebrated works titled “Harlem” in his collection //Montage of a Dream Deferred//. This poem inspired not only Lorrain Hansberry’s play //A Raisin in the Sun// but also appears in a number of speeches by Martin Luther King. | Throughout the 1930s and 1940s, Hughes became increasingly more interested in theatre, contributing to plays such as the //Mule Bone// with Zora Neal Hurston and the Broadway musical //Street Scene//. Hughes also traveled frequently during this period, sharing his poetry and lectures throughout the South and abroad in places like the Soviet Union, Japan, and Haiti. It was also during this time when Hughes published one of his more well-known and celebrated works titled “Harlem” in his collection //Montage of a Dream Deferred//. This poem inspired not only Lorrain Hansberry’s play //A Raisin in the Sun// but also appears in a number of speeches by Martin Luther King. | ||
| - | Towards the end of life, Hughes fell into disfavor with some literary groups due to his political passivity. According to the Poetry Foundation, “It was Hughes’s belief in humanity and his hope for a world in which people could sanely and with understanding live together that led to his decline in popularity in the racially turbulent latter years of his life. Unlike younger and more militant writers, Hughes never lost his conviction that ‘//most// people are generally good, in every race and in every country where I have been.’” (( “Langston Hughes.” //Poetry Foundation//, | + | Towards the end of his life, Hughes fell into disfavor with some literary groups due to his political passivity. According to the Poetry Foundation, “It was Hughes’s belief in humanity and his hope for a world in which people could sanely and with understanding live together that led to his decline in popularity in the racially turbulent latter years of his life. Unlike younger and more militant writers, Hughes never lost his conviction that ‘//most// people are generally good, in every race and in every country where I have been.’” (( “Langston Hughes.” //Poetry Foundation//, |
| Hughes passed away on May 22, 1967 due to complications from prostate cancer at the age of 66. His ashes were interred at the Schomburg Center for Research in Black Culture in Harlem, New York. Inscribed above his resting place are lines from his poem “The Negro Speaks of Rivers." | Hughes passed away on May 22, 1967 due to complications from prostate cancer at the age of 66. His ashes were interred at the Schomburg Center for Research in Black Culture in Harlem, New York. Inscribed above his resting place are lines from his poem “The Negro Speaks of Rivers." | ||
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| - | *Each of these rivers are associated with a form of slavery. Enslaved peoples brought to the Americas via ships endured horrible conditions, and Howard Zinn points out that “Slaves often jumped overboard to drown rather than continue their suffering.” ((Zinn, Howard. //A People' | + | *Each of these rivers are associated with a form of slavery. Enslaved peoples brought to the Americas via ships endured horrible conditions, and Howard Zinn points out that “Slaves often jumped overboard to drown rather than continue their suffering.” ((Zinn, Howard. //A People' |
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| Hughes has additionally been credited with making the movement more well-known through his poetry tours, even coining its current title in his autobiography //The Big Sea// (1940). | Hughes has additionally been credited with making the movement more well-known through his poetry tours, even coining its current title in his autobiography //The Big Sea// (1940). | ||
| - | ====== Additional Resources ====== | ||
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