Langston Hughes. (2015). The Weary Blues. Knopf Doubleday Publishing Group.

Langston Hughes. 2015. The Weary Blues. Knopf Doubleday Publishing Group.

Langston Hughes, The Weary Blues. Knopf Doubleday Publishing Group, 2015.

Langston Hughes. The Weary Blues. Knopf Doubleday Publishing Group, 2015.

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     LANGSTON HUGHES was born in Joplin, Missouri, in 1902. After graduation from high school, he spent a year in Mexico with his father, then a year studying at Columbia University. His first poem published in a nationally known magazine was “The Negro Speaks of Rivers,” which appeared in Crisis in 1921. In 1925, he was awarded the First Prize for Poetry from the magazine Opportunity for “The Weary Blues,” which gave its title to this, his first book of poems. Hughes received his B.A. from Lincoln University in Pennsylvania in 1929. In 1943, he was awarded an honorary Litt.D. by his alma mater; during his lifetime, he was also awarded a Guggenheim Fellowship (1935), a Rosenwald Fellowship (1940), and an American Academy of Arts and Letters Grant (1947). From 1926 until his death in 1967, Hughes devoted his time to writing and lecturing. He wrote poetry, short stories, autobiography, song lyrics, essays, humor, and plays. A cross section of his work was published in 1958 as The Langston Hughes Reader; a Selected Poems first appeared in 1959 and a Collected Poems in 1994. Today, his many works and his contribution to American letters continue to be cherished and celebrated around the world.

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2015-02-10T00:00:00-05:00

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title

The Weary Blues

fullDescription

This celebratory edition of the classic poetry collection reminds us of Hughes's stunning achievement, speaking directly, intimately, and powerfully of Black experiences at a time when Black voices were newly being heard in American literature. • With an introduction by poet Kevin Young.
Beginning with the opening “Proem” (prologue poem) Huges writes, “I am a Negro: / Black as the night is black, / Black like the depths of my Africa."
As the legendary Carl Van Vechten wrote in a brief introduction to the original 1926 edition, “His cabaret songs throb with the true jazz rhythm; his sea-pieces ache with a calm, melancholy lyricism; he cries bitterly from the heart of his race...Always, however, his stanzas are subjective, personal,” and, he concludes, they are the expression of “an essentially sensitive and subtly illusive nature.” That illusive nature darts among these early lines and begins to reveal itself, with precocious confidence and clarity.
In a new introduction to the work, the poet and editor Kevin Young suggests that Hughes, who was 24 at the time of the original publication, from this very first moment is “celebrating, critiquing, and completing the American dream,” and that he manages to take Walt Whitman’s American “I” and write himself into it.
We find here not only such classics as “The Negro Speaks of Rivers” and the great twentieth-century anthem that begins “I, too, sing America,” but also the poet’s shorter lyrics and fancies, which dream just as deeply. “Bring me all of your / Heart melodies,” the young Hughes offers, “That I may wrap them / In a blue cloud-cloth / Away from the too-rough fingers / Of the world.”

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   • source: The Philadelphia Inquirer
   • content: "Langston Hughes is a titanic figure in 20th-century American literature . . . a powerful interpreter of the American experience."
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   • content:

     February 1, 2015
     Langston Hughes' now classic debut collection was first published in 1926. This handsome edition, appearing in conjunction with Selected Letters of Langston Hughes (2015), contributes to a resurgent appreciation for how profoundly catalyzing Hughes' poetry has been, initially as part of the Harlem Renaissance and ever after as a source of illumination and inspiration. Hughes begins with poems driven by the sexy, despair-defusing energy of blues and jazz, then moves on to exquisite and mournful love and nature poems, gradually widening the aperture to take in the larger picture of black lives, an encompassing perspective signaled by the oft-quoted line, My soul has grown deep like the rivers. In his expert, richly wrought foreword, poet and scholar Kevin Young (Book of Hours, 2014) explains why these poems were so revolutionary and why Hughes' daring embrace of humanity and freedomalong with his celebrating, critiquing, and completing the American dream, that desire for equality or at least opportunity remain so electrifying, significant, and necessary now, culminating in the anthemic line, I, too, am America. The Weary Blues belongs on every bookshelf.(Reprinted with permission of Booklist, copyright 2015, American Library Association.)

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This celebratory edition of the classic poetry collection reminds us of Hughes's stunning achievement, speaking directly, intimately, and powerfully of Black experiences at a time when Black voices were newly being heard in American literature. • With an introduction by poet Kevin Young.
Beginning with the opening “Proem” (prologue poem) Huges writes, “I am a Negro: / Black as the night is black, / Black like the depths of my Africa."
As the legendary Carl Van Vechten wrote in a brief introduction to the original 1926 edition, “His cabaret songs throb with the true jazz rhythm; his sea-pieces ache with a calm, melancholy lyricism; he cries bitterly from the heart of his race...Always, however, his stanzas are subjective, personal,” and, he concludes, they are the expression of “an essentially sensitive and subtly illusive nature.” That illusive nature darts among these early lines and begins to...

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