6 of 6 people found the following review helpful:
5.0 out of 5 stars
One of the Most Creative Minds to Grace the planet, October 16, 2005
This review is from: The Life of Langston Hughes: Volume II: 1914-1967, I Dream a World (Life of Langston Hughes, 1941-1967) (Paperback)
Langston Hughes was a Poets Poet.he had words that were uplifting that took you to another time&Place.Arnold Rampersad does a great job of telling the story of Langston Hughes&showcasing the Greatness of His Writings.Langston Hughes was ahead of time&Very Gifted African-American Writer.He left behind Ground-Breaking work that still speaks volumes to this day.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Forever A Proud & Unblemished Icon!, May 10, 2005
This review is from: The Life of Langston Hughes: Volume II: 1914-1967, I Dream a World (Life of Langston Hughes, 1941-1967) (Paperback)
Arnold Rampersad's LIFE OF LANGSTON HUGHES Volume 2 retains much of Hughes' evident black pride that is inescapable no matter the type of biography and critical analysis done on him and his body of work. Hughes wrote about many other things during his lifetime, but he mostly celebrated his African American culture without shame or apology.
Volume 2 picks up where the first left off. Langston Hughes is at the crossroads of a lived life. His career as a writer has stalled a bit, he has becomes disillusioned by the predominantely white left who rufuses to understand fully and acknowledge the plight of the black American, and he is ill. Eventually, his career begins to get back on track and Rampersad takes the reader along with Hughes through the rest of his life to his death in 1967. Langston reaches out to the rest of the world through his love for his fellow black Americans and their stories and concerns. He faces the McCarthy hearings successfully but with a slight change from the politcal rhetoric expressed so openly in the 1930's where he had merged racial pride with a radical socialism to insure that the left could not
exclude blacks from the agenda. He witnesses the rise of a new generation of black writers, some who pleased him and others who did not, some who loved and respected him and others who did not. He challeged them to be proud of their black American heritage in their writing but also to be objective in their evaluations. He felt the sting of some of these young black writers who felt that he was out of touch and not angry enough. And, he witnessed the return of appreciation from the outside world for his body of work and humanity. Despite a general dislike he held for white people, some wasn't as liked by him as they believed themselves to be, it never materialized into open hate as it did with many in the Black Power Movement. Rampersad provides the best example of this by recounting a moment of outright rage in Hughes where he raises his voice to express his frustration and anger toward white folks, "benevolent anger" as opposed to the "malignant anger" of many in the Black Power Movement. Hughe fully understood the error of blanketing all white people as the same in prejudice.
Arnold Rampersad depth of exhaustive research is evident in the facts he uncovers in Hughes's complicated character. And, some readers will be surprised by what they will read such as his understanding of the short comings of integration where African Americans would to a large degree abandon their own infrastructure instead of building on it to be more secure without self-segregation and imposed segregation from the outside. Rampersad presents Hughes as the human being with foibles and not just a mythic icon of African American and American literature in general. Perhaps willingly to some degree to keep money in the bank as he "sharecropped" his way through his long career, the reader will definitely come away with the knowledged that Hughes was a famous African American of his day being exploited, again to a degree, by the larger community. This is very evident in some of the working situations Hughes would have outside the black community.
Volume 2 is free of much of the rheteric that came dangerously close to blatent homophobia in Volume 1. Rampersad doesn't come out and declare Hughes as gay, but does make the surprising admission that Hughes had a preference for black men like the late Gilbert Price, and, especially dark skinned black men in his life as well as work. This dissonance between not wanting to identify Hughes as gay and Hughes's very evident preference for black men as discovered by Rampersad during his exhaustive research is pandemic among certain scholars who believe sexuality has no bearing on creativity, at lease when it comes to certain icons as Hughes is to black America. But, Rampersad isn't a homophobe and it is unfair to cast him as one. Rampersad is to be applauded for this admission that he could have conveniently suppressed but chose not to do. Kudos!!!! Rampersad comes across as wanting to declare Hughes as gay, but holds back allowing the reader to read the obvious between the lines by patently stating Hughes primary interest for other black men. Rampersad does make references to the women Hughes was only "friendly" with without the slighthest romantic interest, Hughes even going out of his way make it clear that he was not interested in them romantically. This can be attributed to the condition in the black communty where black gay men are often required to "pass" as straight (as done to the ultimate degree by fellow black gay members of the Harlem Renaissance: Countee Cullen, Wallace Thurman, and Richard Bruce Nugent).
To me, Langston Hughes was and is a hero made to order! Hughes icon status still burns bright, beautifully, and unblemished for me and his other admirers regardless of any shortcomings and prejudices outside the love for his people.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
