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Editorial Reviews
From Library Journal
This volume provides a glimpse into Harlem Renaissance poet Hughes's activities as a leftist playwright. These politically charged plays (Scottsboro, Limited; Harvest; Angelo Herndon Jones; De Organizer) deal with labor woes, union infiltration, and the influence of radical politics on minorities in the 1930s. To get a clear view of Hughes's politics, Duffy (liberal studies, California Polytechnic Inst.; The Political Left in the American Theatre of the 1930s) recommends reading this work in conjunction with Arnold Rampersad's two-volume The Life of Langston Hughes (LJ 8/86; LJ 9/15/88) he also prefaces each play with an analysis of Hughes's motivation and some insight into his life at the time of the writing. A summary explains Hughes's supposed Communist affiliation. Duffy has filled a void by bringing together these historically valuable plays and initiating focus upon this neglected area of Hughes's career. Highly recommended for all academic and research libraries.
-David M. Lisa, Mercyhurst Coll. Lib., Erie, PA
Copyright 2000 Reed Business Information, Inc.
From Booklist
The man who asked "What happens to a dream deferred?" contended with his own deferred dreams. Hughes wrote or coauthored 63 dramatic works, yet his forays into theater have received much less attention than his poetry and prose. A brilliant poet and superb essayist, he was, however, only a servicable playwright, if these four political plays are indicative. He too willingly exaggerates to make his political point, particularly in the agitprop one-act, Scottsboro, Limited. Even when he begins well, he twists his art to make the left-leaning message clear; for instance, his best-known play, Angelo Herndon Jones, begins with a series of stark, startling portraits of Depression-era city life but ends in manipulative, ham-fisted propaganda, complete with optional singing of "The Internationale." Still, Hughes' plays are rarely published, and Susan Duffy's intelligent, exhaustively researched commentaries on each play in the book redeem it by putting Hughes' theater in the context of the rest of his remarkable life. Jack Helbig --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
This volume provides a glimpse into Harlem Renaissance poet Hughes's activities as a leftist playwright. These politically charged plays (Scottsboro, Limited; Harvest; Angelo Herndon Jones; De Organizer) deal with labor woes, union infiltration, and the influence of radical politics on minorities in the 1930s. To get a clear view of Hughes's politics, Duffy (liberal studies, California Polytechnic Inst.; The Political Left in the American Theatre of the 1930s) recommends reading this work in conjunction with Arnold Rampersad's two-volume The Life of Langston Hughes (LJ 8/86; LJ 9/15/88) he also prefaces each play with an analysis of Hughes's motivation and some insight into his life at the time of the writing. A summary explains Hughes's supposed Communist affiliation. Duffy has filled a void by bringing together these historically valuable plays and initiating focus upon this neglected area of Hughes's career. Highly recommended for all academic and research libraries.
-David M. Lisa, Mercyhurst Coll. Lib., Erie, PA
Copyright 2000 Reed Business Information, Inc.
From Booklist
The man who asked "What happens to a dream deferred?" contended with his own deferred dreams. Hughes wrote or coauthored 63 dramatic works, yet his forays into theater have received much less attention than his poetry and prose. A brilliant poet and superb essayist, he was, however, only a servicable playwright, if these four political plays are indicative. He too willingly exaggerates to make his political point, particularly in the agitprop one-act, Scottsboro, Limited. Even when he begins well, he twists his art to make the left-leaning message clear; for instance, his best-known play, Angelo Herndon Jones, begins with a series of stark, startling portraits of Depression-era city life but ends in manipulative, ham-fisted propaganda, complete with optional singing of "The Internationale." Still, Hughes' plays are rarely published, and Susan Duffy's intelligent, exhaustively researched commentaries on each play in the book redeem it by putting Hughes' theater in the context of the rest of his remarkable life. Jack Helbig --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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Citations
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4
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cite this book:
- Langston Hughes: A Biography (Greenwood Biographies) by Laurie F. Leach on page 90, Back Matter (1), and Back Matter (2)
- Socialist Joy in the Writing of Langston Hughes by Jonathan Scott in Back Matter
- New Theatre Quarterly 68: Volume 17, Part 4 (v. 17) by Clive Barker in Front Matter
- Race, Work, and Desire in American Literature, 1860-1930 (Cambridge Studies in American Literature and Culture) by Michele Birnbaum in Back Matter
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