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Among the most influential poets of the Harlem Renaissance, Langston Hughes is perhaps best remembered for the innovative use of jazz rhythms in his writing. While his poetry and essays received much public acclaim and scholarly attention, Hughes’ dramas are relatively unknown. Only five of the sixty-three plays Hughes scripted alone or collaboratively have been published (in 1963).
Published here, for the first time, are four of Hughes’ most poignant, poetic, and political dramas, Scottsboro Limited, Harvest (also known as Blood on the Fields), Angelo Herndon Jones, and De Organizer. Each play reflects Hughes’ remarkable professionalism as a playwright as well as his desire to dramatize the social history of the African American experience, especially in the context of the labor movements of the 1930s and their attempts to attract African American workers. Hughes himself counted prominent members of these leftist groups among his close friends and patrons; he formed a theater group with Whittaker Chambers, prompting an FBI investigation of Hughes and his writing in the 1930s. These plays, while easily read as idealistic propaganda pieces for the left, are nonetheless reflective of Hughes’ other more influential and studied works.
The first scholar to offer a systematic study of Hughes’ plays, Susan Duffy provides an informed introduction as well as a detailed analysis of each of the four plays. Duffy also establishes that De Organizer, a collaboration with noted jazz pianist and composer James P. Johnson (who also wrote its score) was indeed performed by the Labor Stage.
By making these forgotten texts available, and by presenting them within a scholarly discussion of 1930s leftist political movements, Duffy seeks to spark a renewed interest in Langston Hughes as an American playwright and political figure.
- Sales Rank: #1517375 in Books
- Brand: Brand: Southern Illinois University Press
- Published on: 2000-02-11
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .60" w x 6.00" l, .78 pounds
- Binding: Paperback
- 240 pages
- Used Book in Good Condition
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
Review
“An examination of Langston Hughes’ plays provides some insights into the political theater and the racial politics of the 1930s. It will be impossible to do a serious study of Hughes without reference to this work.”—David Ball, former professor of drama at Carnegie-Mellon University
“Hughes’ plays are rarely published, and Susan Duffy’s intellegent, exhaustive researched commentaries on each play in the book redeem it by putting Hughes’ theater in the context of the rest of his remarkable life.”—Booklist
“This volume provides a glimpse into Harlem Renaissance poet Hughes’s activities as a leftest playwright. . . . Duffy has filled a void by bringing together these historically valuable plays and initiating focus upon this neglected area of Hughes’s career.”—Library Journal
Most helpful customer reviews
0 of 0 people found the following review helpful.
An interesting but awkward mix of original texts, history, and analysis
By Dr. Valerie Alia
Much of this rather unfocused book consists of previously unpublished texts. Anything that brings us more of Hughes' work is valuable. The intriguing tidbits call for coherent narrative and analysis. The assumptions about Hughes' political objectives and decisions, and the political affiliations of Ella Winter, Lincoln Steffens, and others, are insufficiently supported by facts, and are sometimes entirely inaccurate. It would help to look at Hughes' and Ella Winter's autobiographies, and Steffens' letters and major works. There are passing references to racism and political discrimination, and vicious 'vigilante' threats and actions. Instead of incorporating these into a deeper analysis, the author applies an outdated, Cold-War style 'Communist' label. Having declared the works mere formulaic agit-prop, she leaves no space to consider their serious socio-political underpinnings or the deep concerns, convictions and commitments of Hughes and his colleagues. Too much context is missing. Even the cover photograph would be more meaningful in its entirety (if not on the cover, at least, where it is repeated inside the book). It has been cropped to eliminate the context. The original shows Hughes playing with the young Pete Steffens and his toy truck, in a sandbox -- a portrait not only of the man, but of a gentle moment in the midst of turbulent times.
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