Langston Hughes' Depiction of African American Culture

A prime example of Hughes' work would be "Dead in There" from his first collection, Weary Blues. It isn't his most commercial work, but it is a brilliant poem, that displays his wit, straight-forwardness and well- his negativity. Te poems appears to depict the funeral of a man who went no where. We all know those stories of those people who have all of this creative ambition, but never really end up that much farther then where they started. The poem was most likely one of Langston's jazz-musician friends who was misunderstood by traditionalists.

"Dead in There" has a dark tone with a humorous twist created by vivid imagery. The image of a "night funeral" of the jazz musician is powerful. Langston clearly has a lot of negativity. Some of the worlds greatest poets have written masterpieces on the theme of death, but most them aren't as bitter as this when is. This guy was his friend,

and he basically said that he lived his life for nothing. They "Plant him now- Out where it

makes/no diff' now." Every ounce of character, individuality, and spirit is gone. Once someone has passed on It no longer matters what others thought of them, or what they thought of themselves.

"Dead in There" consists of 5 stanzas, with the first and last stanza holding the most content; along with the most importance. Emphasis it put on "Wake up and live!", which is ironic considering this is a negative poem about a dead man. The lyrics of the poem are written in a bluesy, artsy way. They are almost like the lyrics of an old jazz song. Langston's work during the 20's and 30's generally have this feeling.

The poem has a colloquial style, with use of words and phrases like "ace-boy" "cool bop daddy", and "diff". The diction adds to the overall sing-song feel. The word choice almost distracts the reader from the pessimism. All of his works don't have this negative aspect to them though. He had an extreme love for his people and his culture, which is why he decided to eternalize it in his poetry. His fellow poet, Bontemps wrote, No one loved Negroes as Langston Hughes did." Steven Tracey, a professor and literary critic at the University of Massachusetts wrote,

Rooting his aesthetic in the art and values of Black folk, Hughes mediated the conflicting artistic demands of both the literati and the masses, demonstrating the social and spiritual power of art. Contributors to this volume place Hughes in the context of Harlem, his preferred geographical and spiritual home base, as well as the larger political, social, musical, and artistic milieu of his rapidly changing times.

The rhyme scheme and meter continue the informality of the poem. It isn't exactly free verse, because words rhyme here and there. Perhaps Langston's Hughes writing style reflects his difficulty in finding a common ground between conformance and innovation.

Hughes certainly isn't "square", but he isn't as round as the person who he wrote about in

his poem. The poem has a fast pace that reflects the quick lifestyle of the Harlem Renaissance. The poem doesn't follow a specific meter, however diameter is used frequently.

A poem is either a success or its not. This poem is a success. Every word has meaning. Every line is open to interpretation. The tone, diction, and writing style create an amazing setting . Langston Hughes brilliance is always evident; he has this ability to create these poems that short, and sweet-witted. Line after line has kick, punch, and soul. This poem was written with passion. He wrote in a real, raw way that separated his works from the schmaltzy works of other poets. There isn't sentimentality, or rambling. Each word goes straight to the point. Hughes Importance can be summed up in these words:

There is not a single important development in American poetry that cannot be linked to Langston Hughes. We remember the Jazz Age or the Harlem Renaissance, when Hughes made blues and jazz household words. We recall his sharp turn to the left during the 1930s, when he offered overtly political poems such as "Good Morning Revolution," the short stories in The Ways of White Folks and the long-running theatrical hit, Mulatto. When the beat generation preempted his jazz poetry for Greenwich Village cafes and hippies gathered in the Haight-Asbury communes, Langston was always lurking in the background. (New Crisis, Graham).

Works Cited

Anthony, Dawahare "Langston Hughes's Radical Poetry and the "End of Race"." Melus (1998). 28 Mar. 2007. th century. Hughes is arguably the most influential African American writer of all time.

Maryemma, Graham Langston Hughes Centennial, 1902-1967: The beat goes on. Feb 2002. Online. 28 Mar 2007. .

Steven, Tracey C. A Historical Guide to Langston Hughes. Dec 2003. Online. 28 Mar 2007.