The Negro Artist And The Racial Mountain Analysis

Langston Hughes is one the most renowned and respected authors of twentieth century America not simply one of the most respected African-American authors, though he is certainly this as well, but one of the most respected authors of the period overall. A large part of the respect and admiration that the man and his work have garnered is due to the richness an complexity of Hughes' writing, both his poetry and his prose and even his non-fictions. In almost all of his texts, Hughes manages at once to develop and explore the many intricacies and interactions of the human condition and specifically of the experience growing up and living as a black individual in a white-dominated and explicitly anti-Black society while at the same time, while at the same time rendering his human characters and their emotions in a simple, straightforward, and immensely accessible fashion. Reading the complexity behind the surface simplicity of his works is at once enjoyable and edifying.

Black No More and “The Negro Art Hokum” give important insight into how George Schulyer views race and identity, the importance of essences, and his stance on racial anti-essentialism. Black No More does clearly challenge Schulyer’s ideas in his essay that race in the way it is construed in the U.S. is not a meaningful essential part of who a person is because although our main protagonist Max Disher was able to be white in appearance thus being able to fit into white society, in essence he was still a black man and found his social kinship with members of Harlem’s black community. Essence makes a person who they are in conjunction with their physical racial attributes. In some cases who a character is on the inside does not always match up with their outward appearance, as in Black No More with Disher’s white skin and his black mentality.

The Harlem Renaissance was an evolutionary period in terms of African-American cultural expression; in fact, the movement changed the way that black musicians, poets, authors, and even ordinary people perceived themselves. One of the most influential poets of the time was Langston Hughes. Hughes’ works display a pride in being black that most African-Americans are too afraid to show, even today. Moreover, he adamantly refused to submit to the sentiment that he should be ashamed of his heritage, instead believing that “no great poet has ever been afraid of being himself.”(p1990 From the Negro Artist). In the article “‘Don’t Turn Back’: Langston Hughes, Barack Obama, and Martin Luther King, Jr.” by Jason Miller, Miller analyzes how Hughes’ poetry has been used by Martin Luther King, Jr. and Barack Obama and how the House of Un-american Activities Committee affected that use.

Langston Hughes was known for his poems of black activity in America since the 1920’s to the 1960’s, which was the time of the Harlem Renaissance. “My writing has been largely concerned with the depicting of Negro life in America.” Throughout Langston’s life he has seen and experienced racism. He used these experiences to give him ideas of things he could write about. Back then white people were the majority in Harlem, but then once the blacks started to come they dispersed. “We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame. If white people are pleased, we are glad. If they are not, it doesn't matter. We know we are beautiful. And ugly too.” Langston knew that blacks should express themselves no matter what color they are and not be ashamed of it. Some white people may like that they are expressing themselves, on the other hand, some white people may not accept that the

Hughes story, “The Negro Artist and the Racial Mountain”, veers away from the conventions of Du Bois’s essay as rather than focusing on the value of black art as a key in social movements, it involves black artists who would rather neglect their blackness and rather took on the culture of whites. The speaker claims he enjoys being white more than being an African American, and Hughes describes this as “the mountain standing in the way of any true Negro art in America-this urge within the race towards whiteness…”. Much like Du Bois, Hughes writes about the “beauty” of Negro art, and aims to uplift the appeal of negro language and culture as he examines African American artists who stayed true to their roots and culture whose works are amongst those that are still heavily praised even decades later.

Hughes also takes the view of culture but he examines it from the view of blacks that are not stuck in the ghetto but have stable backgrounds. Hughes takes the view that blacks are actually hindering themselves. He says that there is a huge obstacle standing in the way of every black person. He actually makes a reference about artist but it can be viewed as any black person. He says the obstacle is, “this urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible.” (Hughes, Langston) His example is a poet. This poet subconsciously wants to be white because he feels it will make him a better poet. This poet comes from a strong background in the middle class. According to Hughes, they attend church; the father has a steady job; the mother works on occasion; and the children attend mixed schools. However, the problem comes with how the parents treat their children. The mother says things like, “Don’t be like niggers” when the children are bad. In turn the father says things like, “Look how well a white man does things.” So in this home and many others, black is not praised or celebrated it is taught to be ashamed of. They are taught to want to be white. It is staggering what blacks do to themselves because of this. Fist Hughes says the more predominant don’t

Hughes, who clearly understood a fellow African American poet’s deep desire to be considered a poet and not a Negro poet, as that poet’s wish to look away from his African American heritage and instead absorb white culture, Hughes’ essay spoke to the concerns of the Harlem Renaissance as it celebrated African American creative innovations such as jazz, spirituals, and literary work of the African American life. Hughes, saw this issue at hand to be the challenge African Americans Art in America. This was the urge within the race toward whites, the desire to influence racial individuality into the mold of American standardization, and to be as little Negro and as much American

Langston Hughes’ dedication to depicting the bona fide aspects of black life leads him to discuss struggle. One of the most omnipresent themes in black life, at the time of Hughes, is the constant struggle they face every

“The Harlem Renaissance was a time where the Afro-American came of age; he became self-assertive and racially conscious… he proclaimed himself to be a man and deserving respect. Those Afro-Americans who were part of that time period saw themselves as principals in that moment of transformation from old to new” (Huggins 3). African Americans migrated to the North in great numbers to seek better lives than in the South as the northern economy was booming and industrial jobs were numerous. This movement brought new ideas and talents that shifted the culture forever. Black writers, such as Langston Hughes, used their work to claim a place for themselves and to demand self-respect in society. Poems that Langston Hughes wrote captured the essence of the complexity of a life that mixes joy and frustration of black American life through the incorporation of jazz and blues in order to examine the paradox of being black in mostly white America, the land of the not quite free.

Langston Hughes, author of the short story "On the Road" and the poem "Mother to Son," often illustrated in his writing the hardships experienced by the characters--products of African American life in the United States. While Hughes and other young African-American authors wanted to define and celebrate black art and culture, they were also responsible for changing the preconceived notions of most Americans' erroneous ideas of black life (Mabunda

Through the diction of classism in the poem “High to Low” by Langston Hughes, the author reveals that internalized racial self-hatred contributes to the oppression of black communities by causing cultural divide amongst their people. First of all, the narrator begins to compose a list of his difficulties when encountering other black people in his community. He describes that “[o]ne trouble is…[they] look too black” (Hughes 250). It is evident through this quote that the narrator has anti-blackness that is deeply rooted in them. Based off the diction in this poem, the narrator has clearly been privileged enough to have mobility in the social hierarchy.

The Negros Art Hokum and The Negros Artist and the Racial Mountain are well-known article written by George S. Schuyler and Langston Hughes and both of the articles were published in 1926. George Schuyler and Langston Hughes both argue about Negros art in their article. George Schuyler argues that Negro art doesn’t exist on his article The Negro Art Hokum, while Langston Hughes disagrees with Schuyler’s article and writes a response to his article and argues that everyone has right to be them self and everyone has their own beauty.

Langston Hughes was a writer during the Harlem Renaissance who portrayed the black life as how their community saw it. Hughes’ poem, “The Negro Speaks of Rivers”, illustrates how blacks have been important to civilizations’ growth as much as any other race through his use of literary devices such as similes and metaphors, symbolism, and personification. Hughes uses both similes and metaphors in his poem to push the reader to believe that blacks are equally important to any other group. When he says, “My soul has grown deep like the rivers,” a simile compares a soul to the depth of the rivers (Hughes ln 4).

Langston Hughes was the leading voice of African American people in his time, speaking through his poetry to represent blacks. His Influence through his poems are seen widely not just by blacks but by those who enjoy poetry in other races and social classes. Hughes poems, Harlem, The Negro speaks of rivers, Theme for English B, and Negro are great examples of his output for the racial inequality between the blacks and whites. The relationship between whites and blacks are rooted in America's history for the good and the bad. Hughes poems bring the history at large and present them in a proud manner. The injustice that blacks face because of their history of once being in bondage is something they are constantly reminded and ridiculed for but must overcome and bring to light that the thoughts of slavery and inequality will be a lesson and something to remember for a different future where that kind of prejudice is not found so widely.

The Harlem Renaissance sought to revitalize African American culture with a focus on arts and literature and creating socioeconomic opportunities (Harlem Renaissance). This temporal setting, predominantly the influence of the Harlem Renaissance, of Hughes’s life explains the purpose of Hughes’s writing: to express the oppression of African Americans and the imperfections of Hughes’s America and to heighten African American morale during his life through his writing.