Nearly a century after his birth in Joplin, Missouri, Langston Hughes is, in a sense, coming home. The University of Missouri Press is proud to announce the publication of The Collected Works of Langston Hughes, a compilation of the novels, short stories, poems, plays, and essays by one of the twentieth century's most prolific and influential African American authors. The sixteen-volume series will make available Hughes's most famous works as well as less well known and out-of-print selections, providing readers and libraries with a comprehensive source for the first time.Hughes moved to Harlem in the 1920s and ultimately became the most prominent figure in the literary, artistic, and intellectual phenomenon known as the Harlem Renaissance. Hughes wrote articles for The Crisis and in 1926 published his first book of poetry, The Weary Blues. Over the decades until his death in 1967, he became one of the best-known and most versatile American writers of the twentieth century. His creative range -- poetry, novels, short fiction, drama, translations, gospel-song plays, libretti, juvenile fiction, radio and television scripts, history, biography, and autobiography -- is unique in American letters.The sixteen volumes of the Collected Works are to be published with the goal that Hughes pursued throughout his lifetime: making his books available to the people. Each volume will include a biographical and literary chronology by Arnold Rampersad, as well as an introduction by a Hughes scholar. The volume introductions will provide contextual and historical information on the particular work.Although best known as a poet, Langston Hughes was also the author of two novels that richly evokethe black experience in America. First published in 1930 and 1958, respectively, Not without Laughter and Tambourines to Glory reflect the early and late vision of one of the twentieth century's most distinguished men of letters. In his introduction to this combined edition of both novels, Dolan Hubbard addresses Hughes's growing influence on American letters and reveals how a black aesthetic tradition shaped his art and his imagination.Hughes shows us how the discourse of black America informs and alters our understanding of cultural history and of aesthetic values. In Not without Laughter, he movingly tells the story of a black boy growing into manhood in a small Kansas town during the early twentieth century and his experiences with race, family, school, work, music, and religion. His grandmother, a humble religious woman, struggles to keep her family, three daughters and a son-in-law together, on the meager income she earns by taking in washing.Set in Harlem, the center of Hughes's spiritual universe, Tambourines to Glory is an urban folk melodrama based on the black fusion of Christian hymns and spirituals with the blues. This comic novel captures the spirit of newly transplanted southern blacks who bend the alien rhythms of the city to the gospel sound. In 1963, Hughes would adapt his novel to a long-running play by the same name.This volume of The Collected Works of Langston Hughes is a testament to a man whose life and writings have had a profound influence on world literature and is proof that Hughes's immense talent embraced not only poetry, but fiction as well.
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对我个人而言,深入理解休斯的作品,很大程度上是一次关于“身份认同”的探索之旅。作为一个生活在现代社会,却时常感到疏离的个体,他的诗歌提供了一个坚实的参照点,让我反思“归属”的真正含义。那些关于黑人经验的描写,即便不是我亲身经历,也通过他细腻的笔触,构建起了一个宏大而又私密的内在世界。你会发现,那些关于边缘化、关于梦想被搁浅的描写,其实是人类共通的困境的某种极端体现。这种通过特定群体的视角,折射出普遍人性的手法,非常高明。读着读着,我开始审视自己生活中的那些“看不见的墙”,以及我们如何用文化和艺术来修补那些被撕裂的自我认知。
评分这本精装本的印刷质量简直是艺术品,拿在手里沉甸甸的,纸张的质感非常细腻,即便是早期的诗歌选段,墨迹也显得清晰有力,仿佛能触摸到那个时代的呼吸。我特别喜欢它对排版的处理,行距和字体的选择都透露出一种对文本的尊重,阅读体验极佳,完全没有那种廉价印刷品的粗糙感。翻阅的时候,能感觉到装帧的坚固,即便是经常翻阅也不会轻易损坏,这对于一本需要反复研读的经典作品来说至关重要。封面设计虽然简约,却非常耐看,那种沉稳的色调与休斯作品中蕴含的深刻思考非常契合。我甚至会花时间去感受一下书脊的纹理,每一次翻开,都像是在进行一场正式的文学朝圣。相比于那些电子版的阅读体验,实体书带来的那种油墨香和纸张的触感,是任何屏幕都无法替代的,它让这些文字不仅仅是信息,更成为了可以被身体感知的存在。
评分这本书的价值,绝不仅仅是文学史上的一个脚注,它更像是一面镜子,清晰地映照出二十世纪美国社会最深刻的裂痕与最顽强的生命力。我尤其欣赏他那种既不回避痛苦,又从不放弃对光明的执着追求的矛盾统一体。他没有提供廉价的答案或简单的解决方案,相反,他将问题本身的美感——那种挣扎的、充满张力的美感——呈现给了我们。这种诚实比任何粉饰太平的文字都要来得珍贵。每一次重读,都会有新的领悟,就像是在听一首复杂的爵士乐即兴演奏,每次都会捕捉到之前忽略掉的微妙变化和隐藏的旋律线索。它强迫你慢下来,去聆听那些被主流叙事所淹没的声音,这本身就是一种极具力量的反抗行为。
评分阅读这些篇章时,我被一种原始的、未经雕琢的情感力量深深地吸引住了。休斯笔下的那些声音,那些来自哈莱姆街头、充满爵士乐即兴感的节奏,简直就像是直接灌入了我的耳膜。这不是那种故作高深的学院派文学,而是扎根于生活最底层,带着泥土芬芳和汗水气息的呐喊与低语。我能清晰地“听见”那些等待在角落里的灵魂,他们如何挣扎、如何歌唱,如何在被压迫的现实中找到属于自己的尊严和反抗的旋律。有些篇章读完后,那种共鸣感久久不能散去,像是心口被轻轻敲击了一下,留下了悠长的回响。这种真实性,这种不加掩饰的生命力,是真正打动我的地方,它超越了单纯的文学技巧,直抵人性最核心的痛点与希望。
评分我对休斯在不同体裁间切换的自如感到惊叹。从那些结构紧凑、韵律感极强的早期抒情诗,到后来那些更接近散文诗甚至带有强烈戏剧冲突的段落,他似乎总能找到最恰当的语言“容器”来盛放他想要表达的情感。这种多变性让阅读过程充满了惊喜,你永远不知道下一页会出现的是一段低沉的蓝调,还是一场热烈的、充满希望的宣告。尤其是当他处理一些复杂的社会议题时,他不像是在说教,而更像是在记录一场正在发生的对话,让读者自然而然地成为旁观者,继而转化为参与者。这种叙事上的灵活性,使得他的作品在跨越了时代背景后,依然能与当代读者的困境产生奇特的共振。
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