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 seventeen-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 seventeen 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.For the first time in many years, Langston Hughes's published collections of stories are nowavailable in a single volume. Ways of White Folks, originally published in 1934; Laughing to Keep from Crying, originally published in 1952; and additional stories from Something in Common and Other Stories, originally published in 1963; as well as previously uncollected stories will be included in this work.Within these stories, all carefully crafted in the language Hughes loved, are many themes for which he is best known. We meet and come to know many characters -- black and white, young and old, men and women -- all as believable as our own families, friends, and acquaintances. Hughes's stories are not limited by racial stereotypes. Instead, they portray people as they actually are: a mixture of good, bad, and much in-between.In these short stories, as in the Simple stories, the reader enjoys Hughes's humor and irony. The stories show us his inclination to mock himself and his beloved people, as much as he ridicules the flaws of those who belittle his race. By maintaining the form and format of the original story collections, this volume presents Hughes's stories as he wanted them to be read. His genuine characters interact and realistically bring to life this era of America's past. This volume will be an invaluable addition to the library of anyone interested in African American literature generally and the fiction of Langston Hughes specifically.
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老实说,我一开始抱着试试看的心态打开这本集子的,毕竟短篇小说集很容易陷入主题重复或者深度不足的陷阱。然而,休斯的功力着实了得,他用极其克制却又饱含张力的笔触,构建了一个个微型的世界。阅读体验非常流畅,但绝非肤浅。我最欣赏的是他对白的设计,那些对话听起来地道得惊人,充满了街头智慧和生活哲学,完全没有那种书面语的矫揉造作。更难能可贵的是,他探讨的主题看似集中于特定人群,但其中蕴含的关于身份认同、阶级固化以及个体尊严的思考,却是具有普适性的。读着读着,我常常会停下来,回味某一个转折点或者某一句精辟的评论,它们像深水炸弹一样,在平静的叙事下引发了巨大的回响。这部作品的节奏感很强,有的篇章短促有力,像一声清脆的鼓点,有的则舒缓悠长,像是慢板的钢琴独奏。这本集子成功地将艺术性与社会批判性融为一体,毫不费力地达到了经典的高度,对于想要领略美国文学中“声音”的力量的读者,这将是一次令人满足的探索。
评分这套书的阅读体验,对于我来说,更像是在进行一次深入的“文化考古”。作者构建的世界观非常完整且自洽,即便是那些看似零散的片段,合在一起也勾勒出了一幅宏大且层次丰富的社会图景。我特别留意了故事中对于“空间”的描写,无论是拥挤不堪的公寓、喧嚣的酒吧,还是那些充满了梦想与失落的舞台,每一个场景都仿佛被赋予了生命和记忆。休斯对于人物内心世界的刻画是极为细腻的,他没有将角色脸谱化,即便是那些看似简单的角色,其内心也充满了矛盾与挣扎,充满了对更高生活的渴望与现实的无奈之间的拉锯战。这种深层次的心理挖掘,使得故事超越了地域和时代的限制,引发了关于自由、价值和归属感的普遍思考。我发现自己时不时地会停下来,去思考作者是如何将如此复杂的社会议题,用如此通俗易懂甚至带有民间韵味的方式表达出来的。这种高超的平衡感,使得他的作品既能被大众理解,又经得起严肃文学评论的推敲。这是一次对人类共同情感体验的深刻致敬。
评分我必须指出,这本集子在结构布局上有着令人称奇的巧妙。虽然是短篇的集合,但阅读下来几乎没有疲倦感,这得益于作者对故事长度和主题转换的精准把控。有的故事短到只有几页,却像一颗浓缩的咖啡豆,味道醇厚,后劲十足;有的则篇幅稍长,给予了人物更充分的呼吸空间去展现他们的复杂性。从叙事节奏的快慢交替,到情绪的抑扬顿挫,都展现出一种大师级的掌控力。它不是那种让你读完就合上的书,而是那种会让你在接下来的几天里,时不时地想起其中某个场景、某句台词,然后在脑海中反复咀嚼的情形。这种持久的影响力,是衡量一部作品是否具有经典性的重要标准。在我看来,这套合集不仅仅是文学作品的汇编,更像是一份记录了特定群体在特定历史时期,用他们特有的语言和节奏,向世界发出的、充满力量与尊严的宣言。它要求读者用心去倾听,去感受那份深植于生活土壤中的真实与美好。
评分这本书简直就是一场文字的盛宴,尤其是对于那些热衷于探索美国黑人文学精髓的读者来说。我一翻开它,就被那种直击人心的力量所震撼了。休斯笔下的故事,无关乎宏大叙事,却每一个都像是从日常生活中截取的、带着露水的真实片段。那种对底城人民生活状态的细腻捕捉,那种夹杂着爵士乐的节奏感和布鲁斯音乐的忧郁,简直让人沉醉。你仿佛能闻到哈莱姆区街角的烟火气,听到深夜里萨克斯风发出的低吟。作者的叙事视角非常独特,他能用最简洁的语言勾勒出复杂的人性困境,无论是对梦想的追逐,还是在种族隔离的现实面前的挣扎,都处理得恰到好处,没有刻意的煽情,却有着强大的情感穿透力。我特别欣赏他处理幽默与悲剧并存的方式,那种黑色幽默的底色上,总是潜藏着对命运的深刻反思。这本书无疑是深入了解二十世纪美国社会文化变迁的一把钥匙,每一个短篇都像是一块打磨光滑的鹅卵石,握在手里,能感受到历史的温度和人情的冷暖。如果你想体验那种不加修饰、直抵灵魂深处的叙事艺术,这本合集绝对不容错过,它远不止是文学作品,更像是一部活生生的社会风俗志。
评分我不得不承认,刚开始阅读时,我的注意力还停留在对故事情节的追逐上,但很快,我就被作者那种近乎残酷的诚实感所吸引。他毫不避讳地展示了生活中的灰暗面,但这种展示并非为了渲染绝望,反而是为了凸显那些微小的、却异常坚韧的人性光芒。这种光芒,有时只是一个微笑,有时是一次不经意的善举,但在休斯的笔下,它们被赋予了史诗般的重量。阅读过程更像是一场沉浸式的体验,而不是被动的接受信息。我感觉自己像个旁观者,站在熙熙攘攘的角落里,目睹着人物们在命运的夹缝中求生存、求理解。语言的运用是教科书级别的典范——简洁、有力、充满音乐性。他很少使用冗长的形容词来描绘场景,而是通过人物的行为和简洁的对话,将场景和情绪直接“植入”读者的脑海。这种“展示而非告知”的技巧,使得每个故事都具有极高的密度和回味价值。这套合集无疑是一份宝贵的遗产,它让我们得以窥见一个特定时代背景下,人们如何用自己的方式定义“活着”的意义。
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