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This method included a number of ways of looking, seeing and observing the physical aspects on individualized life.
One of the tenets of the Hughesian method is to establish the student writer's own unique standpoint, but not in the abstract sense of "perspective," "opinion," or "feeling." Hughes had his writing students look closely at themselves, not as others see them but as they feel and think about themselves in relation to the world" (Scott 31).
Hughes was not only effective in inducing his students into being more observant and thinking more about the concrete nature of their being, but he was also able to set an example for them in the use of stylized rhythm. His style was often referred to as West African rhythmized textiles and included a simple but elegant type of off-beat statements. Some of his poetic ventures, including his poetic narratives often were described as displaying "a vibrant propensity for off-beat phrasing in the unfolding of overall design" (Thompson 209).
Of course, the issues of the time influenced Hughes and his writing to no small degree. Racism was still prevalent not only in America but around the world. Hitler was sending millions of Jews to concentration camps and the death they would find their, America was attempting to discern its role as a leader of the world, Russia was putting into place a communistic government that would ultimately end in a vast social failure, and countries around the world were aligning against each other militarily, financially and philosophically.
So too were the individual citizens of America. Whites, blacks, haves and have nots were all attempting to discover their place in the American melting pot.
Hughes would emerge from this bubbling cauldron to become a shining beacon of hope in the black community. His method of accomplishing this task was through the written word.
Langston Hughes attempted to use drama to interpret the failure of American society to live up to its creed" (Okafur-Newsum 198). By using his plays, his stories and his poems in an attempt to influence not only the black community in which he was permanently a part of, but the white community that so denigrated his (FN1)," College Literature, 33.2 (2006): 30-51
Thompson, Robert Farris. Flash of the Spirit: African and Afro-American Art and Philosophy. New York: Vintage, 1984.
Wolfe. "Wolfe and other American Writers of the 1920's and 1930's." Literary Masters: Thomas Wolfe. Ed. Matthew J. Bruccoli and Richard Layman. Vol. 13. Gale Group, 2001. eNotes.com. January 2006. 9 December 2007 http://www.enotes.com/wolfe-masters/46992
Life in its Glory see
What others allow be
What I desire flee
From trouble and pain
But it finds me will
Be strong and brave fill
What others crave thrill
At adventure and joy
As it finds me want
To be so true can't
To the left and right flaunt
Perceived power
It does bind me dare
To write these words care
Of cutting swords swear
To always be there You will find me please
All those who ask tease
In doing the task breeze
Like the blowing trees
Please come find me.
Works Cited
Cunningham, George. Afterword to the Sweet and Sour Animal Book, by Langston Hughes. New York: Oxford University Press, 1994
McLaren, Joseph. "Langston Hughes and the Blues" Research in African Literatures, 34.3, (2003): 167-168
M-a-C-N-O-L-I-a." The Virginia Quarterly Review 80.4 (2004): 286
Minter, David. William Faulkner: His Life and Work. Baltimore: Johns Hopkins University Press, 1980.
Wolfe. "Wolfe and other American Writers of the 1920's and 1930's." Literary Masters: Thomas Wolfe. Ed. Matthew J. Bruccoli and Richard Layman. Vol. 13. Gale Group, 2001. eNotes.com. January 2006. 9 December 2007 http://www.enotes.com/wolfe-masters/46992
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