By Langston Hughes
In I ask yourself as I Wander, Langston Hughes vividly recollects the main dramatic and intimate moments of his lifestyles within the turbulent 1930s.
His wanderlust leads him to Cuba, Haiti, Russia, Soviet vital Asia, Japan, Spain (during its Civil War), via dictatorships, wars, revolutions. He meets and brings to existence the recognized and the standard, from Arthur Koestler to Emma, the Black Mammy of Moscow. it's the always fun, clever revelation of an American author touring round the frequently unusual and continuously interesting international he loves.
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Additional resources for Autobiography: I Wonder as I Wander
Arrow in the Blue (New York: Macmillan, 1952), 247 (see part 5 for Koestler’s discussion of his joining the party); Darkness at Noon, trans. , The God, 59. 21. Rampersad, The Life, 247; Koestler, Invisible, 111. 22. The mention of Armstrong is especially prophetic since by the mid 1950s he had become the premiere jazz cultural ambassador. ” The past was represented by some of those held in the OGPU prison, who Hughes equated to “those who had not wished to see the Jim Crow signs go down,” an allusion to the American South in the early days of the Civil Rights Movement.
The Color Curtain: A Report on the Bandung Conference (Cleveland: World Publishing, 1956), 14. 25. Buck Clayton’s Jazz World, assisted by Nancy Miller Elliott (New York: Oxford University Press, 1987), 68–69. See chap. ” In Carmel, Hughes again faced the Scottsboro issue and met Ella Winter, with whom he would later collaborate on the play Harvest (also known as Blood on the Field), about migrant laborers in the San Joacquin Valley. During Hughes’s California stay, he also met boxer-writer Jim Tully and ﬁghter Henry Armstrong and visited Arna Bontemps, his literary ally and conﬁdant with whom he coauthored a children’s book set in Haiti, Popo and Fiﬁna (1932).
The Cubans later explained to me that the only wide clean stretch of bathing beach near the city had been leased by politicians to an American concern that built there handsome pavilions and bathing houses for the use of tourists, charged a dollar to go on to the beach—a prohibitive sum then to most Cubans—and proceeded to draw the color line, as well. But since, in Havana, it is very difﬁcult for even North Americans to draw a strict color line, the beach often had mulatto politicians and plutocrats sporting thereon.