The Godfather of Harlem

I love, love, love, Langston Hughes.

Hughes has to be considered one of the most influential figures in American poetry, and his work resonates strongly with modernist ideals. While I am still in the process of learning about movements within the poetry world, I firmly believe that Hughes aligns with modernist styles and should be considered both a member and a collaborator within the modernist movement. His use of free verse, the incorporation of jazz and blues rhythms, and his experimentation with form and language all reflect the modernist commitment to innovation and breaking away from traditional conventions. However, there is a strong argument to be made that Hughes is not just a modernist poet but also a pivotal figure in the Harlem Renaissance, I think he should be considered the Godfather of the movement. His contributions to the cultural and intellectual atmosphere of the era cannot be overstated.

The Modernist movement is defined by a break from traditional forms and an embrace of experimentation, and Hughes was at the forefront of this movement. One of his most striking modernist characteristics is his use of musical elements, especially the rhythms of jazz and blues. In his poem The Weary Blues, Hughes captures the emotional depth and musicality of the African American experience, while using poetic techniques that reflect modernist experimentation. He writes, “With a melancholy tune, / I heard that old piano moan—”

This line uses imagery that is distinctly modern, employing a form of musical expression that mirrors the disillusionment and complexity of modern life. By incorporating the sounds of jazz and blues, Hughes brings the language of African American culture to a broader literary audience, creating an innovative blend of modernist form and Black cultural identity.

Additionally, Hughes’s poem I, Too challenges social and racial inequalities while expressing hope for a better future, capturing the modernist impulse toward progress and change. Hughes writes “I, too, sing America. / I am the darker brother.”

This poem, while addressing racial issues, does so with a forward-looking optimism that embraces individual agency and a vision of equality. The conversational tone and the free verse structure reflect modernist tendencies, as Hughes resists formal constraints and gives voice to a marginalized group that had often been silenced.

Hughes’s modernism is also evident in Harlem (“A Dream Deferred”), where he explores the frustration of unrealized dreams using fragmented, almost surreal imagery. The line, “Does it dry up / Like a raisin in the sun?” evokes a profound sense of frustration and unfulfilled potential, making use of a simple metaphor to communicate complex social commentary. The poem’s lack of closure and its open-ended questions reflect modernist reluctance to provide easy answers or solutions, echoing the uncertainty and disillusionment of the modern world.

Personally, I feel that Hughes’s significance extends beyond his modernist contributions, I think that he is also a foundational figure in the Harlem Renaissance, a period of cultural flourishing for African Americans during the early 20th century. Hughes’s poetry, along with his involvement in other artistic forms, helped define the Harlem Renaissance and give it a distinct voice. He used his writing to explore the lives, struggles, and aspirations of African Americans, while also celebrating Black culture and identity. His work resonated with a generation of Black writers, artists, and musicians, many of whom were inspired by his ability to portray the Black experience with honesty, dignity, and artistic innovation. There is a soldi argument to be made that without his influence The Harlem Renaissance and perhaps even Beat Poetry would not have evolved or would have been discovered much later.

Sadly, Hughes’s role in the Harlem Renaissance is underscored by his profound influence on other prominent figures of the movement, such as Zora Neale Hurston, Countee Cullen, and Claude McKay. His work exemplified the Renaissance’s call for cultural and artistic expression that both acknowledged the realities of racial oppression and celebrated the richness of African American culture. One of his most famous poems, The Negro Speaks of Rivers, explores the long history of Black identity and culture, positioning African Americans within a global context and asserting the importance of their history and contributions, “I’ve known rivers: / I’ve known rivers ancient as the world and older than the / flow of human blood in human veins.”

This poem situates African American identity within a deep, historical context, emphasizing both a collective past and a vision of strength and endurance. By embracing the full scope of Black history, Hughes helped redefine the cultural narrative for African Americans, making him a central figure in the Harlem Renaissance and the father of its literary expression.

A hero of mine, Langston Hughes and his poetry not only reflects the ideals of the modernist movement but also captures the spirit of the Harlem Renaissance. While his contributions to modernism are significant, Hughes’s role as a Godfather of the Harlem Renaissance is equally vital. His ability to merge modernist innovation with an unwavering celebration of Black identity and culture has cemented his place as one of the most important poets of the 20th century. Hughes’s work serves as a testament to the power of art in both breaking artistic boundaries and advocating for social change, making him a figure whose influence continues to be felt today.

Works Cited:

Hughes, Langston. “Harlem.” The Collected Poems of Langston Hughes, edited by Arnold Rampersad, Vintage Classics, 1994, p. 248.

Hughes, Langston. “The Weary Blues.” The Collected Poems of Langston Hughes, edited by Arnold Rampersad, Vintage Classics, 1994, p. 19.

Hughes, Langston. “I, Too.” The Collected Poems of Langston Hughes, edited by Arnold Rampersad, Vintage Classics, 1994, p. 243.

Hughes, Langston. “The Negro Speaks of Rivers.” The Collected Poems of Langston Hughes, edited by Arnold Rampersad, Vintage Classics, 1994, p. 12.

Rampersad, Arnold. The Life of Langston Hughes. Vol. 1, Oxford UP, 1986.

Shakespeare, William. The Poetry of Modernism. Cambridge UP, 2002.