...Ryan James Kernan Literary critics in the U.S. have generally considered the artistic merit of Langston Hughes's so-called radical poetic production of the 1930s to be far below the standard the poet set in the previous decade. Its detractors (as well as its precious few champions) tend...

...Steven S. Lee In June 1932, Langston Hughes and twenty-one other African Americans traveled to Moscow to make a movie. Set in the contemporary U.S. South, Black and White was to have exposed Jim Crow to the world, but soon after Hughes and his companions arrived the project was cancelled — due...

...Antony Rowland János Pilinszky's ruminations about trauma and memory struck a particular chord with Ted Hughes. At the same time as the Yorkshire poet was working on translations of Pilinszky's poetry with János Csokits in the early 1970s, he was writing two of his own collections that contain...

...Rebecca Peabody In 1952 publisher Dodd, Mead and Company invited African American writer and intellectual Langston Hughes to create an introduction, select illustrations, and prepare discursive captions for a new edition of Harriet Beecher Stowe's Uncle Tom's Cabin . The mid-twentieth century...

...Jang Wook Huh After Langston Hughes was shadowed by Japanese police in the port city of Chongjin, Korea, on his trip from the Soviet Union to Japan and China in 1933, he drew a parallel between the racialization of Koreans under Japanese colonial rule and that of American Negroes under Jim Crow...

... in the interwar radical ethnic avant-garde. There is a breathtakingly original account of why the “Moscow movie” on African American culture that drew Langston Hughes to the U.S.S.R. in 1932 failed to be made; Hughes later attributed that failure to Soviet ignorance about black lives in the U.S. South...

...Blair Hoxby By Derek Hughes. Cambridge: Cambridge University Press, 2007. 313 p., notes, bibliography, index. University of Oregon 2010 BOOK REVIEWS Cu l t u r e a n d Sa c r i f i c e : Ri t u a l De a t h i n Li t e r a t u...

...Lisa Wynn By Elliott Colla. Durham: Duke University Press, 2007. 277 p. University of Oregon 2010 BOOK REVIEWS Cu l t u r e a n d Sa c r i f i c e : Ri t u a l De a t h i n Li t e r a t u r e a n d Op e r a . By Derek Hughes...

...: Verso, 2002 . BOOK REVIEWS Cu l t u r e a n d Sa c r i f i c e : Ri t u a l De a t h i n Li t e r a t u r e a n d Op e r a . By Derek Hughes. Cam- bridge: Cambridge University Press, 2007. 313 p., notes, bibliography, index...

... a . By Derek Hughes. Cam- bridge: Cambridge University Press, 2007. 313 p., notes, bibliography, index. In Culture and Sacrifice, Derek Hughes examines the shifting significance of sacrifice in the literary imagination from the Iliad  to Margaret Atwood’s The Blind Assassin (2000). Along the way, he...

... poets as disparate as Langston Hughes, Tristan Tzara, Neruda, W. H. Auden, and others, in the shared cause of supporting Republican soldiers during the Spanish Civil War. This essay addresses Los poetas , a work that even since its recovery in 1987 has not been addressed in English-language scholarship...

... of radical black artists and intellectuals before the Cuban Revolution. Baldwin ably corrects this lack, examining the impact of the Soviet Union on the work of four central figures of the pre- Black Power African American Left: Claude McKay, Langston Hughes, W.E.B. Du Bois, and Paul Robeson...

... of radical black artists and intellectuals before the Cuban Revolution. Baldwin ably corrects this lack, examining the impact of the Soviet Union on the work of four central figures of the pre- Black Power African American Left: Claude McKay, Langston Hughes, W.E.B. Du Bois, and Paul Robeson...

... of radical black artists and intellectuals before the Cuban Revolution. Baldwin ably corrects this lack, examining the impact of the Soviet Union on the work of four central figures of the pre- Black Power African American Left: Claude McKay, Langston Hughes, W.E.B. Du Bois, and Paul Robeson...

... of radical black artists and intellectuals before the Cuban Revolution. Baldwin ably corrects this lack, examining the impact of the Soviet Union on the work of four central figures of the pre- Black Power African American Left: Claude McKay, Langston Hughes, W.E.B. Du Bois, and Paul Robeson...

... and death return? Cease! must men kill and die? Cease! drain not to its dregs the urn Of bitter prophecy. The world is weary of the past, O might it die or rest at last! (440, lines 1096–1101) In The Nascent Mind of Shelley , A. M. D. Hughes refers to the way these final six lines abruptly...

...: Pantheon Books, 1987 . Kadir, Djelal. “To World, to Globalize — Comparative Literature's Crossroads.” Comparative Literature Studies 41.1 ( 2004 ): 1 -9. Kenner, Hugh. “Introduction.” Ezra Pound: Translations . Ed. Hugh Kenner. New York: New Directions, 1963 . 9 -14. ———. The Poetry...

..., on sev- eral scores. Perhaps most successful are the detailed revisionist readings of major figures and moments in the interwar radical ethnic avant-garde. There is a breathtakingly original account of why the “Moscow movie” on African American culture that drew Langston Hughes to the U.S.S.R...

... au directeur des Temps modernes.” Les Temps modernes 82 ( 1952 ): 317 – 33 . Print . Davis Colin . “Violence and Ethics in Camus.” The Cambridge Companion to Camus . Ed. Hughes Edward J. . Cambridge : Cambridge UP , 2007 . 106 – 17 . Print . Ellison David R...

... in the Nineteenth Century . Cambridge, MA.: MIT, 1990 . Deleuze, Gilles. Cinema 1: The Movement-Image . Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1986 . ____. The Fold: Leibniz and the Baroque . Trans. Tom Conley. Minneapolis: University of Minnesota Press...