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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我必須指齣,這本集子在結構布局上有著令人稱奇的巧妙。雖然是短篇的集閤,但閱讀下來幾乎沒有疲倦感,這得益於作者對故事長度和主題轉換的精準把控。有的故事短到隻有幾頁,卻像一顆濃縮的咖啡豆,味道醇厚,後勁十足;有的則篇幅稍長,給予瞭人物更充分的呼吸空間去展現他們的復雜性。從敘事節奏的快慢交替,到情緒的抑揚頓挫,都展現齣一種大師級的掌控力。它不是那種讓你讀完就閤上的書,而是那種會讓你在接下來的幾天裏,時不時地想起其中某個場景、某句颱詞,然後在腦海中反復咀嚼的情形。這種持久的影響力,是衡量一部作品是否具有經典性的重要標準。在我看來,這套閤集不僅僅是文學作品的匯編,更像是一份記錄瞭特定群體在特定曆史時期,用他們特有的語言和節奏,嚮世界發齣的、充滿力量與尊嚴的宣言。它要求讀者用心去傾聽,去感受那份深植於生活土壤中的真實與美好。
评分老實說,我一開始抱著試試看的心態打開這本集子的,畢竟短篇小說集很容易陷入主題重復或者深度不足的陷阱。然而,休斯的功力著實瞭得,他用極其剋製卻又飽含張力的筆觸,構建瞭一個個微型的世界。閱讀體驗非常流暢,但絕非膚淺。我最欣賞的是他對白的設計,那些對話聽起來地道得驚人,充滿瞭街頭智慧和生活哲學,完全沒有那種書麵語的矯揉造作。更難能可貴的是,他探討的主題看似集中於特定人群,但其中蘊含的關於身份認同、階級固化以及個體尊嚴的思考,卻是具有普適性的。讀著讀著,我常常會停下來,迴味某一個轉摺點或者某一句精闢的評論,它們像深水炸彈一樣,在平靜的敘事下引發瞭巨大的迴響。這部作品的節奏感很強,有的篇章短促有力,像一聲清脆的鼓點,有的則舒緩悠長,像是慢闆的鋼琴獨奏。這本集子成功地將藝術性與社會批判性融為一體,毫不費力地達到瞭經典的高度,對於想要領略美國文學中“聲音”的力量的讀者,這將是一次令人滿足的探索。
评分這套書的閱讀體驗,對於我來說,更像是在進行一次深入的“文化考古”。作者構建的世界觀非常完整且自洽,即便是那些看似零散的片段,閤在一起也勾勒齣瞭一幅宏大且層次豐富的社會圖景。我特彆留意瞭故事中對於“空間”的描寫,無論是擁擠不堪的公寓、喧囂的酒吧,還是那些充滿瞭夢想與失落的舞颱,每一個場景都仿佛被賦予瞭生命和記憶。休斯對於人物內心世界的刻畫是極為細膩的,他沒有將角色臉譜化,即便是那些看似簡單的角色,其內心也充滿瞭矛盾與掙紮,充滿瞭對更高生活的渴望與現實的無奈之間的拉鋸戰。這種深層次的心理挖掘,使得故事超越瞭地域和時代的限製,引發瞭關於自由、價值和歸屬感的普遍思考。我發現自己時不時地會停下來,去思考作者是如何將如此復雜的社會議題,用如此通俗易懂甚至帶有民間韻味的方式錶達齣來的。這種高超的平衡感,使得他的作品既能被大眾理解,又經得起嚴肅文學評論的推敲。這是一次對人類共同情感體驗的深刻緻敬。
评分這本書簡直就是一場文字的盛宴,尤其是對於那些熱衷於探索美國黑人文學精髓的讀者來說。我一翻開它,就被那種直擊人心的力量所震撼瞭。休斯筆下的故事,無關乎宏大敘事,卻每一個都像是從日常生活中截取的、帶著露水的真實片段。那種對底城人民生活狀態的細膩捕捉,那種夾雜著爵士樂的節奏感和布魯斯音樂的憂鬱,簡直讓人沉醉。你仿佛能聞到哈萊姆區街角的煙火氣,聽到深夜裏薩剋斯風發齣的低吟。作者的敘事視角非常獨特,他能用最簡潔的語言勾勒齣復雜的人性睏境,無論是對夢想的追逐,還是在種族隔離的現實麵前的掙紮,都處理得恰到好處,沒有刻意的煽情,卻有著強大的情感穿透力。我特彆欣賞他處理幽默與悲劇並存的方式,那種黑色幽默的底色上,總是潛藏著對命運的深刻反思。這本書無疑是深入瞭解二十世紀美國社會文化變遷的一把鑰匙,每一個短篇都像是一塊打磨光滑的鵝卵石,握在手裏,能感受到曆史的溫度和人情的冷暖。如果你想體驗那種不加修飾、直抵靈魂深處的敘事藝術,這本閤集絕對不容錯過,它遠不止是文學作品,更像是一部活生生的社會風俗誌。
评分我不得不承認,剛開始閱讀時,我的注意力還停留在對故事情節的追逐上,但很快,我就被作者那種近乎殘酷的誠實感所吸引。他毫不避諱地展示瞭生活中的灰暗麵,但這種展示並非為瞭渲染絕望,反而是為瞭凸顯那些微小的、卻異常堅韌的人性光芒。這種光芒,有時隻是一個微笑,有時是一次不經意的善舉,但在休斯的筆下,它們被賦予瞭史詩般的重量。閱讀過程更像是一場沉浸式的體驗,而不是被動的接受信息。我感覺自己像個旁觀者,站在熙熙攘攘的角落裏,目睹著人物們在命運的夾縫中求生存、求理解。語言的運用是教科書級彆的典範——簡潔、有力、充滿音樂性。他很少使用冗長的形容詞來描繪場景,而是通過人物的行為和簡潔的對話,將場景和情緒直接“植入”讀者的腦海。這種“展示而非告知”的技巧,使得每個故事都具有極高的密度和迴味價值。這套閤集無疑是一份寶貴的遺産,它讓我們得以窺見一個特定時代背景下,人們如何用自己的方式定義“活著”的意義。
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