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In one of his earliest and best-known poems, “The Negro Speaks of Rivers” (1921), Hughes uses two of the techniques that he would later employ in “Let America Be America Again.” The “I” of the poem identifies with a wide range of people of different races and experiences, and in presenting this, Hughes also employs the technique of anaphora (repetition of the same word or words at the beginning of a line) to structure the poem. The speaker’s soul stretches far back in time and place:
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln went down to
New Orleans, and I’ve
seen its muddy bosom turn all golden in the sunset (Lines 4-8).
Hughes was inspired to write that poem when he was riding on a train as it crossed a bridge over the Mississippi. The description of the muddy river becoming beautiful in the sunset hints at the love of America that is apparent in “Let America Be America Again,” and the reference to the iconic figure of Abraham Lincoln suggests an appreciation of America’s highest ideals, as is also shown in the later poem. The echo of Walt Whitman, who also heard America singing, is also present in both poems.
In Hughes’s poetry as a whole it is not difficult to see the two strands of thought that animate “Let America Be America Again”: the strong belief in the American dream as well as the bitter reality of how it falls short, especially for workers in a capitalist system and for African Americans, who are shut out of America’s prosperity and denied equality and respect.
To take the first of these themes, Hughes’s poem, “America,” published in 1925, foreshadows the optimistic side of “Let America Be America Again.” The poem contains visionary lines, such as “America is seeking the stars, / America is seeking tomorrow” (Lines 4-5). The poem highlights “America—the dream” (Line 8) and describes how the lure of the Americas brought people out of impoverished cities in Europe to take part in the building of the new country. The poem lauds both white people and Black people:
Being brothers,
Being one,
Being America,
You and I (Lines 28-31).
As in “Let America Be America Again,” the speaker extends his identity beyond his individual self with the same repeated “I am” of the later poem in a stirring final vision of diversity and unity:
I am the ghetto child,
I am the dark baby,
I am you
And the blond tomorrow
And yet
I am my one sole self (Lines 56-61).
Hughes, however, is never solely a dreamer, turning his back on realities. Equally prominent in his verse are his searing criticisms of American society regarding those areas of life in which there is no trace of the dream. Although in “Let America Be America Again” he brings attention to the oppressed of all races and classes, in many of the poems he wrote in the 1930s, he explicitly targets racism against Black people. In “White Man,” for example, he angrily throws the spotlight on an alliance between white people and capitalism, writing as an African American:
You take all the best jobs
And leave us the garbage cans to empty and
the halls to clean (Lines 4-6).
The short poems “Black Workers” (1933) and “Park Bench” (1933) offer similar denunciations of racism and economic inequality.
Hughes was one of the leading figures in the Harlem Renaissance, an explosion of creativity in literature, art, and music that took place in Harlem, a New York City neighborhood, in the 1920s. By the mid-1930s, however, the Harlem Renaissance was in sharp decline, as the Great Depression took its toll. Harlem was afflicted by impoverishment, unemployment, racism, and uncertainty about the future. Indeed, the United States in the early to mid-1930s was hardly a place where a cultural renaissance, or the American dream, could flourish anywhere. It was a difficult time, to use Hughes’s terms, for America to be America.
The Great Depression began with the stock market crash of October 1929. Within three months, the market had lost 40% of its value. As the Depression took hold over the following months and years, unemployment reached 25%. Thousands of banks failed. Wages paid to workers declined 40% between 1929-1932. An estimated two million men, jobless and mostly penniless, took to wandering around the country, so great was their desperation and despair.
Amidst much pressure for change, Franklin D. Roosevelt became US president in 1933. He enacted the New Deal, creating new federal programs, agencies, and laws designed to help the poor and the unemployed, repair the nation’s economy, and reform the financial system. These measures, although soundly conceived, took a while to take effect, and in the poem “Ballad of Roosevelt” (1934), Hughes caught the mood of the millions of people who were still struggling. The poem’s speaker is a child who announces that in their home, “The pot was empty, / The cupboard was bare” (Lines 1-2). He asks his father what is happening, and the father, who cannot get a job and is hungry, replies:
I’m waitin’ on Roosevelt, son,
Roosevelt, Roosevelt,
Waitin’ on Roosevelt, son (Lines 5-7).
The refrain of waiting on Roosevelt, with variations, occurs in all eight stanzas of the poem.
During this immensely difficult period, there was much industrial strife. In 1934 alone, there were around 2,000 strikes involving a million and a half workers, many of whom were taking advantage of New Deal legislation that gave them the right to form unions and engage in collective bargaining. Many employers responded with intimidation and violence against the workers. One of the most serious strikes took place on the West Coast in 1934, when over 30,000 longshoremen in all the West Coast ports walked out. When the shipping companies tried to bring in non-union labor, there were months of clashes between picketing strikers and police. Five workers were killed. In San Francisco in July, there was a four-day general strike of all workers in support of the dockers.
While all this was going on, Hughes was in Carmel, only a little over a hundred miles south of San Francisco. The labor unrest had led to fears of communist subversion and infiltration, and Carmel was in turmoil over it. Hughes, as a known communist sympathizer as well as a Black man, was informed that he would likely become the target of vigilante action. In order to preserve his safety, in July he left Carmel for San Francisco.
The longshoreman strike ended at the end of July, but the unrest may have left a strong impression on Hughes and perhaps found its way into “Let America Be America Again” in the line “The millions shot down when we strike?” (Line 54). This is one of the ironic answers he gives to the question he posed a few lines earlier, “Who said the free?” (Line 52), about America. He was exaggerating, of course, but the hyperbole hints at the shock he must have felt at the industrial conflict in California that had happened just 15-18 months previously.
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