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Langston Hughes’ Racial Perspective on the Soviet Union Presented in I Wonder as I Wander

100%

Łobodziec A.

Przegląd Rusycystyczny

2018

nr 1

Langston Hughes lived in a racially segregated country within which racialism – fortified by religious indoctrination, ontology, and pseudo-scientific assumptions – attributed inferiority to blackness and superiority to whiteness. Under these circumstances, Hughes developed racial consciousness and was likely to observe, negotiate, and assess realities beyond the United States through this prism. The article focuses on Hughes’ comparative negotiation of two contrasting geopolitical contexts i.e. the racially segregated USA and the supposedly racially progressive USSR that he elaborates on in his travelogue I Wonder as I Wander. Special focus is given to examining the ways Hughes refers to and interprets his experience of the USSR, its political system, cultural expressions, social services, customs and ethnicities from a black American racial conscious frame of reference predicated upon African American experience and folk culture. The analogies he found between the situations of black Americans and the Soviet working class and various ethnicities, particularly the special affinity he felt with the peoples of Turkmenistan and his observation of Muscovite superior and elitist attitudes towards marginalized and disenfranchised residents of impoverished regions are highlighted. Interestingly, although Langston Hughes was treated as a guest of honor in Moscow, he nevertheless ventured forth to Soviet Central Asia, where, as he put it, “the majority of the colored citizens lived”. Lastly, the extent to which Hughes’ Soviet experience may have both heightened his universalist perspectives and racial consciousness is addressed with racial consciousness approached positively in that it enriched, individualized, and deepened Hughes’ understanding of a country so different from his own.

Literariness and Racial Consciousness in Paule Marshall’s Memoir Triangular Road and Gloria Naylor’s Fictionalized Memoir 1996

100%

Łobodziec A.

tom 50

nr 2-3

51-61

Black American women writers were side-lined by the literary canon as recently as the 1980s. Today, as a result of their agency, a distinct literary tradition that bears witness to black women’s particular expressiveness is recognized. Bernard Bell observes that the defining features common to most literary works by black American women are a focus on racist oppression, black female protagonists, the pursuit of demarginalization, women’s bonding, women’s relationship with the community, the power of emotions, and black female language. Although these elements refer predominantly to novels, they are also present in Paule Marshall’s memoir Triangular Road (2009) and Gloria Naylor’s fictionalized memoir 1996 (2005). Moreover, the two works are fitting examples of racial art, the point of departure of which, according to Black Arts Movement advocates, should be the black experience. Actually, since through memoirs the authors offer significant insights into themselves, the genre seems closer to this objective of racial art than novels. At the same time, taking into consideration the intricate plot structures, vivid images, and emotional intensity, their memoirs evidence the quality of literariness i.e., in formalist terms, the set of features that distinguish texts from non-literary ones, for instance, reports, articles, text books, and encyclopaedic biographical entries. Moreover, Marshall and Naylor utilize creative imagination incorporating fabulation, stories within stories, and people or events they have never personally encountered, which dramatizes and intensifies the experiences they relate. In Marshall’s memoir, the fictitious elements are discernable when she imagines the historical past. Naylor demarks imagined narrative passages with separate sections that intertwine with those based upon her actual life experience.