to John Kerry and Langston Hughes, it is obvious we are dealing
with the sort of phenomenon that Thomas Frank honed in on in the pages
of Baffler Magazine, namely the capitalist appropriation of
countercultural themes. Kerry has about as much in common with a black
radical's poetry as The Gap
In a message dated 7/26/2004 9:57:10 AM Central Standard Time,
[EMAIL PROTECTED] writes:
Hughes ends his poem on a more hopeful note ("America
never was America to me/ And yet I swear this oath/ America will be!"), but the
future Hughes imagined for America when he wrote those words
[EMAIL PROTECTED] wrote:
In a message dated 7/26/2004 9:57:10 AM Central Standard Time,
[EMAIL PROTECTED] mailto:[EMAIL PROTECTED] writes:
Hughes ends his poem on a more hopeful note (America never was
America to me/ And yet I swear this oath/ America will be!), but the
future Hughes
In a message dated 7/26/2004 11:02:14 AM Central Standard
Time, [EMAIL PROTECTED] writes:
I was quoting a Slate.com article.
Comment
Sorry . . . and apologies are due. There are times when the
distinction is blurred and indistinguishable.
Melvin P.
Langston Hughes lived through the period of American
history that birthed the Red Hot Summers and this
reality helped shape the core of his vision . . . not
to mention his personal history. Without question
Langston's vision was of an America where blacks were
not murdered and lynched in mass and
