The Oppression Of The American Dream In Harlem By Langston Hughes

J ames Mercer Langston Hughes was an American poet, social activist, novelist, playwright, and columnist from Joplin, Missouri. He was one of the earliest innovators of the then-new literary art form called jazz poetry. He was first recognized as an important literary figure during the 1920s, a period known as the Harlem Renaissance. This short poem is one of Hughes’s most famous works; it is likely the most common Langston Hughes poem taught in American schools. Hughes wrote "Harlem" in 1951, and it addresses one of his most common themes - the limitations of the American Dream for African Americans. The poem has eleven short lines in four stanzas, and all but one line are questions. In the early 1950s, America was still racially segregated.
African Americans were saddled with the legacy of slavery, which essentially rendered them second-class citizens in the eyes of the law, particularly in the South. Change was bubbling up, however. Hughes wrote "Harlem" only three years before the seminal Supreme Court decision in the 1954 case Brown vs. Board of Education that declared state laws establishing separate public schools for black and white students top be unconstitutional. Thus, Hughes was intimately aware of the challenges he faced as a black man in America, and the tone of his work reflects his complicated experience: he can come across as sympathetic, enraged, hopeful, melancholy, or resigned. Hughes titled this poem “Harlem” after the New York neighborhood that became the center of the Harlem Renaissance, a major creative explosion in music, literature, and art that occurred during the 1910s and 1920s. Many African American families saw Harlem as a sanctuary from the frequent discrimination they faced in other parts of the country. Unfortunately, Harlem’s glamour faded at the beginning of the 1930s when the Great Depression set in - leaving many of the African American families who had prospered in Harlem destitute once more. Langston muses about the fate of a “dream deferred.” It is not entirely clear who the speaker is –perhaps the poet, perhaps a professor, perhaps an undefined black man or woman.
The question is a powerful one, and there is a sense of silence after it. Hughes then uses vivid analogies to evoke the image of a postponed dream. He imagines it drying up, festering, stinking, crusting over, or, finally, exploding. All of these images, while not outright violent, have a slightly dark tone to them. Each image is potent enough to make the reader smell, feel, and taste these discarded dreams. According to Langston Hughes, a discarded dream does not simply vanish, rather, it undergoes an evolution, approaching a physical state of decay. I gathered that he does not refer to a specific dream. Rather, he suggests that African Americans cannot dream or aspire to great things because of the environment of oppression that surrounds them. Even if they do dare to dream - their grand plans will fester for so long that they end up rotting or even exploding. Believing that Langston is speaking to an audience that will relate and not only in the New York underclass neighborhoods. I feel that he is expressing the feelings of African Americans that reside in substandard communities throughout
America.
When he mentions a dream deferred, it is not referring to dreams like those we have in our sleep; rather it is about the dreams that we have to live a better life, to have a particular career, to be the kind of adult we want to be, or to live in a world where everyone is treated equally no matter you ethnicity.

William Thrall reviewed the poem and felt that one sees only its obvious simplicity. I asks, and provides a series of disturbing answers to, the question, "What happens to a dream deferred?" (line 1). A closer reading reveals the essential disunity of the poem. It is a ground of unresolved conflict. Various elements of its outer body, its form, contend with each other as well as with various elements of its inner body, its structure: that "sequence of images and ideas which unite to convey the meaning of the poem" (Thrall 473).