Themes and Meanings (Masterplots II: Poetry, Revised Edition)
Although “Harlem” can stand alone, it is best understood in its original context as a key part of Montage of a Dream Deferred. Hughes conceived Montage of a Dream Deferred as a single, long poem made up of many parts, some as short as three lines (or fewer than ten words), some as long as two pages.
The word “montage” suggests analogies with a visual design consisting of many juxtaposed smaller designs or, better (since a series of poems exists in time more than in space), with a rapid sequence of related short scenes in a film. The most useful analogue of the work is, however, neither pictorial nor cinematic but musical. In a prefatory note to Montage of a Dream Deferred, Hughes wrote that “this poem on contemporary Harlem, like be-bop, is marked by conflicting changes, sudden nuances, sharp and impudent interjections, broken rhythms, and passages sometimes in the manner of the jam session, sometimes the popular song, punctuated by the riffs, runs, breaks, and disc-tortions of the music of a community in transition.”
Hughes had long been interested in and knowledgeable about African American music. Beginning in the 1920’s, he wrote poems about—and sometimes in forms influenced by—the music. His first book, The Weary Blues (1926), took its title from such a poem. Bebop, the innovative jazz of the late 1940’s, with its emphasis on the successive improvisations of individual instrumental...
(The entire section is 529 words.)
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