In the context of America's capitalist economy, "the American dream" typically represents the pursuit of wealth and the luxuries that money can procure: homes, automobiles, gourmet cuisine, and staff to manage life's routine and unpleasant chores. This assortment of material goods mirrors the aspirations of a society that perceives acquisition as limitless and a citizenry that believes they can achieve immense wealth through diligence. Many individuals migrate to America from nations with restrictive social systems, where their capacity to earn or keep property is constrained, where a lifetime of toil could never secure them a home in a particular area, and where hard work leaves them as impoverished as they started. For these people, the American Dream embodies freedom. The poem "Harlem" addresses dreams of liberty from an American viewpoint that did not perceive this country as a place where dreams could be fulfilled, but rather as a land where people of African descent were consistently denied freedom. Throughout his career, Langston Hughes frequently employed the concept of "dreams" to express the notion of social equality, possibly because the power of the term transcended racial barriers and because depicting aspirations as "dreams" rendered them less tangible and therefore less intimidating. In 1924, when the South was heavily segregated and hate groups often targeted Black individuals, Hughes was surrounded by Black intellectuals. He expressed his dream as one of physical freedom: "To fling my arms wide / In the face of the sun, / Dance! Whirl! Whirl! / Till the quick day is done." The 1932 poem "Dreams" is not a personal revelation of his own ambitions, but rather a caution to other African Americans to cling to their dreams, warning that if dreams perish, "Life is a broken-winged bird / That cannot fly" and also "Life is a barren field / Frozen with snow." The increasing frustration evident when comparing these two visions was intensified many times by 1951's "Harlem." The right to move freely, which seemed wistful in 1924, had been postponed or deferred for so long that Hughes could no longer, as in "Dreams," internalize his frustration as merely an African American issue. The poem suggests that the "opportunity" promised by the American Dream can only fail so many times.

"Harlem" meticulously measures the extent of its expressed anger. While it reflects on the author's personal experiences and is named after the neighborhood where the author lived, its emotional tone remains objective. The poem presents anger as an unavoidable consequence of the situation, rather than simply Langston Hughes's individual sentiments. Literature from oppressed communities has historically balanced personal expression with potential calls for rebellion. Depending on the context and perceived vulnerability of oppressors, the same piece of work could be interpreted in various ways. The notion of treating Black individuals differently from White individuals has always been a contentious issue in American history, clashing directly with the Declaration of Independence's claim that "all men are created equal." As a result, advocates of racial segregation could never feel completely secure, always concerned that freedom could eventually extend to those they oppressed. Literary works, especially those by African Americans that openly addressed their frustrations, were frequently perceived as implicitly threatening. At the time Hughes wrote this poem, African Americans had achieved some advancements, notably in entertainment and the integrated military during World War II. Hughes no longer needed to ignore or suppress the frustrations experienced by African Americans. However, these very advancements made segregationists feel threatened. The potential for violence is often cited to justify even stricter oppressive laws under the guise of preserving social order. Hughes addressed the growing anger among Black individuals with caution, stopping short of explicitly stating that it would lead to violence. Initially, he suggested alternatives to anger, though these options were unappealing to those experiencing frustration—such frustration could dry up, fester, stink, crust, or sugar over. Secondly, his restrained and objective tone made it clear that the poem did not advocate for violence. He could always deny any intention to incite people to "explode."

The "dream deferred" mentioned in the poem could symbolize various concepts, but the title's mention of Harlem, a New York City neighborhood known for its African-American community, narrows the poem's focus to racial issues. In the 1950s, the Civil Rights movement made significant progress against laws that imposed inferior conditions on Blacks compared to Whites. Most of these advances were achieved through non-violent means, especially after 1955, when Dr. Martin Luther King, Jr. emerged as a national leader advocating peaceful strategies for social change. Advocates for civil rights had existed since the nation's founding, with organizations fighting for equal treatment since the first slaves were brought from Africa.

"Harlem" captures the frustration felt by African-Americans at a crucial time in American history, just before the Civil Rights movement reached its most significant achievements. The "explosion" Hughes alludes to did occur, but it only happened after the progress of the 1950s proved insufficient. These violent outbreaks took place in densely populated urban areas similar to Harlem. Although the poem might seem prophetic, it was countered by the peaceful civil rights advancements in the following decade. However, a cynic might view peaceful methods as merely "crusting and sugaring over" or "sagging." Ultimately, the path to civil rights did lead to violent eruptions, as "Harlem" foretold.

Hughes uses an irregular meter in "Harlem," emphasizing different syllables and varying the length of each line. This mix of uneven line lengths and meter creates a sense of jagged, nervous energy that highlights the poem's themes of mounting frustration. In the introduction to Montage, Hughes mentions that he models his poetry's rhythms on musical styles like "jazz, ragtime, swing, blues, boogie-woogie, and bebop." He describes the collection as characterized by "conflicting changes, sudden nuances, sharp and imprudent interjections, broken rhythms and passages ... in the manner of a jam session."

Some lines rhyme, but there is no consistent rhyme scheme. Rhymes appear in lines 3 and 5 (sun, run), 6 and 8 (meat, sweet), and 10 and 11 (load, explode). Hughes might use these rhymes to accentuate the poem's irregular rhythm or to highlight connections between different ideas, such as "load" and "explode."

The first and last lines are set apart from the rest of the poem. In the first line, this separation emphasizes the poem's central question, which is also the central inquiry of the collection. The gap between this line and the next stanza suggests that the answer is uncertain and possibly ominous. The second stanza features four questions in four sentences. By rapidly posing one question after another, Hughes builds tension within the poem. The final line is set apart and italicized to stress the potentially explosive social consequences of widespread dissatisfaction.

While “Harlem” is often appreciated on its own, its full richness emerges when placed within the broader context of Langston Hughes’s Montage of a Dream Deferred. This work is an ambitious creation, envisioned as a single, expansive poem composed of various segments. These segments vary widely in length; some are as brief as three lines, while others stretch across two pages, each contributing uniquely to the overall tapestry.

The term “montage” evokes imagery comparable to a visual composition crafted from numerous smaller elements. It’s more fitting, however, to liken these poems to a dynamic sequence of short scenes in a film, given that they unfold through time. Yet, the most compelling analogy for understanding Montage of a Dream Deferred isn't visual or cinematic, but musical. Hughes himself noted in a preface to the work that the poem mirrors contemporary Harlem’s essence akin to be-bop music. It features “conflicting changes, sudden nuances, sharp and impudent interjections, broken rhythms,” capturing the vibrancy of a community in flux. At times, the poem mimics the spontaneous creativity of a jam session; at others, it echoes the structure of a popular song, all punctuated by the riffs, runs, breaks, and distortions characteristic of a society in transition.

Langston Hughes, an influential figure in the Harlem Renaissance, had a profound appreciation and understanding of African American music. His fascination with this cultural expression was evident as early as the 1920s, when he began crafting poems inspired by its rhythms and forms. His debut collection, The Weary Blues (1926), reflects this deep connection, with its very title drawn from one of his music-infused poems. Fast forward to the late 1940s, a period marked by the rise of bebop—an avant-garde style of jazz characterized by intricate improvisations and dynamic instrumental solos. This new musical wave profoundly shaped Hughes's work, particularly evident in Montage of a Dream Deferred. Here, the influence of bebop is palpable, infusing the poetry with a vibrant, improvisational spirit that mirrors the innovative essence of the music itself.

Envisioning the concept of deferred dreams as a melodic bebop tune, Langston Hughes strategically positions the poem "Harlem" to reintroduce and amplify the central theme just as the reader approaches the culmination of his work. Within this collection, dreams are invoked repeatedly, with the phrase "dream deferred" echoing across numerous poems. "Harlem" stands out as the pivotal piece posing the poignant question, "What happens to a dream deferred?" This inquiry reverberates through the following poem "Good Morning," underscoring its thematic importance.

The crux of "Harlem," and indeed the entirety of Montage of a Dream Deferred, revolves around the African American interpretation of the American Dream—a dream nestled within another dream, as illustrated in "Island," the book's concluding poem. Throughout the collection, individuals cast their dreams in diverse forms. Some dreams are tangible, such as the desire for a stove, a bottle of gin, or a diamond ring. Others, while still requiring financial means, are less materially specific, including aspirations for a comfortable home, a good education, or the means for a dignified funeral.

Moreover, the dreams Hughes explores often transcend material desires. These intangible dreams rely on emotional or social fulfillment: the need to be fed, appreciated, respected, or loved, often demanding the involvement of others. Conversely, some dreams are deeply personal, embodying the yearning for safety, independence, or happiness. Hughes approaches each dream with gravity, acknowledging the profound impact when these aspirations are deferred. Whether one dreams of winning the lottery or nurturing a child with care, Hughes empathetically examines the weight of unfulfilled dreams, embedding the theme of deferred aspirations throughout his poignant narrative.