Thursday, March 31, 2011

Reincarnation Stories - Are You Haunted by Your Past Lives?



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I have been reading reincarnation stories since I was a teenager. There is something deeply sharp about the past-life experiences citizen have remembered, and how they work on their current lives - or are strangely mirrored in the present.

As we study someone's past incarnation in aged Rome, the American Civil War, or the Ming Dynasty, it opens our minds to subtle possibilities. Did we live back then? Who or what were we in past? And what does it have to do with what I am experiencing in my life right now?

American Stories

I think that many of us who read reincarnation stories do so because we have dim recollections of our own past lives, and we are trying to get more clarity on the subject.

How to Reincarnation Stories - Are You Haunted by Your Past Lives?

A Haunted Book?

A few years ago I gave a talk at the Las Vegas Paranormal Conference. At that lecture I told the audience about an sense I had associated to reincarnation.

Someone lent me a book that described in detail a clear duration in British history - a culture and time duration I had never studied before. The more I read, the more customary seemed all things I was reading. It was as if the book was reminding me of things I had always known.

At one point, the author wrote that the monarch of that time had sent a clear knight or courtier to a specific location. The sentence was interrupted by the lowest of the page. The location would be named at the top of the next page, which had yet to be turned. As I was reading, and before I turned to the next page, the strong concept came to me, "I remember that! So and so was sent to ____." And the name of some obscure town in England (not London or York, but a much smaller town) popped into my mind.

I turned the page . . . And that was the town listed.

I almost dropped the book! I thought, "This book is haunted!"

But it wasn't the book that was haunted - as I told my Las Vegas ghost hunting audience - it was I who was haunted by my past life.

All of us are haunted by our past lives.

What do Past-Life Influences Look Like?

Past-life influences show up in itsybitsy ways. You've probably experienced them yourself.

The opportunity when you traveled to some part of the world you had never visited and the place seemed hauntingly familiar.

The first time you met one of your best friends and felt that you had known them forever.

That extra occasion of recognition and illumination when you sensed that you an your spouse were carrying forward a connection you had initiated in the past.

That ultra strong sense of déjà vu, when you felt clear you had experienced a current situation before, but you had no recollection of anything similar happening in this lifetime.

These are just a handful of the many ways in which past-life memories and karma work on our current, daily lives. And we are reminded of them when we read reincarnation stories.

We read reincarnation stories about other citizen because, on a deeper level, we sense that we are reading about ourselves.

Reincarnation Stories - Are You Haunted by Your Past Lives?



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Wednesday, March 30, 2011

The Story Behind National Style Homes



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National-style homes are coarse across the nation, but not always easy to identify. That's because they tend to mix several pre-Victorian era construction styles, as well as Native American construction traditions. The effect is a surprisingly simple and elegant architectural form that's great for construction attractive, affordable homes, and has just sufficient decorative motion to work on high-end institution homes.

To understand the look of a National home, it's important to go back to the style's roots. This is maybe the construction recipe most closely tied with Native American construction styles, which date back centuries, and were loosely adopted by settlers throughout the 19th century. When Victorian architecture became beloved across the nation in the early 20th century, the National style was chosen by builders who wanted to preserve the best aspects of Native construction in contemporary homes. For this reason, National homes tend to have a narrow profile, with steep angled roofing similar to teepee and lean-to construction, and often including four or more high gables. Other Victorian-era homes, by contrast, have less gabling, and a wider, more squared profile.

American Stories

National-style homes come in a wide collection of subsets. Most coarse are the "hall-and-parlor family" and "I-house" styles, both of which have narrow floor plans that are commonly two rooms across and one room deep, with two floors. National homes with floor plans that are deeper than one room are referred to as "massed" homes - these often have a large gable on the side of the building, as well as a shed-roofed porch. Whichever type of floor plan is used, a National home typically features rectangular shaped rooms and a pyramid-shaped roof.

How to The Story Behind National Style Homes

National homes also typically highlight large front verandas reminiscent of French Creole and Dutch Revival styles. However, porches in this style are distinct in that they are higher from the ground than French Creole verandas, and more centered on the house than those used in the Dutch Revival style.

While National homes are quite attractive, they have been criticized in geographic regions for its vulnerability to storms and high winds. The high pitched roofs on these homes, in particular, are known for "catching wind like a sail," and undoubtedly being torn off houses in hurricanes.

Where practical however, National homes have always made a good choice for builders finding to concentrate afford quality and easy of use with a popular ,favorite design.

The Story Behind National Style Homes



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Tuesday, March 29, 2011

Read and Love Personalized Children's Story Books



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With the gift world, approximately every person tries to be creative in everything, from household items to gadgets and even books. With personalized children's story books, your child will become the star of the story and it would surely encourage him to read more and love reading more. Reading is a basic life skill that would pave the way for full, developMent of the child's learning interest and ability, so choosing accepted books to read is very necessary. When a child can already manufacture the value for reading, he can easily learn a lot of things and that would make him knowledgeable.

The best personalized children's story books can Supply a range of captivating stories and themes and these books can be very affordable for the parents' budget. Personalized books are ready for kids fluctuating from birth up to pre-teen. Do you wonder why it is called personalized children's book? Well, it is a book surely made out of your child's interest and likes. If you are thinking of a nice gift for your child's birthday, this personalized book can be given as a gift and I'm sure your kid will be truly happy if he can see his name as the name of the character, his birth date, the name of his friends, and a lot more about your child's identity and personality.

American Stories

Giving your child personalized children's story books to read can be very advanTAGeous. You can make him feel how important he is and unique he is for you are able to Supply him with a book wherein he is the star. Custom story books can be made very unique, not just commonplace children's books we normally see at book stores. If you can't conclude still on what theme and genre will be applied in the personalized book you want for your kid, there can be choices for you to pick from or you can also ask your kid if what his interest are when it comes to books or stories.

How to Read and Love Personalized Children's Story Books

Once you are done with the theme, the genre and with the manufacture you want, look for good personalized children's story books publishers and speak about your order. It will take you some time but you can be sure that it will be very worthy in the end.

Personalized children's story books are specifically designed to motivate children's interest and love for reading. Reading will make them good habitancy and truly knowledgeable. As they say, the more we read, the more we know, so teach your kids to read more so that they can know more about themselves, about the happenings colse to them and about the unknown.

Read and Love Personalized Children's Story Books



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Monday, March 28, 2011

construction Strong Character With Christian Kid's Stories



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Reading out loud to your child or grandchild is probably one of the most leading things you can do for them. Reading Christian kid's stories to your children can help instill Christian values and encourage integrity while they are young. There are many great kid's books written from a Christian point of view that can help you teach your child the values you want them to have while you are reading to them.

It is leading to start reading to your children when they are very young. Study has shown that children who are read to when they are small are more thriving in school. Being read to builds a child's listening skills, encourages a love of books and enhances their reading skills as well as their vocabulary. Reading to your child promotes bonding and lets the child know that they are leading to you. Reading Christian kid's stories to a newly adopted child can help the child bond with you as well as begin to teach the child your values. There are rewards for you, too. It gives you permission to take time from your hectic life to sit down with your child, relax and spend one-on-one, personal time with them. Nothing else you do all day long could be as fulfilling as those few minutes you spend with your child and a good book and your children will look send to this time of having your undivided attention.

American Stories

In expanding to the benefits listed above, Christian kid's stories can help build a child's self-esteem. Fantasize keeping your child or grandchild on your lap as you read a story to them, maybe even substituting their name for one of the characters' names, letting them know that they are special to you and to God, who made them one of a kind. They can help you teach your child to appreciate their own unique qualities as well as the unique qualities of other children. Reading to your child provides teachable moMents for them as you talk with them about the story you just read and the people in that story. Ask your child what happened, praise their answers and let them ask you any questions that they have about the story. Pick a book with lively illustrations and talk about the pictures. Use the stories to elaborate to your children that although everyone is different, everyone was created by God and everyone has a purpose. Taking time to talk with your child after you end reading your story teaches them that they can talk to you and you are curious in what they have to say. If you can make a habit of talking with your child every day, it may help keep the lines of transportation open as he grows.

How to construction Strong Character With Christian Kid's Stories

Words are so powerful, so look for Christian kid's stories that are filled with positive, encouraging words that will help to build self worth and empower children to make sure choices. Books can also be used to alleviate fears that your child has or help prepare them for changes that are coming, such as learning to use the potty, going to school or lively to a new home.

As you can see, reading to your child has so many benefits. We live in a world that seems to be lively at lightening speed, but taking some time each day to read Christian kid's stories to your children can go a long way to help prepare them to make wise choices and live a life of integrity with great success.

construction Strong Character With Christian Kid's Stories



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Sunday, March 27, 2011

construction Strong Character With Christian Kid's Stories



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Reading out loud to your child or grandchild is probably one of the most foremost things you can do for them. Reading Christian kid's stories to your children can help instill Christian values and encourage integrity while they are young. There are many great kid's books written from a Christian point of view that can help you teach your child the values you want them to have while you are reading to them.

It is foremost to start reading to your children when they are very young. Study has shown that children who are read to when they are small are more victorious in school. Being read to builds a child's listening skills, encourages a love of books and enhances their reading skills as well as their vocabulary. Reading to your child promotes bonding and lets the child know that they are foremost to you. Reading Christian kid's stories to a newly adopted child can help the child bond with you as well as begin to teach the child your values. There are rewards for you, too. It gives you permission to take time from your hectic life to sit down with your child, relax and spend one-on-one, personal time with them. Nothing else you do all day long could be as fulfilling as those few minutes you spend with your child and a good book and your children will look transmit to this time of having your undivided attention.

American Stories

In increasing to the benefits listed above, Christian kid's stories can help build a child's self-esteem. Fantasize keeping your child or grandchild on your lap as you read a story to them, maybe even substituting their name for one of the characters' names, letting them know that they are special to you and to God, who made them one of a kind. They can help you teach your child to appreciate their own unique qualities as well as the unique qualities of other children. Reading to your child provides teachable moMents for them as you talk with them about the story you just read and the habitancy in that story. Ask your child what happened, praise their answers and let them ask you any questions that they have about the story. Choose a book with consuming illustrations and talk about the pictures. Use the stories to by comparison to your children that although everybody is different, everybody was created by God and everybody has a purpose. Taking time to talk with your child after you terminate reading your story teaches them that they can talk to you and you are curious in what they have to say. If you can make a habit of talking with your child every day, it may help keep the lines of transportation open as he grows.

How to construction Strong Character With Christian Kid's Stories

Words are so powerful, so look for Christian kid's stories that are filled with positive, encouraging words that will help to build self worth and empower children to make certain choices. Books can also be used to alleviate fears that your child has or help prepare them for changes that are coming, such as learning to use the potty, going to school or consuming to a new home.

As you can see, reading to your child has so many benefits. We live in a world that seems to be consuming at lightening speed, but taking some time each day to read Christian kid's stories to your children can go a long way to help prepare them to make wise choices and live a life of integrity with great success.

construction Strong Character With Christian Kid's Stories



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Saturday, March 26, 2011

African Poverty Statistics Will Never Tell The Whole Story!



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Clearly Africa is a land of greatest poverty. The media has always and continues to portray the African continent as a destitute and hopeless one. In fact the images of this once great nation are commonly used by charity organizations to account for the characteristics of human want and suffering. But precisely, how poor are African countries? And what does the accumulated data that the Western World Statistics Organizations well show?

Superficially many economists may argue that African Poverty Statistics can clearly highlight the state of their poverty. However, this may not be necessarily the truth! Structural adjustMent programs of the World Bank and the International Monetary Fund (Imf) are established based on the assumption that improve can be measured in terms of moveMents in the Gross National stock or the Gross Domestic Product. GovernMents internationally therefore evaluation their performance based on changes in economic growth rates.

American Stories

According to this set guideline established by international organizations, African nations are any decades behind developed nations. In 1996, the mean of Gnp per capita in the developed world was ,086, compared with 8 in Africa. This therefore illustrates that developed countries are roughly 51 times wealthier than African nations. So that at an every year growth rate of a mere three percent it would take Africa roughly120 years to reach today's level of wealth of the West. Of course, western nations are unlikely to stand still while this happens. Thus it seems that African societies striving to catch up with the west have an roughly impossible task ahead of them.

How to African Poverty Statistics Will Never Tell The Whole Story!

For developed countries, roughly every activity has been commercialized. Take for example, the national accounts of any western nation; these may include payMents for personal charm care, which for the United States is an extraordinary billion a year. It is important to note that such an item would hardly highlight in the accounts of African nations. However, this does not mean that African nationals do not enjoy 'beauty' treatments - it's naturally means that these activities are not as commercialized as in the Western Nations. In 1996 people in Britain spent some billion on beer, wine and spirits, an number that is larger than the Gdp of most African countries. On the other hand the consumption of local spirits and other indigenous alcoholic brews in African countries is not incorporated in national accounts.

The standards that we use to account for the economic prowess of the world may not necessarily take into catalogue the true essence of their economic strengths, as clearly is the case in Africa. Gdp statistics of African nations and many other developing nations do not adequately reflect their cultural output, whilst cultural output forms a requisite proportion of the Gdp of western nations.

African Poverty Statistics Will Never Tell The Whole Story!



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Friday, March 25, 2011

Craftsman Homes Built America's Dream



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"A minute love nest beside a stream, where red,
Red roses grow, our bungalow of dreams.
Far from the city somehow it seems,
We're sitting pretty in our bungalow of dreams."

Thus went the chorus of "Our bungalow of Dreams," a song written in 1927 that reflects total affection for a construction style that swept over America as the 20th century was born. Today these distinctive Arts and Crafts homes still grace cities from California to Cape Cod, retaining the elegance and grace of an aesthetic, collective and market moveMent.

American Stories

The story began in England and was largely authored by William Morris whose home decorating themes stood in approximately stark discrepancy to the guilded and ornate households of the Victorian Age. He, and others, wanted a return to organic simplicity and designs that blended with the natural environMent. His ornamental arts became integral to a new architectural style that simultaneously developed, sailed swiftly over the Atlantic and was adapted by American builders and designers.

How to Craftsman Homes Built America's Dream

Birth of a Movement
The motion of Arts and Crafts homes, with their open interior design, low profile and simplicity of line was about much more than style. It was a reflection of collective turn brought about by the market Revolution. In England, Morris and his mentors bemoaned the effects of mass output and the loss of personal relationship to one's work. They urged return to the craftsmanship of the past, when individuals were invested in the potential - not the quantity - of their work. Morris's home decorations fully expressed this ideal and used patterns from nature, natural dyes and wall papers made from wood block prints.

At the same time, the market Revolution was slowly changing daily house life in England and America. Population were sharp to cities for work in factories and families were earning a living - one that allowed an addition whole of Population to own a home. Their homes would be straightforward - no need for servant quarters and grand entryways. Exteriors would be straightforward and beyond doubt maintained. Gingerbread carvings were substituted by natural stone, brick and timber that mighty several variations of Craftsman homes in America.

America's Craft Masters and Marketers
The nation gave birth to many complete architects whose work exemplifies the Movement - Greene and Greene, Frank Lloyd Wright, and Julia Morgan among others. Wisconsin offered up Gustav Stickley whose woodwork and furniture fully embraced and expressed Arts and Crafts principles. He also published the first of many magazines and catalogs that helped to popularize craftsman homes and décor.

While the work of these noted architects and designers captured attention in the early 1900s - and continues to do so today, it was a more popular medium that made the Craftsman house, the popular Bungalow, an daily American dream. Sears and Roebuck Company, Montgomery Ward and other national retailers began selling Craftsman home plans in catalogs, along with materials, blueprints and do-it-yourself kit homes. Sears and Roebuck even included house paint in its kits. Michigan alone had three major companies selling bungalow and Craftsman kits over America. The costs of the kits ranged from a minute over ,000 to about ,500.

This mass marketing mirrored other changes in American cities. Roads were being built, streetcars and trolleys were carrying Population to an addition whole of white collar Jobs and the examine for home possession soared. construction materials were relatively cheap and the American dream of home possession was thriving.

American Craftsman Styles
Arts and Crafts homes come in a whole of styles. The bungalow was among the most popular and still prized today. It characteristically has one story, a brick or rock Fireplace, a small porch supported by brick or straightforward wooden columns, and a slowly sloped roof. Some Bungalows have a small half-story perched atop the former design. Within this broad class are several styles that reflect the use of gables and extended rafters.

The Craftsman home has a more grand scale than the Bungalow. Its two-story originate features fine detail work around windows and on eves. Roof rafters are exposed and cut in simple, yet elegant geometric patterns. The Craftsman home was ordinarily larger than the more modest bungalow, with further bedrooms upstAirs and larger coarse living spaces. Front porches with characteristic columns might span the width of the house.

Yet another popular style in the Craftsman genre was the Foursquare or Box House that was often built on narrow urban lots. The two stories of the Foursquare were separated by a piece of straightforward trim board and a porch graced the whole front of the home. As with other Craftsman styles, brick, rock and wood used in straightforward lines embellished the Box House which was one of the most popular kit homes for Sears and Roebuck between 1900 and 1920. Many of these Foursquare homes have become the two-up, two-down apartments of modern American cities.

So popular is the Craftsman home, there was a resurgence of new construction in this style at the end of the 20th century. The organic feel of the house cordial homes continues to motion to Population who are construction in the 21st century. And, as testimony to the basic principle of the movement expressed by William Morris, Craftsmen homes built 100 years ago remain standing and strong. Built with care, attention to detail and dedication to craft, they elegantly stand the test of time.

Craftsman Homes Built America's Dream



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Thursday, March 24, 2011

Rags to Riches?



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We have come to expect that ghetto babies will grow up and die as ghetto adults. We seldom see any stories in the media about people who never raise above their ghetto existence. A large estimate of people born in a ghetto grow up and live decent lives. Many make it to a middle-class life style. However, these people are just as un-news worthy as those that never leave the ghetto. The rages to riches stories are presented by the media as proof of the possibilities for American citizens. They perpetuate the ideal that anyone living in America can come to be anyone he/she wants to be. How often have we seen the headlines: From The Ghetto To MillionAire. The media perpetuates the ideal that anyone in America can come to be anyone he/she wants to because it not only makes us feel good about our Country; it makes America look good to the rest of the World. The ideal says to the World that America is the land of opportunity. See!

Most of the ghetto to riches stories involves entertainers and athletes. Even though poor people comprehend that every person can not come to be entertainers or athletes, they exalt these people and exhaust their energies fantasizing about living such a life style. When they need to be developing their minds, they waste their efforts in trying to collect what they think are the symbols of a thriving life style. Those that can get the 0 Dollar tennis, the gold jewelry, and maybe even a used Bmw. Unfortunately, the symbols do nothing to turn their actual state of being. This is way I feel that stories displaying the life style of entertainers and athletes do more harm than good.

American Stories

Every so often we will see stories about a someone who came from the ghetto and made it to the point at which they could generate their own enterprise and became rich. Such stories could genuinely be helpful if they were not presented as rages to riches stories. A key ingredient is being left out when such stories are presented this way. For the stories to be helpful they need to be presented as from ignorance to knowledge stories. Before anyone gets offended, let me make clear that I am not using the term ignorance in a negative sense. Here, ignorance simply means to be unaware or to have a lack of knowledge. Remember, to turn anyone we must first admit that we are there.

How to Rags to Riches?

When the media tells the ghetto to riches stories they should de-emphasize the life style aspect and emphasize the ignorance to knowledge aspect of the story. I know that this would turn the whole intent (to perpetuate the land of opportunity myth) of the story. But, it could genuinely be helpful to less thriving people to know that the main incompatibility between them and the ghetto to riches people is a lack of knowledge.

Some people are born into rich families. Some people are born into poor families. The people born into rich families do not have to strive very hard to be considered a success. The people born into a poor family must work highly hard to go from ghetto to riches. It can be done, but they must understand that the hard work begins with a chase of knowledge. Choosing what you want to come to be is not as foremost as comprehension that to come to be good at anyone you must collect the requisite tools to achieve on a higher level.

Knowledge begins with gaining knowledge of the self. I am not suggesting that one has to go to a place of worship or bond to any particular religion. What I am suggesting is that we must form a association with a power that is bigger than ourselves. You can call it God, the Universe, or the Divine Force. What is foremost is that we develop the association and the comprehension that this higher power not only put us here, but it put us here for a purpose. It is this comprehension that can truly put us on the path from ghetto to riches. Being in America genuinely increases our chances of becoming successful. But, we must understand that just being here is not adequate to move us forward. If that was the case there would not be such a large estimate of poor people living here. You can come to be a success in America. You will follow with determination, steadFastness, and action. Most importantly, you will follow with self-knowledge and the knowledge that your higher power not only wants you to have abundance, but will also guide your journey to achieve the life you want to live.

Rags to Riches?



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Wednesday, March 23, 2011

Great American Novel Contenders: To Kill a Mockingbird, The Great Gatsby and The Scarlet Letter



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Amongst many clichés in the world of literature is the opinion of the Great American Novel. Some argue that it is still waiting to be written, and some argue that it was written long ago and no piece of fiction that follows will ever touch it. This description aims to witness some of the novels that are ordinarily thought about top contenders for the title of Great American Novel.

The first is To Kill a Mockingbird. Written by Harper Lee, the novel examines race relations in the American South in the early 20th century with as much nuance and heart as any scholarly work that exists. It also brought the unforgettable characters of Atticus Finch, Jean Louise (Scout) Finch and Boo Radley into American literature. The novel is often taught in American high schools, but the story itself is known to those who haven't read it because of the classic film version starring Gregory Peck. Harper Lee herself has not written any major works since To Kill a Mockingbird, and is extremely reluctant to grant interviews or make any communal appearances. Her reclusive nature might create an era of mystique around the novel, and addition communal interest in the book.

American Stories

Next is F. Scott Fitzgerald's The Great Gatsby. Gatsby is the quintessential post World War I novel, set just surface of New York City in the wake of the Great War. Though much of nation was suffering economically at this time, the Great Gatsby focuses on a part of the country enjoying extreme wealth, privilege, comfort and extravagance. To make sure that the reader knows that these aspects aren't necessarily being celebrated, Fitzgerald has his narrator, Nick Carraway, be an honest, non-judgMental man from the Midwest, who serves as the moral compass of the novel, though it can also be argued that he might not be the most reliable narrator, and, as a human being himself is also flawed.

How to Great American Novel Contenders: To Kill a Mockingbird, The Great Gatsby and The Scarlet Letter

Finally, there's Nathaniel Hawthorne's The Scarlet Letter. The Scarlet Letter tells the tale of Hester Prynne, a woman who is unfaithful to her elderly husband, has a child out of wedlock, and is subsequently forced to wear a red (scarlet) letter "A" (for "adulterer") on herself at all times. Like Arthur Miller's The Crucible, The Scarlet Letter warns against the dangers of judgMental nature and mob Mentality. Despite Hester's indiscretions, the reader sympathizes with her situation and it is difficult to Watch her undergo the judgment and scrutiny she receives from the others in her town. The novel's themes of tolerance and comprehension make it an excellent candidate for the title of Great American Novel.

It's likely that scholars will never conclude what book well is the Great American Novel, and that's fine. Readers are lucky to have so much spectacular, fiction to select from when trying to make their decision, and with curious writers being discovered every day on bookshelves around the country, there doesn't seem to be any shorTAGe of contenders. Of course, not every new author is Harper Lee, F. Scott Fitzgerald or Nathaniel Hawthorne, there's new talent to be discovered around the country, and the moot will live on.

Great American Novel Contenders: To Kill a Mockingbird, The Great Gatsby and The Scarlet Letter



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Tuesday, March 22, 2011

"Big Girls Don't Cry" - It Takes a Tough Woman to Withstand Harassment in American Politics



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"Big Girls Don'T Cry. The choice that Changed everything for American WoMen."

Rebecca Traister. New York: Free Press.

American Stories

In Big Girls Don'T Cry, Rebecca Traister follows key woMen complicated in the 2008 Presidential election, to tell the story "about the country and its culture, how we all reacted to the advent of these surprising new figures on the presidential sTAGe and what they showed us about how far we had come and how far we had yet to go." She does an extremely good Job of reaching that goal for most of us.

How to "Big Girls Don't Cry" - It Takes a Tough Woman to Withstand Harassment in American Politics

Traister basic contexts are gender politics (including but not narrowly defined by feminism and misogyny), race (including but not narrowly defined by racism), and inter-generational perspectives.

She observes that Hillary Clinton, who would put 18 million cracks in the highest, hardest glass ceiling, was "a prism through which the country's attitudes about sex, power, and the place of woMen in community were going to be projected. It was impossible for Hillary Clinton to have chosen a path to the White House that bypassed the loathing, jeering derision and gendered stereotyping built on two centuries of male power. As Clinton got closer to the race, a widely anticipated wave of resistance began to make itself apparent. This was the easy-bake misogyny of anti-Hillary Men, but also of women eager to advertise their solidarity with and enthusiasm for former gender roles, like the one who entered a John McCain rally in Hilton Head Island, South Carolina, in November 2007 and asked the presumptive Republican candidate, 'How do we beat the bitch?' "

While the extent of blatant misogyny unleashed by Clinton's candidacy, particularly as expressed in the media, is well detailed by Traister throughout the book, it is done in a balanced way.

Further, Traister examines both Bill Clinton and Barack Obama in juxtaposition with their wives. She shows that each of these accomplished men values and fully respects his strong wife. Traister spoke with each of the Clinton's on the examine of Bill as a President's spouse. "When I asked Hillary if she notion Bill would have a difficult time adjusting to secondary power, she said, 'I can't imagine a better partner. This would be my presidency. Neither of us would expect it to be any different. But I will count on him to be there for me just as I was there for him.'" In like vein, Bill told her how he would be proud to inherit the heriTAGe of past presidential partners Eleanor Roosevelt and Hillary Clinton.

A quote from Paula Giddings portrays Obama similarly: "That Barack Obama would pick for his life partner a nearly six-foot-tall, incredibly smart, loquacious lioness of a woman told us virtually all we needed to know about his basic character - and the way he felt about us."

While reporting well on women's varying positions with respect to Hillary's candidacy, Traister took no note the many non-misogynistic men in this country, men who saw Hillary as having more depth than Barack, who agonized about the selection as much as Traister did, and who supported Hillary's run until they accomplished that Obama had built much broader keep over the country and had a better opportunity of being elected in November.

Traister etches well the strata of different generations of American women. A journalist just a bit ahead and yet very much of the blogging reporter style, she draws on and exposes her own intergenerational conflicts, together with her adult dynamics with her mother. She does not speculation to search for where her perceive could not carry her - that is, to search for the intergenerational issues in the middle of adult sons and their mothers and/or fathers, and how those were manifest in political decisions.

Traister tries, as well, to show the range of perspectives within the African-American community about Obama. Her coverage of this topic, while strong, is not as crisply clear as her presentation of the gender issues.

A neat perspective on the interplay of race and gender is found in her quote from Melissa Harris-Lacewell, a black Princeton University professor: "Every time [reporters] would ask me 'Are you going to keep him because he's black or her because she's a woman?' I wanted to call them back and say, 'Why don't you call the white guy and ask him, "Are you going to keep her because she's white or him because he's a guy?'"

The four key women complicated directly, whether as candidates or candidates' spouses, contain Hillary Clinton, Elizabeth Edwards, Michelle Obama, and Sarah Palin.

Traister recalls 1992 feminist delight with Clinton "when she marched into the White House with ill-tended hAir, barren cookie trays and big ideas about condition care," and shows us why much of that keep was not there 15 years later.

Traister, who had supported John Edwards until his seclusion from the race, illustrates how Elizabeth Anania Edwards, who portrayed herself as the supportive homemaker in dissimilarity to Hillary Clinton, had no ifs ands or buts been very much in the Hillary mold. Traister smacks Elizabeth down, however, because" she had enabled her husband's deception [about his affAir]... And she had thus taken an astronomical risk with the well-being of the nation."

Michelle Obama, reluctant to enter the campaign, and candid about her husband as "just a man" in light of some of the messianic expectations that greeted his candidacy, is "too awesome to be objective about," says Traister, who saw how "Elderly white women in Iowa felt that they had more in coarse with Michelle Obama than they did with Hillary Clinton. Inhabitants of towns like the conservative rural Maine settlement my; mom had fled and the Republican Pennsylvania suburb where I'd been raised were crowding into church basements to listen to a black woman with developed degrees tell them to elect her husband president."

On the Republican side, John McCain campaign owner Steve Schmidt and consultant Rick Davis had found Sarah Palin, saw her as a star, and a socially conservative one to boot. McCain met with Sarah Palin in Sedona, where "they took a walk by the creek, and spoke for an hour. After conferring briefly with his advisors, McCain offered Palin the Job." There were however, few women on McCain's staff, none had been bought into the conversation about Palin, and there was no one to remind McCain that "his new running mate would have to meet a higher bar of hope than a man would, or to weigh whether or not she was strong adequate to clear it."

Traister follows Palin's implosion within the campaign. She reflects on Palin's claiming to be a feminist yet not fitting most of the former feminist positions: "In this strange new pro-woman tableau, feminism meant voting for man who would limit reproductive control, passage to condition care, and environmental protections"

Even though distanced by the McCain staff, "... Palin was becoming an ever greater sensation, with weighty crowds of jubilant Republicans, many of them female, who had found her not only a candidate to cheer, but an icon of female political empowerment."

At the same time, "Palin's corollary on female Hillary holdouts was the opposite of what McCain strategists had hoped. Her marked differences from Clinton prompted most of Hillary's rigorous to throw their Clinton bumper-stickered cars in reverse and back Obama with a panicked energy."

In the final sections of the book, set after the election, Traister portrays Palin as an emergent force, particularly among Republican women finding a new wave of feminism in which they could partake. Even though Palin opposed abortion even in cases of rape and incest, and had run "alongside a man who voted nineteen times against expanding the minimum wage, who voted against the Violence Against Women Act and against funding for the Office of Violence Against Women, who voted against expanding the family and healing Leave Act and to finish funds for family planning, these women [were] cheering on Palin's foresight in which personal empowerment had no correlation to progressive policy." Jettisoning a woman's right to control her own fertilization as a core feminist value, their singular core value was equal passage and opportunity.

The book is extremely well worth reading, and I can't wait to read what I hope will be Traister's follow-up book in 2013.

"Big Girls Don't Cry" - It Takes a Tough Woman to Withstand Harassment in American Politics



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Monday, March 21, 2011

assorted Types of Short Stories



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As there are varieties of subjects, themes and art, there are various types of a short story. Some of the types are ancient tales, humor, saTire, fantasy, biography, education, local color, and history. Lets us have a descry on each one of them in this article.

1. Ancient Tales

American Stories

It is the power of the utilization of the Ancient form of the tale in the contemporary short story. Italian writer Giovanni Verga's The She-Wolf (1880), and Chinese writer Yeh Shao-Chun's Mrs. Li's HAir are powerful examples.

How to assorted Types of Short Stories

2. Fantasy

Fantasy stories are nothing but the fAir mixture of the old tales tradition and the supernatural details. The fine examples of such stories are British writer John Collier's horror fantasy Bottle Party (1939), Irish author Elizabeth Bowen's The Demon Lover (1941), and British author Saki's Tobermory (1911).

3. Humor

These types of stories are meant for producing surprise and delight. You will see that the most famed humorous tales and fables were written by the Americans. Mark Twain's The famed Jumping Frog of Calaveras County (1865), and Joel Chandler Harris's The fantastic Tar-Baby Story (1894) are remarkable. There is serious humor in the works of Americans like Eudora Welty's Petrified Man (1939) and Dorothy Parker's The Custard Heart (1939).

4. SaTire

The main purpose of saTire is to assault the evils of society. There are writers who wrote stories of sober satire. Austrian author Arthur Schnitzler's Fate of the Baron (1923), and American Mary McCarthy's The Man in the Brooks Brothers Shirt (1941) are known for their somber satire.

5. Instruction Story

Such stories revolve nearby the Instruction of the main character. The good example is American trainer Lionel Trilling's Of This Time, of That Place (1944).

6. History

History types deal with a life story or historical event. Welty's A Still MoMent (a 1943 story about naturalist John James Audubon) is fine example of story dealing with history event.

7. Local Color

These types of stories deal with the customs and traditions of rural and small-town life. You can enjoy the local color in the stories of George Washington Cable, Maria Edgeworth, Sarah Orne Jewett, and Mary Wilkins Freeman.

These are some of the types you may find in sort story genre. In modern times, stories have more local color, diversities in the representations, production use of dialects, and vernacular impressions. The story writes have been taking somewhat flexibility in writing stories as they wish.

assorted Types of Short Stories



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Sunday, March 20, 2011

American Exceptionalism & Unilateralism



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A series of decisions by the current Us Administration, in widely differing sectors, are causing increasing concern among the global public-health community. Together, these decisions can possibly best be understanding of as manifestations of American exceptionalism, in which international laws and standards of behavior apply only to other countries. In the international arena the Usa has opted out of a series of group initiatives, many of which have potentially prominent consequences for health, security, and human rights. These initiatives and treaties consist of topics such as the banning of land-mines, the International Criminal Court, and the promulgation of anti-ballistic missiles. The decision to send captured fighters from Afghanistan to Guantanamo Bay, Cuba, where they are held in legal limbo, is viewed by some as a withdrawal from the Geneva Convention. In other areas, Us officials have stayed at the table but sought to undermine sufficient action, as with the Framework convention on Tobacco operate or the quest for concerted action on climate convert (the Kyoto Protocol).

Domestic and international politics, however, related. Despite budget deficit, increased troops expenditure, and taxes burden, that increased pressure on American citizens, U.S rehearsal unilaterally in the world. U.S. Current leaders want to provide their needs by colonization and expansion policies same as colonial powers in last centuries.

American Stories

American Exceptionalism located American values at town of foreign policy, fostering reliance in the needful union of American virtue and power. American Expectionalism opens up American national history to a series of intersection with other national stories. American Exceptionalism cause that U.S. Acts exclusively in all aspects like politics, culture, economy, and military.

How to American Exceptionalism & Unilateralism

American irregularity lists' effete on American political culture, as a result, it shapes definite characters in American people. Then Americans behave based on them in any relations, even in interactions with other nations. U.S. Administrators, beneath of this monster, want to lead world. They believe that nations and states should act based on U.S. Business transaction and American values. Thus U.S. Foreign policy officials identify a divine mission for guide world, particularly less-developed and uncivilized nations, to prosperity, welfare and humanitarian behaviors. They argue that must democratize and make freedom all peoples.

According to American Exceptionalism and American values and American nationalism, White House administrators convention in international principles so that any theories of international relations cannot elucidate U.S. Foreign policies. Realists emphasize states interest in accumulating power to ensure security in an anarchic world, race their own national interests defend in terms of power, while U.S. Stress on human rights, international law, international regimes, international organizations that correspond to liberalism theory. On one hand, U.S. Drastically emphasizes to norms, group values, non-material structures of international system, that they are key concepts and assumptions of constructivism, on the other, seeks to undermine sufficient actions same as Kyoto protocol or withdraw frame Geneva convention, and attacked to Iraq without Un agreeMent. Of course, human rights, freedom, democracy, and war against terrorism are American tools for intervening in external and internal affAirs of other actors. However, we know that U.S. Has great troops power, but U.S policymakers use soft power , because this sort of power grant to U.S policies and governors legitimacy, also group opinions feel satisfaction.

Americans assume themselves as sticker of freedom, democracy, and civilization, and also pride because of these exceptional imaginations, then U.S. Administrations misuse interpretation of these concepts for uniting and enforcing Americans national sensitive. For instance, the day after September 11, Bush said that:" The deliberate and deadly attacks which were carried out yesterday against our country were more than acts of terror. They were acts of war. This will need our country to unite in steadFast determination and resolve. relaxation and democracy are under attack. ... This enemy attacked not just our people, but freedom-loving population anywhere in the world. . . . This will be a monuMental struggle of good versus evil. But good will prevail. "

Any president or leader cannot claim same as Bush, today. It is evident of exceptional understanding and deliberation, just as Spanish and Britain prime ministers not only couldn't claim that terroristic operations in Madrid and London were assault to relaxation and democracy, but also couldn't accuse any country.

In globalization era, that national boarders and cultures is undermining, this is a good opportunity to replacing American values instead of local and national values. It seems that Americans policymakers now carry out this task bather than previous. American Exceptionalism encourages U.S. Leader to unilateralism, while it is perilous for humanity and causes basal reactions in world. Also, U.S. Leaders ignore identity crisis in America, Anti- Americanism, and hate of world population from America.

American Exceptionalism & Unilateralism



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Saturday, March 19, 2011

Langston Hughes - The Life, Times, Works as Well as Impact of a Versatile African-American Writer



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Langston Hughes stands as a literary and cultural translation of the political resistance and campaign of black consciousness leaders such as Martin Luther King to restore the possession of the black citizenry thus fulfilling the ethos of the American dream, which is preeminent universally every year around February to April.

Hughes' overriding sense of a public and cultural purpose tied to his sense of the past, the present and the time to come of black America comMends his life and works as having much to learn from to inspire us to move forward and to acquaint and guide our steps as we move forward to create a great future.

American Stories

Hughes is also principal since he seems to have favorably spanned the genres: poetry, drama, novel and criticism leaving an indelible stamp on each. At 21 years of age he had published in all four (4) areas. For he always carefully himself an artist in words who would venture into every singular area of literary creativity, because there were readers for whom a story meant more than a poem or a song lyric meant more than a story and Hughes wanted to reach that personel and his kind.

How to Langston Hughes - The Life, Times, Works as Well as Impact of a Versatile African-American Writer

But first and foremost, he carefully himself a poet. He wanted to be a poet who could adDress himself to the concerns of his people in poems that could be read with no formal training or comprehensive literary background. In spite of this Hughes wrote and sTAGed dozens of short stories, about a dozen books for children, a history of the National connection for the AdvanceMent of Coloured Peoples (Naacp), two volumes of autobiograPh Meter of blues music, a genre popularized in the early 1920s by rural and urban blacks. In it and such other pieces as "Jazzonia" Hughes evoked the frenzied hedonistic and glittering atmosphere of Harlem's preeminent night-clubs. Poetry of public criticism such as "Mother to Son" show how hardened the blacks have to be to face the innumerable hurdles that they have to battle straight through in life.

Hughes' earliest influences as a mature poet came interestingly from white poets. We have Walt Whitman the man who straight through his artistic violations of old conventions of poetry opened the boundaries of poetry to new forms like free verse. There is also the very populist white German Émigré Carl Sandburg, who as Hughes' " guiding star," was decisive in prominent him toward free verse and a radically democratic modernist aesthetic

But black poets Paul Laurence Dunbar, a devotee of both dialect and approved verse, and Claude McKay, the black radical socialist an emigre from Jamaica who also wrote ended lyric poetry, stood for him as the embodiMent of the cosmopolitan and yet racially positive and committed black poet Hughes hoped to be. He was also indebted to older black literary figures such as W.E.B. Dubois and James Weldon Johnson who admired his work and aided him. W.E.B. Dubois' variety of Pan-Africanist essays Souls of Black Folks has markedly influenced many black writers like Hughes, Richard Wright and James Baldwin.

Such colour-affirmative images and sentiMents as that in "people": The night is beautiful,/So the faces of my people and in 'Dream Variations: Night coming tenderly,/ Black like me. Endeared his work to a wide range of African Americans, for whom he delighted in writing,.

Hughes had always shown his measurement to experiment as a poet and not slavishly supervene the tyranny of tight stanzaic forms and exact rhyme. He seemed, like Watt Whitman and Carl Sandburg, to prefer to write verse which captured the realities of American speech rather than "poetic diction", and with his ear especially attuned to the varieties of black American speech.

"Weary Blues" combines these various elements the coarse speech of commonplace people, jazz and blues music and the former forms of poetry adapted to the African American and American subjects. In his adaptation of former poetic forms first to jazz then to blues sometimes using dialect but in a way radically distinct from earlier writers, Hughes was well served by his early experimentation with a loose form of rhyme that oftentimes gave way to an inventively rhythmic free verse:

Ma an ma baby

Got two mo' ways,

Two mo' ways to do de buck!

Even more radical experimentation with the blues form led to his next collection, Fine Clothes to the Jew. Possibly his finest singular book of verse, together with any ballads, Fine Clothes was also his least favourably welcomed.

Several reviewers in black newspapers and magazines were distressed by Hughes' fearless and, 'tasteless' evocation of elements of lower-class black culture, together with its sometimes raw eroticism, never before treated in serious poetry.

Hughes expressing his measurement to write about such people and to experiment with blues and jazz wrote in his essay "The Negro Artist and the Racial Mountain." Published in the Nation in 1926

'We younger artists...intend to express our personel dark-skinned selves Without fear or shame. If white people are pleased we are glad. If they Are not, it doesn't matter. We know we are beautiful, And ugly too.'

Hughes expressed his measurement to write fearlessly, shamelessly and unrepentantly about low-class black life and people inspite of opposition to that. He also exercised much free time in experimenting with blues as well as jazz.

The tom-tom cries and the tom-tom laughs. If coloured people are pleased we are glad. If they are not their displeasure doesn't matter either. We build our temples for tomorrow, strong as we know how and we stand on top of the mountains, free within ourselves.

With his espousal of such thoughts defending the free time of the black writer Hughes became a beacon of light to younger writers who also wished to speak their right to peruse and exploit allegedly degraded aspects of black people. He thus provided the movement with a manifesto by so skillfully arguing the need for both race pride and artistic independence in this his most memorable essay,

In 1926 Hughes returned to school in the historically black Lincoln University in Pennsylvania where he continued publishing poetry, short stories and essays in mainstream and black-oriented periodicals

In 1927 together with Zora Neal Hurston and other writers he founded Fire a literary journal devoted to African -American culture and aimed at destroying the older forms of black literature. The venture itself was short-lived. It was engulfed in fire along with its editorial offices.

Then a 70 - year old wealthy white patron entered his life. Charlotte Osgood Mason, who started directing virtually every aspect of Hughes' life and art. Her passionate confidence in parapsychology, intuition and folk culture was brought into supervising the writing of Hughes' novel: Not Without Lauqhter in which his boyhood in Kansas is drawn to depict the life of a sensitive black child, Sandy, growing up in a representative, middle-class.mid-western African-American home.

Hughes' connection with Mason came to an explosive end in 1930. Hurt and baffled by Mason's rejection, Hughes used money from a prize to spend any weeks recovering in Haiti. From the intense personal unhappiness and depression into which the break had sunk him.

Back in the U.S., Hughes made a sharp turn to the political left. His verses and essays were now being published in New Masses, a journal controlled by the Communist Party. Later that year he began touring.

The renaissance which was long over was replaced for Hughes by a sense of the need for political struggle and for an art that reflected this radical approach. But his career, unlike others then, in fact survived the end of that movement. He kept on producing his art in holding with his sense of himself as a wholly professional writer. He then published his first collections, the often acerbic and even embittered The Ways of White Folks.

Hughes' main concern was now, the theatre. Mulatto, his drama of race-mixing and the South was the longest running play by an African American on Broadway until Lorraine Hansberry's A Raisin in the Sun appeared in the 1960's. His dramas - comedies and ramas of domestic black American life, largely - were also favorite with black audiences. Using such innovations as theatre-in-the-round and invoking audience participation, Hughes foreseen, the work of later avant-garde dramatists like Amiri Baraka and Sonia Sanchez. In his drama Hughes combines urban dialogue, folk idioms, and a thematic emphasis on the dignity and strength of black Americans.

Hughes wrote other plays, together with comedies such as limited Ham (1936) and a historical drama, Emperor of Haiti (1936) most of which were only moderate successes. In 1937 he spent any months in Europe, together with a long stay in besieged Madrid. In 1938 he returned home to found the Harlem Suitcase Theater, which sTAGed his agitprop drama Don't You Want to Be Free? employing any of his poems, vigorously blended black nationalism, the blues, and socialist exhortation. The same year, a socialist assosication published a pamphlet of his radical verse, "A New Song."

With the start of World War Ii, Hughes returned to the political centre. The Big Sea, his first volume of his autobiography work with its memorable portrait of the renaissance and his African voyages written in an episodic, lightly comic style with virtually no mention of his leftist sympathies appeared.

In his book of verse Shakespeare in Harlem (1942) he once again sang the blues. On the other hand, this collection, as well as another, his Jim Crow's Last Stand (1943), strongly attacked racial segregation.

In poetry, he revived his interest in some of his old themes and forms, as in Shakespeare in Harlem (1942).the South and West, taking poetry to the people. He read his poems in churches and in schools. He then sailed from New York for the Soviet Union. He was amongst a band of young African-Americans invited to take part in a film about American race relations.

This filmmaking venture, though unsuccessful, proved instrumental to improving his short story writing. For whilst in Moscow he was struck by the similarities in the middle of D. H. Lawrence's character in a title story from his variety The Lovely Lady and Mrs Osgood Mason. Overwhelmed by the power of Lawrence's stories, Hughes began writing short fiction of his. On his return to the U. S.. By 1933 he had sold three stories and had begun compiling his first collection.

Perhaps his finest literary achievement during the war came in writing a weekly column in the Chicago Defender from 1942 to 1952. The feature of which was an offbeat Harlem character called Jesse B. Semple, or Simple, and his exchanges with a staid narrator in a neighborhood bar, where simple commented on a variety of matters but generally about race and racism. simple became Hughes's most preeminent and favorite fictional creation. And one of the freshest, most enchanting and enduring Negro characters in American fiction Jesse B Simple, is a Harlem Everyman, whose comic manner hardly obscured some of the serious themes raised by Hughes in relating Simple's exploits in the quintessential "wise-fool' whose taste and uneducated insights capture the frustrations of being black in America.. His honest and unsophisticated eye sees straight through the shallowness, hypocrisy and phoniness of white and black Americans alike. From his stool at Paddy's Bar, in a delightful brand of English, simple comments both wisely and hilariously on many things but principally on race and women.

His bebop-shaped poem Montage of a Dream Deferred (1991) projects a changing Harlem, fertile with humanity but in decline. In it, the drastically deteriorated state of Harlem in the 1950s is contrasted to the Harlem of the 20s. The exuberance of night-club life and the vitality of cultural renaissance has now gone. An urban ghetto plagued by poverty and crime has taken its place. A convert in rhythm parallels the convert in tone. The level patterns and gentle melancholy of blues music are replaced by the abrupt, fragmented buildings of post-war jazz and bebop. Hughes was alert to what was happening in the African-American world and what was coming. This is why this volume of verse reflected so much the new and relatively new be-bop jazz rhythms that emphasized dissonance They thus reflected the new pressures that were straining the black communities in the cities of the North.

Hughes' living much of his life in basements and attics brought much realism and humanity to his writing especially his short stories. He thus remained close to his vast public as he kept enchanting figuratively straight through the basements of the world where his life is thickest and where coarse people struggle to make their way. At the same time, writing in attics, he rose to the long perspective that enabled him to radiate a humanizing, beautifying, but still meticulous light on what he saw.

Hughes' short stories reflect his whole purpose as a writer. For his art was aimed at interpreting "the charm of his own people," which he felt they were taught either not to see or not to take pride in. In all his stories, his humanity, his meticulous and artistic presentations of both racial and national truth - his thriving mediation in the middle of the beauties and the terrors of life around him all shine out. positive themes, technical excellencies or public insights loom out.

"Slave in the Block" for example, a simple but vivid tale reveals the lack of respect and even human communication, in the middle of Negroes and those patronizing and cosmetic whites.

Hughes also took time to write for children producing the thriving Popo and Fifina (1932), a tale set in Haiti with Arna Bontemps. He at last published a dozen children's books, on subjects such as jazz, Africa, and the West Indies. Proud of his versatility, he also wrote a commissioned history of the Naacp and the text of a much praised pictorial history of black America The Sweet Flypaper of Life (1955), where he explicated photographs of Harlem by Roy DeCarava, which was judged masterful by reviewers, and confirmed Hughes's credit for an unrivaled command of the nuances of black urban culture.

Hughes's suffered constant harassment about his ties to the Left. In vain he protested he had never been a Communist having severed all such links. In 1953 he was subjected to public humiliation at the hands of Senator Joseph McCarthy, when he was forced to appear in Washington, D.C., and testify officially about his politics. Hughes denied that he had ever been a communist but conceded that some of his radical verse had been ill-advised.

Hughes's career hardly suffered from this. Within a short time McCarthy himself was discredited. Hughes now wrote at distance in I Wonder as I ramble (1956), his much-admired second volume of autobiography. About his years in the Soviet Union. He became prosperous, although he always had to work hard for his part of prosperity. In the 1950s he turned to the musical stage for success, as he sought to repeat his major success of the 1940s, when Kurt Weill and Elmer Rice had chosen him as the lyricist for their road Scene (1947). This yield was hailed as a breakthrough in the improvement of American opera; for Hughes, the apparently endless cycle of poverty into which he had been locked came to an end. He bought a home in Harlem.

By the end of his life Hughes was approximately universally recognized as the most representative writer in the history of African American literature and also as probably the most former of all black American poets. He thus became the widely acknowledged "Poet Laureate" of the Negro Race!

According to Arnold Rampersad, an authority on Hughes:

Much of his work preeminent the charm and dignity and Humanity of black Americans. Unlike other writers Hughes basked in the glow of the obviously high regard of his former audience, African Americans. His poetry, with its former jazz and blues sway and its excellent democratic commitment, is approximately in fact the most influential written by any person of African descent in this century. positive of his poems; "Mother to Son" are virtual anthems of black American life and aspiration. His plays alone... Could gather him a place in AfroAmerican literary history. His character simple is the most memorable singular frame to emerge from black journalism. 'The Negro Artist and the Racial Mountain' is timeless, "it seems as a statement of constant dilemma facing the young black artist, caught in the middle of the contending troops of black and white culture'

Liberated by the examples of Carl Sandburg's free verse Hughes' poetry has always aimed for utter directness and simplicity. In this regard, is the understanding that he approximately never revised his work seeming like romantic poets who believe and demonstrate that poetry is a 'spontaneous overflow of emotions".

Like Walt Whitman, Hughes's great poetic forefather in America's poetry..., Hughes did believe in the poetry of Emotion, in the power of ideas and feelings that went beyond matters of technical crafts. Hughes never wanted to be a writer who carefully sculpted rhyme and stanzas and in so doing lost the emotional heart of what he had set out to say.

His poems imbued with the distinctive diction and cadences of Negro idioms in simple stanza patterns and spoton rhyme schemes derived from blues songs enabled him to capture the milieu of the setting as well as the rhythms of jazz music.

He wrote mostly in two modes/directions:

(i) lyrics about black life using rhythms and refrains from jazz and

blues.

(ii) Poems of racial protest

exploring the boundaries in the middle of black and white America. Thus contributing to the strengthening of black consciousness and racial pride than even the Harlem Renaissance's legacy for its most militant decades. While never militantly repudiating co-operation with the white community, the poems which protest against white racism are boldly direct.

In "The Negro Speaks of Rivers" the simple direct and free verse makes clear that Africa's dusky rivers run concurrently with the poet's soul as he draws spiritual strength as well as personel identity from the public taste of his ancestors. The poem is agreeing to Rampersad "reminding us that the syncopated beat which the captive Africans brought with them "that found its first expression here in "the hand clapping, feet stamping, drum-beating rhythms of the human heart (4 - 5), is as 'ancient as the world."

But what Hughes is great known for is his treatment of the possibilities of African-American experiences and identities. Like Walt Whitman, he created a persona that speaks for more than himself. His voice in "I too" for instance absorbs the depiction of a whole race into his central consciousness as he laments:

I, too, sing America

I am the darker brother.

I, too, am America.

The "darker brother" celebrating America is positive of a great time to come when he will no longer be shunted aside by "company". The poem is characteristic of Hughes's faith in the racial consciousness of African Americans, a consciousness that reflects their integrity and charm while simultaneously demanding respect and acceptance from others as especially when: Nobody '/I dare Say to me, Eat in the kitchen.

This dogged resistance and optimism in facing adversity is what Hughes' life centred on.thus enabling him to survive and perform in spite of the obstacles facing him. As Rampersad affirms:.

'Toughness was a major characteristic of Hughes' life. For his life was hard. He in fact knew poverty and humiliation at the hands of people with far more power and money than he had and limited respect for writers, especially poets. straight through all his poverty and hurt, Hughes kept on a steady keel. He was a gentleman, a soft man in many ways, who was sympathetic and affectionate, but was tough to the core.

Hughes's poetry reveals his hearty appetite for all humanity, his insistence on justice for all, and his faith in the transcendent possibilities of joy and hope that make room as he aspires in 'I too', for everybody at America's table.

This deep love for all humanity is echoed in one of his poems: 'My People" some lines of which were earlier referred to:

The night is beautiful,

so the faces of my people,

the stars are beautiful,

so the eyes of my people

Beautiful, also, is the sun

Beautiful also, are the souls of my people

Arnold Rampersad's last word on Hughes's humanity, is anchored on three principal attributes: his tenderness; generosity and his sense of humour.

Hughes was also tender. He was a man who lovse other people and was beloved. It was very hard to find anything who had known him who would say a harsh thing about him. people who knew him could remember limited that wasn't pleasant of him. Evidently, he radiated joy and humanity and this was how he was remembered after his death.

He loved the company of people. He needed to have people around him. He needed them Possibly to counter the principal loneliness instilled in his soul from early in his life and out of which he made his literary art.

Hughes was a man of great generosity. He was kind to the young and the poor, the needy; he was kind even to his rivals. He was kind to a fault, giving to those who did not always deserve his kindness. But he was prepared to risk ingratitude in order to help younger artists in singular and young people in general.

Hughes was a man of laughter, although his laughter approximately always came in the nearnessy of tears or the threat of the surge of tears. The titles of his first novel Not Without Laughter and a variety of stories Laughing to Keep from Crying. Indicate this. This was essentially how he believed life must be faced - with the knowledge of its positive loneliness and pain but with an awareness, too, of the therapy of laughter by which we speak the human in the face of circumstances. We must reach out to people, and one should not only have an astonishing tolerance of life's sufferings but should also exuberantly faultless the happy aspect of life.

His sense of humour is again credited by a writer from Africa who was like Hughes also faced with fighting racial discrimination and deprivation, Ezekiel Mphahlele.

Here is a man with a boundless zest for life... He has an irrepressible sense of humour, and to meet him is to come face to face with the essence of human goodness. In spite of his literary success, he has earned himself the respect of young Negro writers, who never find him unwilling to help them along. And yet he is not condescending. Unlike most Negroes who become preeminent or thriving and move to high-class residential areas, he has continued to live in Harlem, which is in sense a Negro ghetto, in a house which he purchased with money earned as lyricist for the Broadway musical road Scene.

In explaining and illustrating the Negro condition in America as was his stated vocation, Hughes captured their joys, and the veiled weariness of their lives, the monotony of their Jobs, and the veiled weariness of their songs. He ended this in poems excellent not only for their directness and simplicity but for their economy, Syn. Clearness and wit. either he was writing poems of racial protest like "Harlem" and "Ballad of the Landlord" or poems of racial affirmation like' mom to Son' and 'The Negro Speaks of Rivers,' Hughes was able to find language and forms to express not only the pain of urban life but also its astonishing vitality.

Further Reading:

Gates, Henry, Louis and Mc Kay Nellie, Y. (Gen. Ed) The Norton

Anthology of African American Literature, N.W. Norton & Co; New York & London 1997

Hughes, Langston, "The Negro Artist and the Racial Mountain" 1926. Rpt

in Nathan Huggins ed. Voices from the Harlem Renaissance Oxford

University Press, New York, 1976

Mphahlele, Ezekiel, "Langston Hughes," in Introduction to African

Literature (ed) Ulli Beier, Longman, London 1967

Rampersad, Arnold, The life of Langston Hughes Vol. 1 & 11 Oxford

University Press, N. York, 1986

Trotman, James, (ed), Langston Hughes: The Man, His Art and His

Continuing sway Garland Publishing Inc. N.

York & London 1995

Black Literature Criticism

The Oxford Companion to African American Literature., Oxford University Press,.1997

Langston Hughes - The Life, Times, Works as Well as Impact of a Versatile African-American Writer



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