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By Langston Hughes

Langston Hughes's tales approximately Jesse B. Semple--first composed for a weekly column within the Chicago Defender after which accumulated in Simple Speaks His Mind, Simple Takes a Wife, and Simple Stakes a Claim--have been learn and enjoyed via thousands of readers. In The better of Simple, the writer picked his favorites from those past volumes, tales that not just have proved renowned yet at the moment are a part of an exceptional and becoming literary tradition.

Simple may be thought of an Everyman for black american citizens. Hughes himself wrote: "...these stories are a few nice many people--although they're tales approximately no particular folks as such. however it is most unlikely to reside in Harlem and never comprehend at the least 100 Simples, fifty Joyces, twenty-five Zaritas, and a number of other Cousin Minnies--or moderate facsimiles thereof."

As Arnold Rampersad has written, basic is "one of the main memorable and successful characters within the annals of yank literature, justly considered as one among Hughes's so much encouraged creations."

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The early, religiously informed version of "The Mills" did not fit the context that was evolving in the wake of World War II. Finding himself dislocated by a secular understanding that saw the world not as revelation but as mere process, Lowell made his poetry a means for locating the self within that process. In order to do this he developed a Januslike imaginative consciousness. By writing a series of lyrics in Life Studies which looked backward and forward, he created a continuum of retentional modification.

Things whirl in the chainsaw bite of whatever squares the universe by name and number. For the hundredth time, we slice the fog, and round the village with our headlights on the ground, like the first philosopher Thales who thought all things water, 46 "FALLEN FROM THE SYMBOLED WORLD" and fell in a well . . trying to find a car key. . It can't be here, and so it must be there behind the next crook in the road or growth of fog—there blinded by our feeble beams, a face, clock-white, still friendly to the earth.

In the second version of "The Mills," the reverie by Anne Kavanaugh which largely constitutes the poem is less the New Critics' static, synchronic artifact of irony and wit and more a diachronic movement of the mind of the persona through a series of re-presentations of her past. The poem's opening stanza begins with an objectivist description of Anne and her setting. Fourteen lines later, however, Anne addresses Harry and begins a meditative monologue, which runs the entire length of the poem.

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