I have discovered in life that there are ways of getting almost anywhere you want to go, if you really want to go.
Langston HughesRead
Certainly there is, for the American Negro artist who can escape the restrictions the more advanced among his own group would put upon him, a great field of unused material ready for his art.
Interpretation
The quote emphasizes the artistic potential of African American artists when freed from societal restrictions.
Langston Hughes highlights the vast and untapped creative opportunities that exist for African American artists. He suggests that true artistic expression can flourish when such artists liberate themselves from the limitations imposed by both their own community and the broader society. This idea champions the importance of individual creativity and the unique perspective that African American artists bring to the cultural landscape.
In practice
This quote can be used during an art exhibition to inspire artists to embrace their unique cultural perspectives.
I have discovered in life that there are ways of getting almost anywhere you want to go, if you really want to go.
My writing has been largely concerned with the depicting of Negro life in America.
I tire so of hearing people say, Let things take their course. Tomorrow is another day. I do not need my freedom when I'm dead. I cannot live on tomorrow's bread.
An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he might choose.
The calm, Cool face of the river, Asked me for a kiss
The only way to get a thing done is to start to do it, then keep on doing it, and finally you'll finish it.
People say my films are dark. But like lightness, darkness stems from a reflection of the world. The thing is, I get these ideas that I truly fall in love with. And a good movie idea is often like a girl you're in love with, but you know she's not the kind of girl you bring home to your parents, because they sometimes hold some dark and troubling things.
That’s why an artist must be a warrior and, like all warriors, artists over time acquire modesty and humility. They may, some of them, conduct themselves flamboyantly in public. But alone with the work they are chaste and humble. They know they are not the source of the creations they bring into being. They only facilitate. They carry. They are the willing and skilled instruments of the gods and goddesses they serve.
Giving voice to marginalised characters is extremely important to me. I want to explore the pain of disenfranchisement, the social strata and boundaries we create and how to make them more permeable.
You see something, then it clicks with something else, and it will make a story. But you never know when it's going to happen.
I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said, 'You'll come to a wall you won't be able to get through.' So I said, 'I'll beat my head against that wall.'
I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.
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