Kenneth Spencer Research Library

Spencer Research Library and the Gordon Parks Center have collaborated to create a pop-up display and small exhibition on the life, journey, and friendship of Gordon Parks and Langston Hughes.

The Gordon Parks Center in Fort Scott, with support from Humanities Kansas, curated an exhibition in 2023 exploring the connections between these two Kansas artistic luminaries and their local connections to the state.

This collaborative effort is inspired in part by a call by the Association for the Study of African American Life and History (ASALH) to highlight “African Americans and the Arts” in 2024. Working across collections and institutions, we have an opportunity to take a closer look at the varied histories and lives of African American artists.

Oftentimes, when we think of Black artistic movements, we often think of the Harlem Renaissance of the 1920s or the Black Arts Movement of the 1960s and 1970s. What is easy to overlook is the strong Kansas connection to both movements. Likewise, when we think of Kansas art and artists, it is easy to think of pastoral landscapes that capture the natural beauty of the prairie landscape and poetic descriptions of wildflowers and controlled burns. The linking of Kansas artists to these larger artistic movements that give rise to underrepresented voices in the world of arts and letters is not always so apparent. One of the most famous artists of the state is John Steuart Curry, the hand behind the Tragic Prelude mural painted in the rotunda of the capitol building in Topeka. But, did you know that another work by Curry, The Fugitive, was featured in an exhibition titled An Art Commentary on Lynching in 1935? Of the 38 artists whose work was included in the New York exhibition, Curry’s work was used on the cover of the exhibition catalog, designed to bring attention to the need for a nationwide anti-lynching law.

Two of the most recognized artists of the Harlem Renaissance and Black Arts Movement have roots in Kansas. This is no coincidence. Kansas in the early 20th century fostered a certain creative intelligence in these young men that would translate to and be understood by a large audience. Both Hughes and Parks grew up in working class families. Langston Hughes was born in Joplin, Missouri, just across the state line from Baxter Springs, Kansas. Before his first birthday, he was living between Topeka and Lawrence. Locally, he attended Pinckney School and lived on Alabama Street in West Lawrence (now referred to as Old West Lawrence). He worked for a time as a newsie, selling the Saturday Evening Post and briefly the Appeal to Reason, a socialist newspaper published out of Girard, Kansas. He stopped delivering the Appeal after being told by the local editor of the former that the latter would get him into trouble. His introduction to the social issues discussed in the Appeal would shape a sense of solidarity with working class folks. Fifty miles away from Hughes’ birthplace is the childhood home of Gordon Parks, born in Fort Scott, Kansas, where his father was a tenant farmer. While Hughes was an only child, Parks was the youngest of fifteen.

Both Parks’ and Hughes’ earliest writings were inspired by memories of their Kansas childhoods and drew upon stories about people they knew. Hughes’ first novel, Not Without Laughter, is based on his upbringing in Lawrence. In his first autobiography, The Big Sea, he reflected on the ideas that would become Not Without Laughter. He wanted to write about a typical Black family in the Midwest and about people he had known in Kansas. Yet, he felt like his family and upbringing was not typical. “I gave myself aunts that I didn’t have, modeled after other children’s aunts whom I had known,” Hughes wrote. “But I put in a real cyclone that had blown my grandmother’s front porch away.”

Parks drew on his own childhood while writing his first novel, The Learning Tree. Though set in the fictional town of Cherokee Flats with fictional characters, it closely resembled Fort Scott. When Parks later directed a film based on the story, he shot it on location in Fort Scott.

Kansas was not without racial bigotry. Both Hughes and Parks talked openly about being the subject of ridicule and name-calling and feeling fearful of violence. Despite the unpleasant realities faced during their childhoods, Kansas remained an important part of their lives. In Half Past Autumn, a retrospective of Parks’ work, he calls the state his touchstone:

“I looked back to the heaven and hell of Kansas and asked some questions…My memories gave me some straight talk. The important thing is not so much what you suffered or didn’t suffer, but how you put that learning to use.”

“There had been infinitely beautiful things to celebrate – golden twilights, dawns, rivers aglow in sunlight, moons climbing over Poppa’s barns, orange autumns, trees bending under storms and silent snow. But marring the beauty was the graveyard where, even in death, whites lay rigidly from Blacks. Twenty-odd years had passed when, with these things lying in my memory, I returned to Kansas and went by horseback to lock them firmly with my camera. Spring was wrapped around the prairies. Nothing much has changed – certainly not the graveyard.”

Langston Hughes returned to visit Lawrence after many years as well. Later in life, he was invited to speak at the University of Kansas, which he had visited as a small child. During one of his return visits, Hughes donated a collection of personal books and manuscripts to KU Libraries.

Throughout this summer, Spencer Library will feature a panel-display exhibit from the Gordon Parks Center accompanied with archival materials from the Kansas Collection to tell the stories of Langston Hughes and Gordon Parks and show the impact of their time growing up in Kansas on their life and careers. Their cultural expression through visual art, performing arts, literature, films, and music preserves our history, retells our stories for the next generation, and inspires our futures.

The exhibition will be on display through August 16, 2024, in the reception area of Spencer Research Library. The library and exhibit are free and open to everyone. You can visit our website to plan your visit.

Phil Cunningham
Kansas Collection Curator

Check the blog each Friday for a new “That’s Distinctive!” post. I created the series because I genuinely believe there is something in our collections for everyone, whether you’re writing a paper or just want to have a look. “That’s Distinctive!” will provide a more lighthearted glimpse into the diverse and unique materials at Spencer – including items that many people may not realize the library holds. If you have suggested topics for a future item feature or questions about the collections, feel free to leave a comment at the bottom of this page.

This week “That’s Distinctive!” celebrates Langston Hughes, whose 122nd birthday was on February 1st. (Several years ago, former Kansas Poet Laureate and Washburn University English Professor Eric McHenry discovered that Hughes was likely born in 1901 and not 1902, as had long been thought. McHenry’s discovery was covered by The New York Times in 2018.) An African American poet and social activist born in Joplin, Missouri, Hughes was “one of the earliest innovators of the literary art form called jazz poetry [and] is best known as a leader of the Harlem Renaissance” (per the Wikipedia article about him). In addition to poetry, Hughes wrote non-fiction, plays, and short stories, and he even had a column in The Chicago Defender.

In honor of Hughes’s birthday, this week I am highlighting a small taste of the poems in his book The Dream Keeper and Other Poems. As you can see, some pages in the book include sketches in addition to the poems.

Along with this book, Spencer also holds many other books and manuscripts by Hughes; The Life of Langston Hughes, a biography by Arnold Rampersad (Call Number: RH C7898); and some photos. You can find all of these sources by searching the KU Libraries online catalog and Spencer’s finding aids. You can also view an online exhibit on Hughes curated by former Kansas Collection Curator Sherry Williams.

Though he was born in Missouri, Hughes often claimed to be a Kansan because he grew up in the Lawrence and Topeka areas. Over the years, Lawrence has shown its appreciation for Hughes with a number of plaques around town and an elementary school named in his honor, as well as a library in one of his childhood schools (Pinckney Elementary). Other landmarks connected to Hughes in Lawrence include the church he attended, the library he frequented, and the graves of his grandparents. Hughes later returned to Lawrence and spoke on KU’s campus three times: in 1932, 1958, and 1965. Visitors to Spencer’s North Gallery can listen to a selection of audio clips from his 1965 visit, which include Hughes reading his poetry and sharing some of his reminiscences about his youth in Kansas.

Tiffany McIntosh
Public Services

In honor of Langston Hughes’s birthday on February 1, we remember his time in Lawrence:

Langston Hughes spent his early boyhood in Lawrence, Kansas. In a presentation at the University of Kansas in 1965 he recalled: “The first place I remember is Lawrence, right here. And the specific street is Alabama Street. And then we moved north, we moved to New York Street shortly thereafter. The first church I remember is the A.M.E. Church on the corner of Ninth, I guess it is, and New York. That is where I went to Sunday School, where I almost became converted, which I tell about in The Big Sea, my autobiography.”

Title page of The Big Sea, by Langston Hughes (first edition, 1940).
Hughes signed this copy for the University of Kansas. Call number RH C7422.
Click image to enlarge.

Hughes lived with his maternal grandmother, Mary Sampson Patterson Leary Langston, at 732 Alabama Street. The house does not exist today. His grandmother was the widow of one of the men killed with John Brown at Harpers Ferry (Lewis Sheridan Leary), and later married Hughes’s grandfather, the ardent abolitionist Charles Howard Langston.

Langston’s years in Lawrence with his grandmother were lonely and frugal. In 1909 he entered the second grade at Pinckney School, having started school in Topeka, KS, while living briefly with his mother. He was placed with other African American children in a separate room for his education. At various times between 1909 and 1915 Langston and his grandmother lived with friends James W. and Mary Reed at 731 New York Street. Hughes also attended New York School, and Central School, where he was reportedly a good student. Langston lived with the Reeds after his grandmother’s death in March 1915, and left Lawrence to join his mother in Illinois later in the year.

Photograph of Langston Hughes. Call number RH PH P2790.
Click image to enlarge (redirect to Spencer’s digital collections).

As he writes in The Big Sea:

“The ideas for my first novel had been in my head for a long time. I wanted to write about a typical Negro family in the Middle West, about people like those I had known in Kansas. But mine was not a typical Negro family. My grandmother never took in washing or worked in service or went much to church. She had lived in Oberlin and spoke perfect English, without a trace of dialect. She looked like an Indian. My mother was a newspaper woman and a stenographer then. My father lived in Mexico City. My granduncle had been a congressman. And there were heroic memories of John Brown’s raid and the underground railroad in the family storehouse. But I thought maybe I had been a typical Negro boy. I grew up with the other Negro children of Lawrence, sons and daughters of family friends. I had an uncle of sorts who ran a barber shop in Kansas City. And later I had a stepfather who was a wanderer. We were poor – but different. For purposes of the novel, however, I created around myself what seemed to me a family more typical of Negro life in Kansas than my own had been. I gave myself aunts that I didn’t have, modeled after other children’s aunts whom I had known. But I put in a real cyclone that had blown my grandmother’s front porch away.”

Sheryl Williams
Curator, Kansas Collection

Adapted from the Spencer Research Library exhibit, Langston Hughes: A Voice for All People.