Manuscript: Langston Hughes Poems with Anti-Communist Commentary

See full scan at the bottom of the page.

This typed manuscript features several poems by Langston Hughes—most notably “Ballad of the Landlord,” “Good-Bye, Christ,” and “One More S in the U.S.A.”—alongside hostile commentary accusing Hughes of Communist sympathies. The collection underscores how Black literature collided with the political frictions of mid-20th-century America, while revealing the heightened scrutiny writers faced under the specter of the Red Scare.

Historical Context

Langston Hughes (1902–1967) stood at the forefront of the Harlem Renaissance, crafting poetry and essays that illuminated African American life. By the 1930s and 1940s, he used his writing to critique racial inequality, champion workers’ rights, and advocate for social change. During this era, fear of Communism ran rampant, culminating in investigations by the House Un-American Activities Committee (HUAC). Hughes, like many progressive intellectuals, came under suspicion; government documents often cited his works, including “Good-Bye, Christ,” as evidence of subversive intent.

In the poem “Ballad of the Landlord,” Hughes addresses housing discrimination and the unjust power dynamic between a Black tenant and a white landlord—an everyday racial injustice that spoke to wider economic and social oppression. “Good-Bye, Christ,” on the other hand, was mischaracterized by some critics as blasphemy or Communist propaganda, highlighting how Hughes’s forthright style could trigger intense backlash. “One More S in the U.S.A.” likewise tackled themes of workers’ struggles and questioned capitalist structures—further fueling suspicions of subversion.

Strategy and Messaging

In an era when protest speech was easily branded “un-American,” Hughes deployed sharp, concise language to lay bare systemic inequities. His poems combined rhythmic cadences drawn from jazz and the blues with a direct, confrontational tone that demanded attention.

Direct Address: “Ballad of the Landlord” features a tenant speaking to the landlord, pulling readers into the heart of the conflict and creating empathy for everyday oppression.
Satirical Edge: “Good-Bye, Christ” appropriates religious language to critique institutions and individuals who betray the core values of justice and compassion.
Political Clarity: “One More S in the U.S.A.” openly questions the nature of American capitalism, asserting that power should rest with workers and farmers.

These stylistic choices simultaneously galvanized supporters and drew political animosity. The typed commentary included with this manuscript underscores the era’s paranoia, labeling Hughes a Communist, referencing government committee findings, and warning readers against his influence.

Language, Imagery, and Symbolism

Everyday Reality: Hughes’s use of vernacular speech and urban imagery roots his poetry in the lived experiences of marginalized Black communities.
Religious Metaphor: In “Good-Bye, Christ,” Hughes subverts sacred language to indict what he sees as empty religiosity and systemic hypocrisy.
Revolutionary Undertones: “One More S in the U.S.A.” uses the motif of “adding an S” to evoke an alternative social order, challenging readers to imagine collective ownership and workers’ rights.

Impact

Hughes’s poems challenged Jim Crow–era discrimination and underscored the necessity of social and economic reform. Yet they also placed him at odds with powerful institutions—church leaders, politicians, and anti-Communist interrogators—who feared his calls for equity and systemic overhaul. Despite surveillance and attempts to suppress his voice, Hughes’s work persisted and influenced subsequent generations of writers, activists, and artists.

These poems serve as a reminder of the tightrope walked by those who dare to expose systemic injustice. They also illustrate how fear-based accusations—ranging from blasphemy to sedition—have historically been levied to silence those advocating radical change. In modern movements for racial justice, labor rights, and freedom of expression, the bold stance Hughes took continues to resonate.

Special thanks to the USC Digital Imaging Lab for their support in digitizing this item.