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The Weary Blues. New York: Alfred A. Knopf, 1926
細節
HUGHES, Langston (1901-1967)
The Weary Blues. New York: Alfred A. Knopf, 1926
Presentation copy, in the very rare dust-jacket, of the first edition of Hughes’s first book, inscribed by the author: ‘For Montgomery Evans, these Weary Blues, Sincerely, Langston Hughes New York July 5, 1926 (69 Fifth ave.) To The Crisis’.
The Weary Blues is ‘one of the high points of modernism and of what has come to be called the Harlem Renaissance—that flowering of African American literature and culture in the public’s consciousness […] The Weary Blues also pioneers the jazz aesthetic. While others had earlier described jazz, often at a remove […] Hughes knew that with jazz the form is the feeling. His poetry recognizes ecstasy not as a rarefied state but a new-born freedom jazz helped him capture on the page’ (Young). Kevin Young, ‘On Langston Hughes's The Weary Blues’, Poets.org.
Octavo (190 x 128mm). (A few light creases, one short marginal tear.) Original cloth-backed boards, spine lettered in gilt, partly unopened (spine slightly spotted); original dust-jacket after a design by Miguel Covarrubias, priced ‘$2.00 net’ and without the blurb for Hughes’s second book on the lower panel (some chips, including into author’s name at foot of upper panel, a few short tears at folds); custom quarter morocco box by Sangorski & Sutcliffe. Provenance: Montgomery Evans II (1901-1954; bookplate designed by S. H. Sime) – Barry Humphries (1934-2023; bookplate).
The Weary Blues. New York: Alfred A. Knopf, 1926
Presentation copy, in the very rare dust-jacket, of the first edition of Hughes’s first book, inscribed by the author: ‘For Montgomery Evans, these Weary Blues, Sincerely, Langston Hughes New York July 5, 1926 (69 Fifth ave.) To The Crisis’.
The Weary Blues is ‘one of the high points of modernism and of what has come to be called the Harlem Renaissance—that flowering of African American literature and culture in the public’s consciousness […] The Weary Blues also pioneers the jazz aesthetic. While others had earlier described jazz, often at a remove […] Hughes knew that with jazz the form is the feeling. His poetry recognizes ecstasy not as a rarefied state but a new-born freedom jazz helped him capture on the page’ (Young). Kevin Young, ‘On Langston Hughes's The Weary Blues’, Poets.org.
Octavo (190 x 128mm). (A few light creases, one short marginal tear.) Original cloth-backed boards, spine lettered in gilt, partly unopened (spine slightly spotted); original dust-jacket after a design by Miguel Covarrubias, priced ‘$2.00 net’ and without the blurb for Hughes’s second book on the lower panel (some chips, including into author’s name at foot of upper panel, a few short tears at folds); custom quarter morocco box by Sangorski & Sutcliffe. Provenance: Montgomery Evans II (1901-1954; bookplate designed by S. H. Sime) – Barry Humphries (1934-2023; bookplate).
