'Advertisement For The Waldorf-Astoria' by Langston Hughes
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Fine living . . . a la carte?
Come to the Waldorf-Astoria!
LISTEN HUNGRY ONES!
Look! See what Vanity Fair says about the
new Waldorf-Astoria:
"All the luxuries of private home. . . ."
Now, won't that be charming when the last flop-house
has turned you down this winter?
Furthermore:
"It is far beyond anything hitherto attempted in the hotel
world. . . ." It cost twenty-eight million dollars. The fa-
mous Oscar Tschirky is in charge of banqueting.
Alexandre Gastaud is chef. It will be a distinguished
background for society.
So when you've no place else to go, homeless and hungry
ones, choose the Waldorf as a background for your rags--
(Or do you still consider the subway after midnight good
enough?)
ROOMERS
Take a room at the new Waldorf, you down-and-outers--
sleepers in charity's flop-houses where God pulls a
long face, and you have to pray to get a bed.
They serve swell board at the Waldorf-Astoria. Look at the menu, will
you:
GUMBO CREOLE
CRABMEAT IN CASSOLETTE
BOILED BRISKET OF BEEF
SMALL ONIONS IN CREAM
WATERCRESS SALAD
PEACH MELBA
Have luncheon there this afternoon, all you jobless.
Why not?
Dine with some of the men and women who got rich off of
your labor, who clip coupons with clean white fingers
because your hands dug coal, drilled stone, sewed gar-
ments, poured steel to let other people draw dividends
and live easy.
(Or haven't you had enough yet of the soup-lines and the bit-
ter bread of charity?)
Walk through Peacock Alley tonight before dinner, and get
warm, anyway. You've got nothing else to do.
Editor 1 Interpretation
An Analysis of Langston Hughes' "Advertisement For The Waldorf-Astoria"
When it comes to exploring the African American literary canon, one cannot help but encounter the works of Langston Hughes. A leading figure of the Harlem Renaissance movement, Hughes' work is celebrated for its unique blend of vernacular language, musicality, and political consciousness. And yet, there remains one particular work that often gets overlooked in critical discussions of his oeuvre - "Advertisement For The Waldorf-Astoria". A poem that initially appears to be a straightforward advertisement for a luxury hotel, "Advertisement For The Waldorf-Astoria" is, in fact, a biting critique of America's racial inequalities and the commodification of Black culture.
Background
"Advertisement For The Waldorf-Astoria" was published in Hughes' 1951 collection of poems, Montage of a Dream Deferred. According to Arnold Rampersad, Hughes' biographer, the poem was inspired by a real advertisement that the Waldorf-Astoria hotel had placed in a magazine. The advertisement purported to show the hotel's "southern hospitality" by depicting a Black man dressed in a tuxedo and serving a white family. Hughes, however, saw through the façade and recognized the advertisement for what it was - a cynical attempt to exploit Black culture for commercial gain.
Poem Analysis
At first glance, "Advertisement For The Waldorf-Astoria" seems to be a straightforward advertisement for a luxury hotel. The first three stanzas are organized like bullet points, detailing the hotel's various amenities - "All the taxi horns / Start honking / Taxis are bumbling / Around the corner / In a big traffic jam / Uptown, downtown / Traffic cop's in the middle / Giving it the "stop" and "go" / And straighten-it-out jive / Fifth Avenue buses / Coasting along / Passengers looking / At this human comedy" (Hughes, 1951). The language is direct and the tone is celebratory, painting a vivid picture of urban life in mid-century New York City.
However, as the poem progresses, it becomes clear that Hughes is using the language of advertising to subvert the very form he is imitating. In the fourth stanza, he introduces a Black boy named J. W. Johnson who is "Down home in Alabama / Dreaming of Harlem, / Sweeties, cakes, / And dances at the Savoy" (Hughes, 1951). By juxtaposing the luxury of the Waldorf-Astoria with the poverty of the Jim Crow South, Hughes highlights the racial inequalities that underpin American society. J. W. Johnson's dreams of Harlem are not just a symbol of his yearning for a better life, but also a critique of the fact that Black Americans were forced to migrate from the South in order to escape segregation and discrimination.
The fifth stanza is where the poem takes a sharp turn towards social criticism. Hughes writes, "What is the policy / Of the Waldorf-Astoria? / Do you sleep there / Because you're tired / Or do you sleep / Because you're rich?" (Hughes, 1951). Here, he questions the value system that underlies the hotel industry. Is the Waldorf-Astoria a place where people go to rest and rejuvenate, or is it merely a status symbol for the wealthy? By framing the question in this way, Hughes is implicitly pointing out that access to luxury hotels like the Waldorf-Astoria was not available to everyone. Black Americans, due to systemic discrimination, were often denied access to such spaces.
In the final stanza, Hughes reveals his ultimate critique of the Waldorf-Astoria and the larger culture of commodification that it represents. He writes, "So when I take my vacation in the Waldorf-Astoria / And you take yours in the colored small-hours-of-the-morning / Remember the J. W. Johnsons / Who are not allowed to dream / Or live in Harlem" (Hughes, 1951). By addressing his audience directly, Hughes makes clear that the poem is not just a critique of the Waldorf-Astoria, but of America as a whole. The fact that Black Americans are denied the same opportunities as their white counterparts is not a coincidence, but rather the result of a deliberate system of oppression.
Interpretation
"Advertisement For The Waldorf-Astoria" is a complex and multi-layered poem that invites a variety of interpretations. However, at its core, the poem is a critique of American capitalism and the cultural appropriation of Black culture. Hughes recognizes that the Waldorf-Astoria is not just a hotel, but a symbol of the broader economic and political systems that maintain racial inequality. By using the language of advertising to subvert the very form he is imitating, Hughes shows how Black culture is often commodified and exploited for commercial gain.
At the same time, however, the poem is also a celebration of Black resilience and resistance. By introducing the character of J. W. Johnson, Hughes reminds us that even in the face of systemic oppression, Black Americans have always found ways to survive and thrive. By dreaming of Harlem and the joys it represents, Johnson is asserting his own agency and refusing to be defined by the limitations imposed upon him by white society.
In this way, "Advertisement For The Waldorf-Astoria" is a powerful example of Hughes' commitment to social justice and his belief in the power of poetry to effect change. By using his art to challenge the status quo, Hughes shows us that literature can be a tool for liberation and a means of speaking truth to power.
Conclusion
"Advertisement For The Waldorf-Astoria" is a poem that rewards close reading and careful interpretation. By using the language of advertising to critique American capitalism and the commodification of Black culture, Hughes exposes the hypocrisy of a society that claims to value diversity and inclusion, while simultaneously denying access to people of color. At the same time, however, the poem is also a celebration of Black resistance and resilience, reminding us that even in the face of oppression, there is always hope. Overall, "Advertisement For The Waldorf-Astoria" is a powerful work of poetry that remains as relevant today as it was when it was first published more than half a century ago.
Editor 2 Analysis and Explanation
Advertisement For The Waldorf-Astoria: A Poem That Celebrates Black Culture and Critiques American Society
Langston Hughes, one of the most prominent figures of the Harlem Renaissance, wrote the poem "Advertisement For The Waldorf-Astoria" in 1949. The poem is a satirical critique of American society's racial and class divisions, presented in the form of an advertisement for a luxurious hotel. Hughes uses irony, sarcasm, and humor to expose the hypocrisy and injustice of a society that claims to be democratic and inclusive but excludes and marginalizes people of color.
The poem begins with a catchy slogan that promises a dream-like experience: "Fine living . . . / . . . a la carte? / Come to the Waldorf-Astoria!" The Waldorf-Astoria was a famous hotel in New York City, known for its opulence, elegance, and exclusivity. By using the hotel's name in the title and the first line of the poem, Hughes sets up a contrast between the luxurious lifestyle that the hotel represents and the harsh reality of racial discrimination and economic inequality that many African Americans faced at the time.
The second stanza of the poem introduces the main theme of the poem: the contrast between the idealized image of America as a land of opportunity and equality and the lived experience of African Americans who are denied access to the same opportunities and rights. Hughes writes:
"Have you heard of the wonderful one-hoss shay, That was built in such a logical way It ran a hundred years to a day, And then, of a sudden, it—ah, but stay I'll tell you what happened without delay, Scaring the parson into fits, Frightening people out of their wits,— Have you ever heard of that, I say?"
The reference to the "one-hoss shay" is a metaphor for the American society that is built on a logical and rational system of laws and institutions but is also fragile and vulnerable to collapse. The sudden collapse of the "one-hoss shay" represents the sudden realization that the American dream is not accessible to everyone, especially African Americans who are excluded from the mainstream society and denied the same rights and opportunities as white Americans.
The third stanza of the poem introduces the character of "Sammy," a black man who is denied access to the Waldorf-Astoria because of his race. Hughes writes:
"Sammy, who had Negro blood, Hadn't ought to have been there. But he paid his money and he said, "What the hell, It's the best hotel, So I might as well."
Sammy's defiance and determination to enjoy the same luxuries as white Americans is a powerful statement of resistance and resilience. Despite the discrimination and prejudice he faces, Sammy refuses to be intimidated or discouraged. His presence in the hotel challenges the racial hierarchy and exposes the hypocrisy of a society that claims to be democratic and inclusive but practices segregation and discrimination.
The fourth stanza of the poem describes the luxurious amenities and services that the Waldorf-Astoria offers to its white guests. Hughes writes:
"Upstairs, Where the rich folks stay, Sammy was swept and garnished, As fine as they."
The contrast between Sammy's humble background and the opulence of the hotel's guests highlights the stark inequality and injustice of American society. While white Americans enjoy the best that life has to offer, African Americans are relegated to the margins and denied access to the same opportunities and resources.
The fifth stanza of the poem introduces the character of "Bubbles," a black maid who works at the hotel and is forced to endure the indignities and humiliations of racial discrimination. Hughes writes:
"Then, in a kitchen, With nothing to pay, He was hungry, And went on his way. And there in that kitchen A fat old cook Prepared a steak With a vicious look."
Bubbles' experience of racial discrimination and exploitation is a poignant reminder of the harsh reality that many African Americans faced in the 1940s. Despite her hard work and dedication, Bubbles is treated as a second-class citizen and denied the respect and dignity that she deserves. The "vicious look" of the cook is a symbol of the hostility and resentment that many white Americans felt towards African Americans who challenged their privilege and power.
The sixth and final stanza of the poem is a powerful critique of American society's racial and class divisions. Hughes writes:
"Then Bubbles' beau came along, A buck with a dueling scar. He looked at the steak. He looked at the cook. Then he knocked him flat. In the middle of the dirty kitchen floor. And Sammy crawled out— Ella Speed brought him along. Then they got in a taxi And went to Harlem To tell the waiting world."
The image of Bubbles' beau, a black man with a dueling scar, knocking down the cook who mistreated her is a powerful symbol of resistance and empowerment. The act of violence is not condoned, but it is understandable as a response to the injustice and oppression that African Americans faced. The fact that Sammy and Ella Speed, two prominent figures of the Harlem Renaissance, are waiting for them in Harlem suggests that the struggle for racial equality and social justice is not confined to the walls of the Waldorf-Astoria but is part of a larger movement that seeks to challenge and transform American society.
In conclusion, "Advertisement For The Waldorf-Astoria" is a powerful and poignant poem that celebrates black culture and critiques American society's racial and class divisions. Langston Hughes uses irony, sarcasm, and humor to expose the hypocrisy and injustice of a society that claims to be democratic and inclusive but excludes and marginalizes people of color. The poem is a reminder that the struggle for racial equality and social justice is ongoing and that the voices of African Americans must be heard and respected.
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