Nearly a century after his birth in Joplin, Missouri, Langston Hughes is, in a sense, coming home. The University of Missouri Press is proud to announce the publication of The Collected Works of Langston Hughes, a compilation of the novels, short stories, poems, plays, and essays by one of the twentieth century's most prolific and influential African American authors. The sixteen-volume series will make available Hughes's most famous works as well as less well known and out-of-print selections, providing readers and libraries with a comprehensive source for the first time.Hughes moved to Harlem in the 1920s and ultimately became the most prominent figure in the literary, artistic, and intellectual phenomenon known as the Harlem Renaissance. Hughes wrote articles for The Crisis and in 1926 published his first book of poetry, The Weary Blues. Over the decades until his death in 1967, he became one of the best-known and most versatile American writers of the twentieth century. His creative range -- poetry, novels, short fiction, drama, translations, gospel-song plays, libretti, juvenile fiction, radio and television scripts, history, biography, and autobiography -- is unique in American letters.The sixteen volumes of the Collected Works are to be published with the goal that Hughes pursued throughout his lifetime: making his books available to the people. Each volume will include a biographical and literary chronology by Arnold Rampersad, as well as an introduction by a Hughes scholar. The volume introductions will provide contextual and historical information on the particular work.Volume 2 includes the books Shakespeare in Harlem (1942), Jim Crow's Last Stand (1943), Fields ofWonder (1947), and One-Way Ticket (1948). Starting around 1940, Hughes turned away from radical socialism toward strong support for the national war effort; as a poet, he resumed his experimentation in the blues, as Shakespeare in Harlem brilliantly demonstrates. With this change in political emphasis came a renewed commitment to the achievement of civil rights for blacks, which Jim Crow's Last Stand vigorously asserts. In contrast, Fields of Wonder was Hughes's only book devoted entirely to lyric verse; but the next volume, One-Way Ticket, restored the balance that was essential to his creative expression as a poet.