Comparing the Blues in Hughes The Blues Im Playing and Baldwins Sonn

The Blues: in Hughes' The Blues I'm Playing and Baldwin's Sonny's Blues  Ã‚   In Langston Hughes' The Blues I'm Playing, the blues are the source of Oceola's life and her choices. Langston is trying to illustrate the conflict between life and art. The art in this story is represented in a confined manner, as a disciplined career with a white woman acting as the overseer in the young lady's life. Art to Oceola, with its profit, convenience and privileges offers an array of benefits, but being embodied in Dora Ellsworth, the art seems to drift away from life's vitality. Life in Oceola sings itself in jazz and blues in Harlem, ignores the artistic East 63rd Street and the rules by which are claims its superiority. There is a closeness between the blues and the life of Oceola as she summarizes her life for her patron. She remembers Mobile's roast pig and the large mouth of Billy Kersands, the minstrel leader who let her as a child place both hands inside it. The relevance of Negro experience to blues and jazz is the point in her recollection that her parents, both musicians, we... Comparing the Blues in Hughes' The Blues I'm Playing and Baldwin's Sonn The Blues: in Hughes' The Blues I'm Playing and Baldwin's Sonny's Blues  Ã‚   In Langston Hughes' The Blues I'm Playing, the blues are the source of Oceola's life and her choices. Langston is trying to illustrate the conflict between life and art. The art in this story is represented in a confined manner, as a disciplined career with a white woman acting as the overseer in the young lady's life. Art to Oceola, with its profit, convenience and privileges offers an array of benefits, but being embodied in Dora Ellsworth, the art seems to drift away from life's vitality. Life in Oceola sings itself in jazz and blues in Harlem, ignores the artistic East 63rd Street and the rules by which are claims its superiority. There is a closeness between the blues and the life of Oceola as she summarizes her life for her patron. She remembers Mobile's roast pig and the large mouth of Billy Kersands, the minstrel leader who let her as a child place both hands inside it. The relevance of Negro experience to blues and jazz is the point in her recollection that her parents, both musicians, we...