The Negro Artist and the Racial Mountain

Hughes uses the juxtaposition of different images, ideas, and references by placing contrasting or separate items in relation to one another. In this way, Hughes heightens the emotional quality of his argument and bolsters his points. In some places, Hughes juxtaposes lengthy anecdotes, while at other times Hughes alternates between contrasting perspectives. Much of the juxtaposition in the essay moves between Whiteness and Blackness, which is a fitting reflection of the larger thesis that argues that the Black artist is caught between these two poles.

The use of juxtaposition allows Hughes to articulate points regarding the struggle of Black artists to become freer in their creative practice. For example, early on in the essay, Hughes presents two lengthy paragraphs detailing the difference between the “self-styled ‘high-class’ Negro” (Paragraph 3) who aspires towards Whiteness and the “low-down folks” (Paragraph 4) who “hold their own individuality in the face of American standardizations” (Paragraph 4). Immediately following these descriptions, Hughes introduces his vision of the “American Negro artist who can escape the restrictions” (Paragraph 5) and describes some of the nuances he expects this artist is able to find. The juxtaposed narratives provide the foundation upon which Hughes’s larger argument can stand.