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 almost entirely to lyric verse; but the next volume, One-Way Ticket, restored the balance that was essential to his creative expression as a poet.

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