"An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he might choose"
About this Quote
Freedom, Hughes implies, is the easy part; courage is the bill that comes due. The line pivots on that sly little shift from permission to peril: an artist can be "free to choose" and still end up self-policing, selecting only what feels safe, marketable, or socially survivable. Hughes is not defending art-as-whim. He's warning that liberty without nerve collapses into a curated version of the self, a kind of aesthetic respectability politics.
The wording matters. "Must" appears twice, turning the sentiment into a demand, not a vibe. And "might choose" is a loaded phrase: it points to the work the artist hasn't made yet, the subject the artist circles but doesn't enter. It's the unchosen choice - the poem you don't write because it will anger patrons, embarrass your community, invite state scrutiny, or reveal too much. Hughes knew those pressures intimately. As a central voice of the Harlem Renaissance, he faced a double bind: white institutions eager to package Black art as exotic uplift, and Black elites sometimes wary of his frank portraits of working-class life. Later, the Cold War climate made "unapproved" ideas professionally dangerous.
So the quote functions as both manifesto and rebuke. It insists that artistic freedom isn't just an external condition granted by society; it's an internal practice of refusing fear as a co-author. Hughes is staking out a standard where the artist's true enemy isn't censorship alone, but the quieter compromise of preemptive obedience.
The wording matters. "Must" appears twice, turning the sentiment into a demand, not a vibe. And "might choose" is a loaded phrase: it points to the work the artist hasn't made yet, the subject the artist circles but doesn't enter. It's the unchosen choice - the poem you don't write because it will anger patrons, embarrass your community, invite state scrutiny, or reveal too much. Hughes knew those pressures intimately. As a central voice of the Harlem Renaissance, he faced a double bind: white institutions eager to package Black art as exotic uplift, and Black elites sometimes wary of his frank portraits of working-class life. Later, the Cold War climate made "unapproved" ideas professionally dangerous.
So the quote functions as both manifesto and rebuke. It insists that artistic freedom isn't just an external condition granted by society; it's an internal practice of refusing fear as a co-author. Hughes is staking out a standard where the artist's true enemy isn't censorship alone, but the quieter compromise of preemptive obedience.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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