In 1932, having traveled with a group of African Americans to the Soviet Union to make a film about southern black steelworkers and domestic laborers, Hughes became familiar not only with Moscow's theatrical life but also with "colored" minorities in the new republics of Soviet Central Asia. As a wanderer, he carried with him a record player and a collection of jazz recordings and became an informal participant in "cultural exchange." For Hughes, the lack of appreciation of jazz by Russian ideologues was a major flaw in the system. In Tokyo and Shanghai, he learned about Asian global politics and tough street life, and in Paris he reacquainted himself with its nightlife and such personalities as Ada "Bricktop" Smith and Josephine Baker.
Throughout his journey, he observed the presence of blacks, whether as entertainers in major capitals or as soldiers on the battlefront in Barcelona and Madrid. His coverage of the Spanish Civil War is a serious report of the tragedy of conscripted North African Moors and the heroic efforts of the International Brigades and such African Americans as Milton Herndon in their fight against fascism. Spain is also a window into flamenco musical culture, where singers such as Pastora Pavon offer their own form of the blues.
In rare moments, Hughes reveals aspects of his personal romantic encounters. Also of great interest are his recollections of writers Arthur Koestler, Nicolas Guillen, Pablo Neruda, and Ernest Hemingway. I Wonder As I Wander shows how Hughes maintained a Harlem-derived black consciousness, while expanding it through global wandering.
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