Japanese Americans interned at a segregation center during WWII wrote satirical poetry that slyly criticized their surroundings.

What Ellis Island was to the East Coast, Angel Island was to the West. Just off the coast of San Francisco, this processing center became a detention center for those targeted by exclusionary immigration laws. Click here to read some of the stories left by the detained.

In the months after Pearl Harbor, the US forcibly removed and incarcerated about 120,000 Japanese Americans—two-thirds of them citizens. Driven by fear and racism, the policy is now recognized as a grave violation of civil rights.

When Japan bombed Pearl Harbor in December 1941, roughly 10,000 American civilians were stranded in Japanese-occupied territory. Tense diplomatic negotiations eventually secured two prisoner exchanges conducted via ship across 20,000 nautical miles to return nearly 3,000 Allied civilians, while Japanese Americans in North and South America were sent in the opposite direction, many to a country they had never called home.

In 1949, Hughes accepted an eight-week contract at the University of Chicago Laboratory Schools to teach creative work, along with seminars on jazz and the “negro theme” in American poetry. He enjoyed his time at the school, but never returned to the classroom, noting that the early mornings and teaching load left little time for his writing.

In 1953, the writer was interrogated by the Subcommittee’s chief counsel, Roy Cohn, about communism and its impact on his work. Cohn quoted lines from poems like “Goodbye, Christ” and “Ballads of Lenin,” but Hughes denied that he was a communist, explaining that poetry should not be taken literally. “That is a poem,” he told Cohn. “One can not state one believes every word of a poem.”

José Ramirez Jr. shares an account of his eight years at the 300-acre national leprosarium in Carville, Louisiana, from 1968 through the mid-1970s. Mostly staffed by nuns with nursing degrees, this facility was home to hundreds of people at a time, and it's also the site where they were required to be buried.

The 1901 essay was a response to the Philippine-American War as well as Rudyard Kipling’s poem, “The White Man’s Burden,” which argued that Western nations had a moral duty to rescue non-Western nations from ignorance. Twain’s essay ironically encouraged lecturing citizens of the countries being invaded: “for the sake of the Business we must persuade him to look at the Philippine matter in another and healthier way. We must arrange his opinions for him.”

The Nazis invaded France in May 1940. Sartre, as a member of the French Army, was taken prisoner that June. While he was in captivity, he studied Martin Heidegger and worked on "Being and Nothingness," one of his most famous philosophical works.

In 1949, the Pulitzer winner accused Elizabeth Ames, director of the Yaddo artist colony in Saratoga Springs, New York, of colluding with Agnes Smedley, a journalist who'd been staying on the property for years and who was working on a project sympathetic to communist causes.

The writer's physical limitations (including partial blindness and balance issues) prohibited him from serving on the front lines. Instead, he worked as a military meteorologist. The job was not very demanding, so he spent most of his time writing. He told Simone de Beauvoir it was "extremely peaceful work; indeed I cannot think of any branch of the services that has a quieter, more poetic job."

Hughes was a fan of Whitman and used one of the Good Gray Poet's most famous poems, "I Hear America Singing," as the basis for his 1926 poem "I, Too." Hughes' work is both a response and a pointed commentary about the unequal treatment of Black Americans.

Hughes' 11-line poem from “Montage of a Dream Deferred” is one of the most recognizable verses in American literature. Part of that is due to its legacy as the inspiration for the title of Lorraine Hansberry’s landmark 1959 play “A Raisin in the Sun,” the first show written by a Black woman to appear on Broadway.

In 1939, when Congress subpoenaed leaders of the American Youth Congress on suspicion of communist ties, Eleanor Roosevelt attended the hearings herself and then invited all 10 students to stay at the White House, as they had nowhere to sleep.

The poem, a Shakespearean sonnet, is a critique of the violence that Black Americans faced at home in America. It was written in the summer of 1919, also known as "Red Summer," when several white supremacist attacks and race riots broke out across the country.

The poem’s portraits of people on society's fringes—including vivid descriptions of drug use, psychiatric wards, and homosexuality—led to its seizure by US Customs agents and the arrest of its publisher Ferlinghetti. The American Civil Liberties Union defended both in a landmark trial that ruled the book was not obscene.

Between 1936 and 1947, Japan's Harry Houdini escaped from prison four times, each more daring than the next. Even as the walls grew taller and the windows smaller, Siratori found ways to free himself from captivity.

In 1937, the Baltimore Afro-American newspaper sent him to cover the Black soldiers who’d left the US to fight in the International Brigades cooperating with the Republicans in the Spanish Civil War. Hughes’ dispatches mainly focused on the racially integrated military companies, something that was prohibited in the US.

The writer is considered one of the most important voices in American verse, noted for his use of authentic vernacular, vivid imagery, and jazz-inspired rhythm in poems such as “Harlem,” “I, Too,” and “The Weary Blues.

In America, life was transformed by total war: sixteen million service members left civilian life, while massive industrial production demanded labor. Women, minorities, and teens filled factories, fueling boomtown growth and breaking social barriers. Simultaneously, rationing, recycling drives, Victory Gardens, ration stamps, blackout drills, and war bond campaigns permeated daily routines.

Books like "Cat’s Cradle" and "Slaughterhouse Five" satirized the international appetite for war, which the 20th-century writer found both horrifying and hilarious. It’s a combination that some called “gallows humor,” a classification Vonnegut himself remembered Sigmund Freud describing. “One of the examples Freud gives is a man about to be hanged,” Vonnegut once recalled, “and the hangman says, ‘Do you have anything to say?’ The condemned man replies, ‘Not at this time.’”

From the Sedition Act of 1798 to the prosecution of anti-war activists during World War I, the US government repeatedly curtailed speech and dissent during wartime—actions widely criticized and, in some cases, later deemed unconstitutional.

Poets like Walt Whitman and Claude McKay inspired Hughes, but he was also enamored with blues and jazz music. The styles informed the way he structured his verses, with Hughes employing repetition and rhythm in ways similar to the standard 12-bar blues form and playing with meter in a way that recalled the improvisation of jazz.

Early in his career, Hughes was often disregarded by prominent white literary critics and criticized by Black intellectuals for his sometimes negative portrayal of Black life. Hughes, though, was unconcerned, saying that he wrote for the “workers, roustabouts, and singers, and job hunters” of New York, Washington, Chicago, and other Black hubs.

The site invites users to submit unsent letters to people, pets, or moments, which are then published anonymously for strangers to read. Every post is moderated, and the design of the site—no likes or replies, just words—feels polished and somber.

Jean-Paul Sartre worked as an American correspondent for Combat, the newspaper edited by Albert Camus. While he was in the States, J. Edgar Hoover's FBI kept tabs on him, concerned that Combat was publishing unfavorable portrayals of the US.

Jesse B. Semple, known as “Simple,” was a recurring character in Hughes’ long-running column in the Chicago Defender newspaper. Hughes had conversations with the fictional Simple, who’d offer humorous and subtly profound observations about contemporary life, especially as it related to race, allowing Hughes to present pointed commentaries without coming across as preachy.

The movement’s early performances were absurd cabarets featuring experimental poetry, avant-garde music, and maskwork. Much of it was reckoning with the growing deathcounts of World War I, with work that often lampooned Western imperialism and supposed rationality.

The Beats were alike in their willingness to experiment and transgress, though the movement’s writers were distinct artists with varying styles. This collection showcases the breadth of the Beat Generation’s work, with authorized texts from Allen Ginsberg, Jack Kerouac, Lawrence Ferlinghetti, Diane di Prima, Richard Brautigan and others.

Although primarily known for his nonfiction, the New England transcendentalist was also a prolific poet, writing verse that, like his essays, tackled nature, man, and society. The Academy of American Poets has collected 30 of his poems, which you can read for free.

While traveling to Mexico to visit his father, Hughes began scrawling “The Negro Speaks of Rivers” as he crossed the Mississippi River, using the river as a metaphor for the Black experience. The poem was published in 1921 in the Crisis, an NAACP magazine edited by WEB DuBois, kickstarting Hughes’ literary career.

The play, about being stuck, resonated with inmates. Critics noted that the incarcerated audience empathized with its hopeless characters much more than those at the show's North American premiere in Miami, who'd walked out in disgust.

David Sedaris may be known for his writing now, but when he was in college, he thought his future was in the art world. Specifically, the performance art world. In this episode of NPR’s This American Life, Sedaris shares a selection of moments from his career as an artist, each more embarrassing than the last. The kicker? Being heckled from the audience—by his own father.

The essay, delivered in 1956 at the Newport Jazz Festival, offers a poetic take on defining jazz, suggesting that it is the root of both literature and music. “Jazz is a great big sea,” he says. “It washes up all kinds of fish and shells and spume and waves with a steady old beat, or off-beat.”

The tradition of calaveras literarias, or satirical poems about death, dates back to the 20th century. They take aim at everyone, including deceased loved ones, politicians, family and friends.

During World War II, Japanese soldiers kidnapped women from Southeast Asian countries and forced them into sexual slavery. But they hesitated to capture married women, a fact that women from the island of Timor exploited, painstakingly poking tattoos onto their bodies that marked them as married women.

Hughes grew interested in the Soviet Union and radical politics in the early 1930s after the Communist Party of the United States defended the Scottsboro Boys, nine Black teenagers wrongly accused and convicted of raping two white women. In 1932, he lived there while working on a film that ultimately fizzled out, and returned home. In 1937, he planned to lead a tour of the country, as advertised below, but canceled it when a newspaper offered him a position reporting from the Spanish Civil War.

Hughes had a column in the Chicago Defender newspaper for two decades. In 1951, he asked readers to send him their ghost stories, promising that he'd reward them with autographed copies of his books. He spent the next several months dedicating the column to the stories he received.

In addition to writing philosophy and fiction, Jean-Paul Sartre was also a literary critic. His 1939 essay on Faulkner's "The Sound and the Fury" focused on the way the American novelist commented on time, favorably comparing him to Marcel Proust. Ultimately, Sartre argues Faulkner's "despair" about a "closed future" is a result of the "social conditions of our present life." Ever the existentialist, though, Sartre suggests this reality is something that should inspire rather than depress.

The novel was published in 1948, a month after the writer's suicide, and went on to become a classic of Japanese literature. Decades later, an English translation gained popularity on TikTok, where younger readers praised the book for its handling of alienation.

Hibachi-style cooking was originally used in residences, with Japanese families cooking together around the grill. That style was then refined after World War II with the teppanyaki restaurant Misono, which used more American-friendly ingredients (like steak) to appeal to American soldiers stationed in the country. Despite the differences between teppanyaki and hibachi, diners began using "hibachi" to describe the concept. Later, the Aoki family brought it to American soil with Benihana.

"Ear Hustle"—produced inside San Quentin Rehabilitation Center (formerly known as San Quentin State Prison)—shares personal and often surprising stories of incarceration and reentry—providing listeners with an unfiltered human perspective on the US justice system.