Description
The following articles pertaining to the life of Zora Neale Hurston and her accomplished works illustrates as well as analyze her position as an African American female artist and anthropologist. Articles include: Zora Neale Hurston's Construction of Authenticity through Ethnographic Innovation by Jennifer Staple; Creating Ethnography: Zora Neale Hurston and Lydia Cabrera by Lynda Hoffman-Jeep; and Ethnics and Ethnographers: Zora Neale Hurston and Anzia Yezierska1 by Lori Jirousek. These articles demonstrate Hurston’s unique position of an artist as well as an anthropologist that captures the lives of African American culture through folktale, literature, and theatre. Two of these articles are in fact comparisons of her and other female ethnic anthropologists of the same time period; one being Afro-Cuban and the other a Polish Jew.
The questions that these following authors have asked about Zora Neale Hurston is (1) “What drove [Hurston] to travel both physically and intellectually in search for authentic experience and knowledge?” (Staples 2006); (2) “How did Hurston eradicate the previous pervasive stereotypical image of African Americans?” (Hoffman-Jeep 2005); and (3) “Had Hurston somehow betrayed her ethnic community to work as an ethnographer?”, “In what ways did Hurston bring insight of how ethnography can serve in an ethnic community?” (Jirousek 2006).
Analysis
In Zora Neale Hurston's Construction of Authenticity through Ethnographic Innovation by Jennifer Staple, Staple explores how Hurston constructs ethnographic authenticity of African American culture through her work entitled, Mule Bone in 1930 with her colleague and rival; renowned writer and poet Langston Hughes. The authenticity that Staples e...
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...d definition to illustrate a culture in its natural form. Through folklore and the arts itself, Hurston and those like her, in way gave life to the practice and study of ethnography while helping to broaden the spectrum of what the study and practice can accomplish.
Works Cited
Hoffman-Jeep, Lynda. "Creating Ethnography: Zora Neale Hurston and Lydia Cabrera." African
American Review 39, no. 3 (Fall 2005): 337-353. MLA International Bibliography,
EBSCOhost.
Jirousek, Lori. "Ethnics and Ethnographers: Zora Neale Hurston and Anzia Yezierska." Journal
Of Modern Literature 29, no. 2 (Winter 2006): 19-32. MLA International Bibliography,
EBSCOhost.
Staple, Jennifer. "Zora Neale Hurston's Construction of Authenticity Through Ethnographic
Innovation." Western Journal Of Black Studies 30, no. 1 (Spring2006 2006): 62-68.
America: History & Life, EBSCOhost.
Zora Neale was an early 20th century American novelist, short story writer, folklorist, and anthropologist. In her best known novel Their eyes were watching God, Hurston integrated her own first-hand knowledge of African American oral culture into her characters dialogue and the novels descriptive passages. By combing folklore, folk language and traditional literary techniques; Hurston created a truly unique literary voice and viewpoint. Zora Neale Hurston's underlying theme of self-expression and search for one’s independence was truly revolutionary for its time. She explored marginal issues ahead of her time using the oral tradition to explore contentious debates. In this essay I will explore Hurston narrative in her depiction of biblical imagery, oppression of African women and her use of colloquial dialect.
Zora Neale Hurston grew up in Eatonville, Florida also known as “Negro Town” (Hurston, 1960, p.1). Not because of the town was full of blacks, but because the town charter, mayor, and council. Her home town was not the first Negro community, but the first to be incorporated. Around Zora becoming she experienced many hangings and riots. Not only did Zora experience t...
Zora Neale Hurston was, the daughter of a Baptist minister and an educated scholar who still believed in the genius contained within the common southern black vernacular(Hook http://splavc.spjc.cc.fl.us/hooks/Zora.html). She was a woman who found her place, though unstable, in a typical male profession. Hurston was born on January 7, 1891 in Eatonville, Florida, the first all-incorporated black town in America. She found a special thing in this town, where she said, "... [I] grew like a like a gourd and yelled bass like a gator," (Gale, 1). When Hurston was thirteen she was removed from school and sent to care for her brother's children. She became a member of a traveling theater at the age of sixteen, and then found herself working as a maid for a white woman. This woman saw a spark that was waiting for fuel, so she arranged for Hurston to attend high school in Baltimore. She also attended Morgan Academy, now called Morgan State University, from which she graduated in June of 1918. She then enrolled in the Howard Prep School followed by later enrollment in Howard University. In 1928 Hurston attended Barnard College where she studied anthropology under Franz Boas. After she graduated, Zora returned to Eatonville to begin work on anthropology. Four years after Hurston received her B.A. from Barnard she enrolled in Columbia University to begin graduate work (Discovering Authors, 2-4). Hurston's life seemed to be going well but she was soon to see the other side of reality.
In fact, it is clear to the reader that Huggins makes a concerted effort to bring light to both ethnicities’ perspectives. Huggins even argues that their culture is one and the same, “such a seamless web that it is impossible to calibrate the Negro within it or to ravel him from it” (Huggins, 309). Huggins argument is really brought to life through his use of historical evidence found in influential poetry from the time period. When analyzing why African Americans were having an identity crisis he looked to a common place that African American looked to. Africa was a common identifier among the black community for obvious reasons and was where Authors and Artists looked for inspiration. African American artists adopted the simple black silhouette and angular art found in original African pieces. Authors looked to Africa in their poetry. In The Negro Speaks of Rivers by Langston Hughes, the names of rivers in Africa such as the Euphrates, the Congo and the Nile were all used and then the scene switches to the Mississippi river found in America showing that blacks have “seen”, or experienced both. Huggins looks deeply into Countee Cullen’s Heritage discussing “what is Africa to me?” a common identifier that united black artistry in the Harlem Renaissance, “Africa? A book one thumbs listlessly, till slumber comes” (Countee). The black community craved to be a separate society from white Americans so they were forced to go back to the past to find their heritage, before America and white oppression. Huggins finds an amazing variety of evidence within literature of this time period, exposing the raw feelings and emotion behind this intellectual movement. The connections he makes within these pieces of poetry are accurate and strong, supporting his initial thesis
In ‘How it feels to be colored me’ Neale Hurston opens up to her pride and identity as an African-American. Hurston uses a wide variety of imagery, diction using figurative language freely with metaphors. Her tone is bordering controversial using local lingo.
Walker and Marshall write about an identity that they have found with African-American women of the past. They both refer to great writers such as Zora Neale Hurston or Phillis Wheatley. But more importantly, they connect themselves to their ancestors. The see that their writings can be identified with what the unknown African-American women of the past longed to say but they did not have the freedom to do so. They both admire many literary greats such as Charles Dickens, Virginia Woolf, and Jane Austen, but they appreciate these authors' works more than they can identify with them.
Zora Neale Hurston was a novelist, folklorist, and anthropologist. Zora plays an important role for the Harlem Renaissance. Zora Neale Hurston is considered one of the titans of twentieth-century African American literature. Despite that she would later fall into disgrace because of her firm views of civil rights, her lyrical writing which praise southern black culture has influenced generations of black American literary figures. Hurston’s work also had an impact on later black American authors such as Ralph Ellison, Alice Walker, and Toni Morrison.
Hurston, Zora Neale. “How It Feels to Be Colored Me.” Writer’s Presence: A Pool of Readings. 5th ed. Ed. Robert Atawan and Donald McQuade. Boston:Bedford/St. Martin’s, 2006. 166-170. Print
Zora Neale Hurston’s “Sweat” is a distressing tale of human struggle as it relates to women. The story commences with a hardworking black washwoman named Delia contently and peacefully folds laundry in her quiet home. Her placidity doesn’t last long when her abusive husband, Sykes, emerges just in time to put her back in her ill-treated place. Delia has been taken by this abuse for some fifteen years. She has lived with relentless beatings, adultery, even six-foot long venomous snakes put in places she requires to get to. Her husband’s vindictive acts of torment and the way he has selfishly utilized her can only be defined as malignant. In the end of this leaves the hardworking woman no choice but to make the most arduous decision of her life. That is, to either stand up for herself and let her husband expire or to continue to serve as a victim. "Sweat,” reflects the plight of women during the 1920s through 30s, as the African American culture was undergoing a shift in domestic dynamics. In times of slavery, women generally led African American families and assumed the role as the adherent of the family, taking up domestic responsibilities. On the other hand, the males, slaves at the time, were emasculated by their obligations and treatment by white masters. Emancipation and Reconstruction brought change to these dynamics as African American men commenced working at paying jobs and women were abandoned at home. African American women were assimilated only on the most superficial of calibers into a subcategory of human existence defined by gender-predicated discrimination. (Chambliss) In accordance to this story, Delia was the bread victor fortifying herself and Sykes. Zora Neale Hurston’s 1926 “Sweat” demonstrates the vigor as wel...
Within her article, A Society of One: Zora Neale Hurston, American Contrarian, Claudia R. Pierpont, a writer and journalist for The New Yorker, tells, analyzes, and gives foundation to Zora Neale Hurston’s backstory and works. Throughout her piece, as she gives her biography of Hurston, she deeply analyzes the significance of Richard Wright, author of Uncle Tom’s Cabin, as he accuses Hurston of “cynically perpetuating a minstrel tradition meant to make white audiences laugh”(Pierpont 3). By doing so, Wright challenges Hurston’s authority to speak for the “black race” as he claims that her works do not take a stance, rather she only writes to please the “white audience. ”As his critiques show to be oppressive, Pierpont reminds the reader the
Racine, Maria J. "African American Review." Voice and Interiority in Zora Neale Hurston's Their Eyes Were Watching God 28.2 (1994): 283-92. Jstor. Black's Women Culture Issue, Summer 1994. Web. Dec. 2013.
Appiah, K.A. and Gates, Henry Louis, Jr. eds. Zora Neale Hurston: Critical Perspectives Past and Present. New York: Amistad Press, Inc., 1993.
It is strange that two of the most prominent artists of the Harlem Renaissance could ever disagree as much as or be as different as Zora Neale Hurston and Richard Wright. Despite the fact that they are the same color and lived during the same time period, they do not have much else in common. On the one hand is Hurston, a female writer who indulges in black art and culture and creates subtle messages throughout her most famous novel, Their Eyes Were Watching God. On the other hand is Wright, who is a male writer who demonstrates that whites do not like black people, nor will they ever except for when they are in the condition “…America likes to see the Negro live: between laughter and tears.” Hurston was also a less political writer than Wright. When she did write politically, she was very subtle about stating her beliefs.
Zora Neale Hurston’s writing embodies the modernism themes of alienation and the reaffirmation of racial and social identity. She has a subjective style of writing in which comes from the inside of the character’s mind and heart, rather than from an external point of view. Hurston addresses the themes of race relations, discrimination, and racial and social identity. At a time when it is not considered beneficial to be “colored,” Hurston steps out of the norm and embraces her racial identity.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.