!” This quote is by Zora Hurston; she demonstrates her cultural background and how her work is rooted into the Southern black art. Hurston shows independence and refuses to allow her love interests, and marriages to intervene in her career, and she portrays aspects of her cultural background that are exceptionally influential. Hurston’s reliance on symbolism is a key factor in her writing. There are countless considerable symbols in Hurston’s Their Eyes Were Watching God that are essential to fully understand Hurston’s development of the black female. According to Hurston, the women were treated like animals, more particularly mules, to carry the burdens of the men. Hurston intends to encourage the women to rise above, and to show that they have potential just like men, and can achieve their dreams. One of the most inquiring symbols is that of the mule. Hurston uses the mule to show the development of the female identity (Dilbeck 2). The connection between the mule and woman is repeated so often, it is considered to be a motif (Dilbeck 1). Another intriguing element in Their Eyes Were Watching Vines 2 God is hybridism. Hybridism is an every-day reality that we encounter in an increasingly multi-ethnic and pluralistic society. Hurston uses Hybridity in her stories to reflect and even include the African origins. Her tales speaks to the Hybridity of readers who come from various ethnicities. Hurston emphasizes that Americans are also starting to become hybrid as they start to include African American cultural counterparts (Jirousek 3). Even though Americans are not recognizing this process, they have grown used to it and they can benefit from it. Hurston uses this to merely clarify a long established reality (Jirousek 4). Of r... ... middle of paper ... ...fective examination of the feminine talent, it ultimately hides the suffering of the black women whose working class existences are dominated by hard labor and financial instability (Jordan 2). Hurston was more prolific than any other black woman writer before her. Hurston has published four novels, two volumes of folklore and an autobiography, as well as fifty short stories, essays, and plays. Most of Hurston’s art is rooted in her cultural traditions of the rural black southern (Wall 2). Hurston’s independence and her refusal to allow her love interests to intervene into her career and her anthropological research make her an excellent writer (Jordan 1). Hurston does concentrate her work on her culture, but through it she shows how evident it is to realize that her background portrays many of the aspects of her writing that are exceptionally influential.
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.
It’s no wonder that “[t]he hurricane scene in Zora Neale Hurston’s novel, Their Eyes Were Watching God, is a famous one and [that] other writers have used it in an effort to signify on Hurston” (Mills, “Hurston”). The final, climactic portion of this scene acts as the central metaphor of the novel and illustrates the pivotal interactions that Janie, the protagonist, has with her Nanny and each of her three husbands. In each relationship, Janie tries to “’go tuh God, and…find out about livin’ fuh [herself]’” (192). She does this by approaching each surrogate parental figure as one would go to God, the Father; she offers her faith and obedience to them and receives their definitions of love and protection in return. When they threaten to annihilate and hush her with these definitions, however, she uses her voice and fights to save her dream and her life. Hurston shows how Janie’s parental figures transform into metaphorical hurricanes, how a literal hurricane transforms into a metaphorical representation of Janie’s parental figures, and how Janie survives all five hurricanes.
I think both authors would agree with this view. Both stories involve a woman and how they are viewed as well as the struggles they face. Hurston’s story is about a power struggle between men and women. She states “see God and ast Him for a li’l mo’ strength so Ah kin whip dis ’oman and make her mind.”
By Zora Neale Hurston. Ed. Henry Louis Gates. New York: Harper & Row, 1994. Vii-Xiv. Print.
Hurston's writing is a resemblance of a reflection from the ideas of the Harlem Renaissance. The time in which it was written, along with the fact that Hurston had lived in New York City caused many to label the book as a product of the Harlem Renaissance. This was a period from the end of
When one thinks of any cultural group, racist and, in some cases, sexist stereotypes that have permeated society may come to mind. Yet do these stereotypes accurately depict the people of this cultural group and if not how do these stereotypes affect these people? As a people it is easy to become disillusioned by the labels their group is given. The people then become less proud of their culture even though the way their culture is labeled is racist and false. Hurston’s audience witnesses this when Tea Cake is forced to bury the dead after a hurricane. He tells Janie how uncomfortable he feels around the white people he is unfamiliar wit...
The symbols that Hurston uses are necessary because it destroys the typical gender role stereotypes between men and women. This is necessary because there is such a difference between the portrayal of men and women, men often being superior to women. Hurston uses her symbol to show some equality between men and women, or at points women can also be superior to men. A symbol found in Hurston’s story, “Sweat,” that Hurston uses to destroy the gender stereotypes of men and women is the bed.
Seidel, Kathryn L. “The Artist in the Kitchen: The Economics of Creativity in Hurston’s Sweat.”
Hurston does not concern herself with the actions of whites. Instead, she concerns herself with the self-perceptions and actions of blacks. Whites become almost irrelevant, certainly negative, but in no way absolute influences on her
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
Zora Hurston was an African American proto-feminist author who lived during a time when both African Americans and women were not treated equally. Hurston channeled her thirst for women’s dependence from men into her book Their Eyes Were Watching God. One of the many underlying themes in her book is feminism. Zora Hurston, the author of the book, uses Janie to represent aspects of feminism in her book as well as each relationship Janie had to represent her moving closer towards her independence.
In Their Eyes were watching God, Hurston’s heavy use of dialect and folk speech drew both praise and criticism from other African-American writers and literalists in her time. The toughest criticism came from Richard Wright, who wrote that Hurston “exploits that phase of Negro life which is ‘quaint.’” Wright said Hurston’s dialogue captured only the “psychological movements of the Negro folk-mind in their pure simplicity,” and likened Hurston’s technique to that of a minstrel show designed to appease a white audience. During a time of pervasive and overt racial oppression, Wright found in Their Eyes Were Watching God, “no theme, no message, no thought.”( Wright, 1937). This sparring or confliction of schools of thought or ideologies is one of the many fundamental differences that separate many black people today. People who follow Neale Hurston’s line of thought would say that although the black man has been afflicted by the environment that the “oppressor” or the white man has set for up him. Their eyes were watching God was written in the same time period as Native Son so why is there such large fundamental differences in the way that the two authors write? Wright’s description of racism is captivating, but not novel. Due to its tragic nature, the somber racial situation of mid-19th century America is well documented. The more interesting aspect of Wright’s account is his attribution of racism to massive misunderstandings between both blacks and whites of the other social group. On pages 18 and 19, Bigger and Gus play ‘whites and blacks’, a game in which they imitate the ostentatious and rude way in which they believe all white people speak. The separation between blacks and whites leads Bigger to view white society as “a cold and distant world; a world of white secrets carefully guided” . Wright does not blame Bigger for having such a narrow-minded view of white people, but
In Zora Neale Hurston’s novel, Their Eyes Were Watching God, she utilizes an array of symbolism such as color, the store, and her husbands to solidify the overall theme of independence and individuality. Their Eyes Were Watching God is considered by many a classic American Feminist piece that emphasizes how life was for African Americans post slave era in the early 1900s. One source summarizes the story as, 1 ”a woman's quest for fulfillment and liberation in a society where women are objects to be used for physical work and pleasure.” Which is why the overall theme is concurrent to independence and self.
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.