Regardless of what society one derives from, when an individual is born, the community ascribes certain identity markers upon that person without their permission. Once that individual reaches an intellectual capacity to mentally understand their own existence in the world, they begin to yield the power to foster their prescribed identities, completely neglect it, or start anew. Many people hinge their entire lives on the identities society gave them, however for author-anthropologist, Zora Neale Hurston, she lacked an affinity for her blackness. Rather, in her highly criticized autobiography, Dust Tracks on a Road, Hurston inherently implies that her subscription to whiteness is what essentially helped garner her success. Hurston establishes the notion that she acquired qualities of whiteness from men …show more content…
Whenever young Hurston engaged in dialogue with her black peers, they would talk to her in ebonics and she could only respond in a formal register (27). This contrast in use of language automatically connotates that her black peers as less intelligent, polite, and proper which she covertly implies is blackness. Whereas she antithetically appears more intelligent and fit with virtue through her use of proper English which she assigns to whiteness. By the same token, Hurston not “stumbling and spelling words out” like her classmates while reading outloud to Miss Johnstone and Miss Hurd further differentiates her from connotations carried with colored people and also implicates that the inner whiteness intrinsic to her is what essentially makes her more important than her pigmented equals (35). By not partaking in the hard cussing of her environment and maintaining proper English in a community absent of it, Hurston is metaphorically shouting that she “stand[s] apart” from black-hood and marks her for success
Though her race was a victim of brutal, harsh discrimination, Hurston lived her life as an individual first, and a person of color second. In the narrative “How It Feels to Be Colored Me” by Zora Neale Hurston, Hurston says, “The cosmic Zora emerges. I belong to no race nor time. I am the eternal feminine with its string of beads” (Hurston 3). She feels as though an extraordinary form of herself is brought out. This form is not bound by physical traits and is the everlasting woman with the cards she is dealt. The “cosmic Zora” emerging represents the empowered, fearless Zora from Orange County, Florida. When she says that she belongs “to no race nor time”, she means that her race and background do not define who she is as an individual. “The eternal feminine” symbolizes the
However, there is something to say about promoting pride within one’s community. There has been a trend in education to promote celebration and awareness instead of tolerance to combat racism. This aligns with what Hurston tries to argue. The traditional “color-blindness” model has proven not to work. At the same time, it can be argued that this is a redundant “fight fire with fire” tactic. Hurston conveniently ignores the many ways that blacks are treated less than whites within the united states at the time. Would blacks be better off if they were left to themselves in a constant situation of minority? This might have been a situation where pride was successfully sacrificed to promote give equal opportunity to all
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.
...orld about the interpretation of “Black English”, but flaws in the execution of her publication could prevent her audience from grasping her claim. Her biggest problem is the pathos that oozes from the paper. Whether it is the use of outside comments or hybrid dialogue, the pathos could block the minds of literary scholars. The ethos that Smitherman tries to achieve through quotations and research does not work when the quotes are pathos-charged and are from irrelevant time period. The support to her claim that “Black English” should remain strictly to Black culture doesn’t make a lot of sense. It is illogical to think that the only solution is to stop correcting for the grammar of “Black English” and still keep it only amongst African Americans. Smitherman’s claim for better treatment of “Black English would be perceived far better without the strong use of pathos.
Narrator, this was a third person account, thus leaving much to the imagination. The conversation’s language was left as if truly taken from an African American speaker in the south in such a time. The way Hurston made the scenery appear before me was like a white sheet gets stained with red wine, unable to wash out of my mind. The narration was very brut in a grammatical manner, giving a wash bucket effect of never being settled.
What I feel is truly remarkable about this author is that despite all the scrutiny and anguish that she faces like most of her race at the time she does not take a negative attitude towards white people and she actually chooses to ignore the general racial segregation. Her charming wit and sense of humor despite all the hardship is what attracts the reader. Hurston does not let her social disadvantages stop her from trying to achieve her aspirations and dreams. She does not see being colored as a disadvantage, but accepts it as a challenge to excel and be unique.
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...
As he stoops over her as she attempts to do her work he yells, “You sho is one aggravatin’ nigger woman!” he declared and stepped into the room. She resumed her work and did not answer him at once. Ah done tole you time and again to keep them white folks’ clothes outa dis house. (Hurston, 1926)
In “Sweat” by Zora Neale Hurston, tells the tale, in which author uses literary analysis and symbolism to empathize the character of Delia’s horrific journey coming to an end in a karmic fashion. Hurston’s parents were former slaves, however, slavery was long abolished during her time. Hurston gave importance to education for which she worked various jobs earned associate degree from Howard University in 1920 (Zora Neale). Hurston’s “Sweat” was influenced by her life in Harlem Renaissance. During that era, where Hurston grew up in town called Eatonville was primarily predominantly owned by “white folks” (Turner). The African-American that lived in Eatonville used to visit across the railroad tracks to white folk’s houses to cook, clean and watch over their children (Wohlpart). ‘Sweat’ is influenced not only by Hurston’s childhood town but also her relationship with her employer, Fannie Hurst (Wohlpart). Hurston met the writer Hurst at Opportunity’s award dinner, May 1, 1925, one year prior to the writing of ‘Sweat’ (Wohlpart). Hurst hired Hurston as a live-in secretary, Hurston felt dependent on Fannie Hurst’s white patronage for recognition, much like Delia did in ‘Sweat’ (Turner), and saw her patron as a restriction to her art (Wohlpart). “Sweat” (Turner) gives a glimpse of African-American women’s life and their anguish shown in Delia’s character through literary devices and symbolism used by Hurston’s life experiences.
Striving to dream big is easy to comprehend in the safety of our home, but going outside to “jump at the sun” results in the promise of being burned. In Dust Tracks on a Road by Zora Neale Hurston, endless opportunity is only a conceivable concept in the protection of the
She even talks about how they were being generous to her. For example, Hurston says, “During this period, white people differed from colored to me only in that they rode through town and never lived there. They liked to hear me “speak pieces" and sing and wanted to see me dance the parse-me-la, and gave me generously of their small silver for doing these things, which seemed strange to me for I wanted to do them so much that I needed bribing to stop, only they didn 't know it” (539). Hurston would soon find out that when she had to leave her small town to go to a boarding school because of family changes that the real world is full of racism and discrimination towards colored people. I think this is when she realizes that she is
In the poem “Nego by Langston Hughes the speaker immediately identifies himself as a “Negro” and by doing so he shows the audience that he takes pride in being an A...
In “How it feels to be colored me” Zora Neale Hurston begins recanting her life in Eatonville, Florida. This little town was a black community and the only white people who ventured in to Eatonville were tourist either coming from or heading to Orlando which was just south of Zora’s home town, Eatonville. The town never gave much attention to the southerners never stopping from chewing sugar cane as they pasted but the Northerners who came through were a different breed. In Eatonville the timid would peer behind curtains, those more venturesome would come on to the porch and watch them past with equal amount of pleasure as the tourist got from surveying the village. Young Hurston was more venturesome then most and rather enjoyed the interaction she had with the occasional visitors. She would sit atop the gate-post as she describes it being her favorite place to sit. It was a “proscenium box for a born first-nighter” the equivalent of a podium on top a stage. She had no fear in letting the tourist she calls “actors” into knowing she liked the show. She would interact with them beginning with waves eventually giving “Speak pieces” the visitors. If a family member happened to come outside in midst conversation she would have to rudely break it off. This is such a reverse from my experiences growing up in the 90s. As a child I was told not to talk to strangers and taught the universal teaching of “Stranger Danger”. I was told stories of child abductions and facts of why I should not accept a ride from anyone if I wasn’t told directly by my parents or grandparents prior. If I was expected to go straight to my grandmothers after school and if I was minutes delayed the prepaid cellphone my parents gave me f...
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.