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At the height of the Harlem Renaissance during
the 1930s, Zora Neale Hurston was the preeminent black woman writer in the
United States. She was a sometime-collaborator with
Langston
Hughes and a fierce rival of Richard
Wright. Her stories appeared in major magazines, she consulted on
Hollywood screenplays, and she penned four novels, an autobiography,
countless essays, and two books on black mythology. Yet by the late 1950s,
Hurston was living in obscurity, working as a maid in a Florida hotel. She
died in 1960 in a Welfare home, was buried in an unmarked grave, and
quickly faded from literary consciousness until 1975 when Alice
Walker almost single-handedly revived interest in her work.
Of Hurston's
fiction, Their Eyes Were
Watching God is arguably the best-known and perhaps the most
controversial. The novel follows the fortunes of Janie Crawford, a woman
living in the black town of Eaton, Florida. Hurston sets up her characters
and her locale in the first chapter, which, along with the last, acts as a
framing device for the story of Janie's life. Unlike Wright and Ralph
Ellison, Hurston does not write explicitly about black people in the
context of a white world--a fact that earned her scathing criticism from
the social realists--but she doesn't ignore the impact of black-white
relations either:
It was the time for sitting on porches beside the road. It was the time
to hear things and talk. These sitters had been tongueless, earless,
eyeless conveniences all day long. Mules and other brutes had occupied
their skins. But now, the sun and the bossman were gone, so the skins
felt powerful and human. They became lords of sounds and lesser things.
They passed nations through their mouths. They sat in judgment.
One person the citizens of Eaton are inclined to
judge is Janie Crawford, who has married three men and been tried for the
murder of one of them. Janie feels no compulsion to justify herself to the
town, but she does explain herself to her friend, Phoeby, with the
implicit understanding that Phoeby can "tell 'em what Ah say if you
wants to. Dat's just de same as me 'cause mah tongue is in mah friend's
mouf."
Hurston's use of
dialect enraged other African American writers such as Wright, who accused
her of pandering to white readers by giving them the black stereotypes
they expected. Decades later, however, outrage has been replaced by
admiration for her depictions of black life, and especially the lives of
black women. In Their Eyes Were
Watching God Zora Neale Hurston breathes humanity into both her men
and women, and allows them to speak in their own voices. --Alix Wilber |