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This landmark gathering of Zora Neale Hurston's short fiction—most of which appeared only in literary magazines during her lifetime—reveals the evolution of one of the most important African American writers. Spanning her career from 1921 to 1955, these stories attest to Hurston's tremendous range and establish themes that recur in her longer fiction. With rich language and imagery, the stories in this collection not only map Hurston's development and concerns as a writer but also provide an invaluable reflection of the mind and imagination of the author of the acclaimed novel Their Eyes Were Watching God.
More Reviews and RecommendationsZora Neale Hurston will forever be remembered as one of the greatest writers of the Harlem Renaissance. Her novel Their Eyes Were Watching God is widely considered to be a classic, as it recounts the spiritual journey of a black southern woman in inventive and beautiful detail. An anthropologist, essayist, theatrical producer, and novelist, Hurston was a renaissance woman in the truest sense.
More About the AuthorName:
Zora Neale Hurston
Date of Birth:
January 07, 1891
Place of Birth:
Eatonville, Florida
Date of Death
January 28, 1960
Place of Death
Fort Pierce, Florida
Education:
B.A., Barnard College, 1928 (the school's first black graduate). Went on to study anthropology at Columbia University.
During the 1920s, African-American culture in the United States received an exhilarating shot in the arm in the era known as the Harlem Renaissance. For the first time, black American art, music, and literature was being taken seriously among the intelligentsia as a significant force in contemporary culture. At the front of that movement were several writers, including Zora Neale Hurston.
Hurston's work reflected the liberation and experimentation of post-war America. She published stories and co-founded the groundbreaking journal Fire! with poet Langston Hughes and novelist Wallace Thurman. By the ‘30s, Hurston was a bestselling writer, but with the Renaissance on the wane and a new era of politics, economic depression, and the "social realism" movement, Hurston's once glorious literary career was running into dire straits. She would end her life destitute, practically forgotten, buried in an unmarked grave in Florida. However, a resurgence of interest in her work during the 1970s and the tireless work of writer Alice Walker would help reestablish Hurston in her rightful place as one of America's greatest and most influential writers.
Born in Eatonville, Florida, in 1891 to a father who was a Baptist preacher, Hurston was well-versed from birth in the dynamics of the Southern black experience. She brought that keen vision to her writing and published her first story in the Howard University literary magazine while attending the school in 1921. Still, it was not until Hurston moved to New York City in 1925 that she really began to make waves on the literary scene. Her writing was characterized by its unflagging honesty and strength, qualities that Hurston herself exuded. She often ruffled feathers by refusing to adhere to the constricting gender conventions prevalent at the time. This strength and self-confidence was already apparent in the writer's very first works. Her debut novel Jonah's Gourde Vine was praised by The New York Times as "the most vital and original novel about the American Negro that has yet been written by a member of the Negro race." Her second was a bona fide classic, Mules and Men, a compendium of African American folk tales, songs, and maxims that drew on Hurston's extensive studies in Anthropology.
By the time Hurston published her signature work Their Eyes Were Watching God, the freestyle experimentalism of the Harlem Renaissance was being increasingly overcast by the Great Depression. As a result, a backlash ensued. Their Eyes Were Watching God, which told of a woman named Janie Crawford who goes through three marriages to separate men as she struggles to realize herself, was too steeped in the experimentalism of the Renaissance to please critics. Furthermore, her portrayal of a black woman's search for personal liberation was too much for many black men to stomach. Richard Wright, the acclaimed author of Native Son, even dismissed Their Eyes Were Watching God for not being "serious fiction." Today, such criticism may seem absurd, or at the very least, incredibly short-sighted, but at the time, Hurston's daring prose was not in vogue amongst the social realists.
Their Eyes Were Watching God, instead, displays a true structural adventurousness, splitting between the eloquence of the narrative voice and the idiomatic, ungrammatical dialogue of the black, southern characters. While works of the social realism movement were easily categorized by their left-wing politics and gritty delivery, Their Eyes Were Watching God was less simple to pigeonhole. It is at once a product of the Harlem Renaissance, an example of Southern literature along the lines of Faulkner, and a work of feminist literature. Consequently, the novel was criticized for being out of step with the times, and it went out of print very shortly after being published, leading to the collapse of Hurston's career and her standing as a significant literary figure.
Hurston would die in 1960, back in Florida, destitute, forgotten. Her books long unavailable, her death barely registered. She would not return to the public eye until 1975, when Alice Walker published an essay titled "In Search of Zora Neale Hurston" in Ms. magazine. Along with other writer including Robert Hemenway and Tony Cade Bambara, Walker went on a crusade to revitalize Hurston's career fifteen years after the writer's death.
When Their Eyes Were Watching God was finally republished, it was reevaluated as a classic. Today, the novel is required reading in universities all over the country, and Hurston is widely acknowledged as one of the first great African-American women writers. As a final tribute to her idol, Walker also traveled to Florida where Hurston is buried and placed a marker on her grave, a long-overdue tribute to a great American writer reading with beautiful simplicity: "Zora Neale Hurston: Genius of the South."
Hurston's earliest work was a comedic play called Mule Bone, which she co-wrote with Langston Hughes. However, the play would not be performed until 1991 due to an arduous legal battle that also brought an untimely end to the friendship between Hurston and Hughes.
Spike Lee's audacious debut film She's Gotta Have It has been viewed by some as a hip adaptation of Their Eyes Were Watching God, and the fact that the film opens with a quotation from Zora Neale Hurston may prove such theories correct.
This landmark gathering of Zora Neale Hurston's short fiction—most of which appeared only in literary magazines during her lifetime—reveals the evolution of one of the most important African American writers. Spanning her career from 1921 to 1955, these stories attest to Hurston's tremendous range and establish themes that recur in her longer fiction. With rich language and imagery, the stories in this collection not only map Hurston's development and concerns as a writer but also provide an invaluable reflection of the mind and imagination of the author of the acclaimed novel Their Eyes Were Watching God.
| Acknowledgments | ||
| Introduction | ||
| John Redding Goes to Sea (May 1921) | 1 | |
| Drenched in Light (December 1924) | 17 | |
| Spunk (June 1925) | 26 | |
| Magnolia Flower (July 1925) | 33 | |
| Muttsy (August 1926) | 41 | |
| 'Possum or Pig? (September 1926) | 57 | |
| The Eatonville Anthology (September November 1926) | 59 | |
| Sweat (November 1926) | 73 | |
| The Gilded Six-Bits (August 1933) | 86 | |
| Mother Catherine (1934) | 99 | |
| Uncle Monday (1934) | 106 | |
| The Fire and the Cloud (September 1934) | 117 | |
| Cock Robin Beale Street (July 1941) | 122 | |
| Story in Harlem Slang (July 1942) | 127 | |
| High John De Conquer (October 1943) | 139 | |
| Hurricane (1946) | 149 | |
| The Conscience of the Court (March 1950) | 162 | |
| Escape from Pharaoh (1950) | 178 | |
| The Tables of the Law (1951) | 193 | |
| Black Death | 202 | |
| The Bone of Contention | 209 | |
| Book of Harlem | 221 | |
| Harlem Slanguage | 227 | |
| Now You Cookin' with Gas | 233 | |
| The Seventh Veil | 242 | |
| The Woman in Gaul | 261 | |
| Afterword | 285 | |
| Bibliography | 295 |
The Villagers said that John Redding was a queer child. His mother thought he was too. She would shake her head sadly, and observe to John's father: "Alf, it's too bad our boy's got a spell on 'im."
The father always met this lament with indifference, if not impatience.
"Aw, woman, stop dat talk 'bout conjure. Tain't so nohow. Ah doan want Jawn tuh git dat foolishness in him. "
"Cose you allus tries tuh know mo' than me, but Ah ain't so ign'rant. Ah knows a heap mahself. Many and many's the people been drove outa their senses by conjuration, or rid tuh deat' by witches."
"Ah keep on telling yuh, woman, tain's so. B'lieve it all you wants tuh, but dontcha tell mah son none of it."
Perhaps ten-year-old John was puzzling to the simple folk there in the Florida woods for he was an imaginative child and fond of day-dreams. The St. John River flowed a scarce three hundred feet from his back door. On its banks at this point grow numerous palms, luxuriant magnolias and bay trees with a dense undergrowth of ferns, cat-tails;and rope-grass. On the bosom of the stream float millions of delicately colored hyacinths. The little brown boy loved to wander down to the water's edge, and, casting in dry twigs, watch them sail away down stream to Jacksonville, the sea, the wide world and John Redding wanted to follow them.
Sometimes in his dreams he was a prince, riding away in a gorgeous carriage. Often he was a knight bestride a fiery charger prancing down the white shell road that led to distant lands. At other times he was a steamboat captain piloting his craft down the St. John River to where the sky seemed totouch the water. No matter what he dreamed or who he fancied himself to be, he always ended by riding away to the horizon; for in his childish ignorance he thought this to be farthest land.
But these twigs, which John called his ships, did not always sail away. Sometimes they would be swept in among the weeds growing in the shallow water, and be held there. One day his father came upon him scolding the weeds for stopping his sea-going vessels.
"Let go mah ships! You ole mean weeds you!" John screamed and stamped impotently. "They wants tuh go 'way. You let 'em go on!"
Alfred laid his hand on his son's head lovingly. "What's mattah, son?"
"Mah ships, pa," the child answered weeping. "Ah throwed ,em in to go way off an' them ole weeds won't let 'em. "
"Well, well, doan cry. Ah thought youse uh grown up man. Men doan cry lak babies. You mustn't take it too hard 'bout yo' ships. You gotta git uster things gittin' tied up. They's lotser folks that 'ud go on off too ef somethin' didn' ketch 'em an' hol' 'em!"
Alfred Redding's brown face grew wistful for a moment, and the child noticing it, asked quickly: "Do weeds tangle up folks too, pa?"
"Now, no, chile, doan be takin' too much stock of what ah say. Ah talks in parables sometimes. Come on, les go on tuh supper."
Alf took his son's hand, and started slowly toward the house. Soon John broke the silence.
"Pa, when ah gets as big as you Ah'm goin' farther than them ships. Ah'm goin' to where the sky touches the ground."
"Well, son, when Ah wuz a boy Ah said Ah wuz goin' too, but heah Ah am. Ah hopes you have bettah luck than me."
"Pa, Ah betcha Ah seen somethin' in th' woodlot you ain't seen!"
"Whut?"
"See dat tallest pine tree ovah dere how it looks like a skull. wid a crown on?"
"Yes, indeed!" said the father looking toward the tree designated. "It do look lak a skull since you call mah 'tention to it. You Imagine lotser things nobody else evah did, son!"
"Sometimes, Pa dat ole tree waves at me just aftah th' sun goes down, an' makes me sad an' skeered, too."
"Ah specks youse skeered of de dahk, thas all, sonny. When you gits biggah you won't think of sich.
Hand in hand the two trudged across the plowed land and up to the house, the child dreaming of the days when he should wander to far countries, and the man of the days when he might have-and thus they entered the kitchen.
Matty Redding, John's mother, was setting the table for supper. She was a small wiry woman with large eyes that might have been beautiful when she was young, but too much weeping had left them watery and weak.
"Matty," Alf began as he took his place at the table, "dontcha know our boy is different from any othah chile roun' heah. He 'lows he's goin' to sea when he gits grown, an' Ah reckon Ah'U let 'im."
The woman turned from the stove, skillet in hand. "Alf, you ain't gone crazy, is you? John kain't help wantin' tuh stray off, cause he's got a spell. on 'im; but you oughter be shamed to be encouragin' him.
"Ain't Ah done tol' you forty times not tuh tahk dat low-life mess in front of mah boy?"
"Well, ef tain't no conjure in de world, how come Mitch Potts been layin' on his back six mont's an' de doctah kain't do 'im no good? Answer me dat. The very night John wuz bawn, Granny seed ole Witch Judy Davis creepin outer dis yahd. You know she had swore tuh fix me fuh marryin' you, 'way from her darter Edna. She put travel dust down fuh mah chile, dat's whut she...
Complete Stories. Copyright © by Zora Hurston. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
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