Their Eyes Were Watching God: Difference between revisions
Lockeownzj00 (talk | contribs) m im removing the citation for now because part of my analysis comes direct from the scholars who wrote the forward/afterword. |
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==Criticism== |
==Criticism== |
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While today Hurston's book is present on many (if not most) reading lists for [[African American literature]] programs in the United States, the book was not universally praised by Hurston's peers, with particular criticism levelled at her use of phonetic spellings of the dialect spoken by blacks of [[Africa]]n and [[Caribbean]] descent in the South of the early [[20th century]] (for example, "tuh" instead of "to" and "Ah" instead of "I"). [[Richard Wright (author)|Richard Wright]] called ''Their Eyes Were Watching God'' a "minstrel-show turn that makes the white folks laugh" and said it showed "no desire whatever to move in the direction of serious fiction."<ref>Burt, Daniel. ''The Novel 100.'' Checkmark Books, 2003. p. 365.</ref> [[Ralph Ellison]] said the book contained a "blight of calculated burlesque."<ref>''Ibid.,'' p. 366.</ref> Many other prominent authors that were a part of the Harlem Renaissance were upset that Hurston exposed divisions between light skinned African-Americans and those that had darker skin, as seen in Mrs. Turner, as well as the more subtle division between black men and women. |
While today Hurston's book is present on many (if not most) reading lists for [[African American literature]] programs in the United States, the book was not universally praised by Hurston's peers, with particular criticism levelled at her use of phonetic spellings of the dialect spoken by blacks of [[Africa]]n and [[Caribbean]] descent in the South of the early [[20th century]] (for example, "tuh" instead of "to" and "Ah" instead of "I"). [[Richard Wright (author)|Richard Wright]] called ''Their Eyes Were Watching God'' a "minstrel-show turn that makes the white folks laugh" and said it showed "no desire whatever to move in the direction of serious fiction."<ref>Burt, Daniel. ''The Novel 100.'' Checkmark Books, 2003. p. 365.</ref> [[Ralph Ellison]] said the book contained a "blight of calculated burlesque."<ref>''Ibid.,'' p. 366.</ref> Many other prominent authors that were a part of the Harlem Renaissance were upset that Hurston exposed divisions between light skinned African-Americans and those that had darker skin, as seen in Mrs. Turner, as well as the more subtle division between black men and women. This concern is quickly dispelled, however, as the character is largely an adversary of the rest in the book; Exemplifying her minor role in the novel for this argument is a straw man and disingenuous. |
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The book, written in black southern [[dialect]], has attracted criticism also by those who claim it portrays [[African-American]]s as ignorant (despite the fact that Hurston is, herself, African-American). Similar criticisms have been leveled at Twain's ''[[The Adventures of Huckleberry Finn|Huckleberry Finn]]''. But while Twain transforms the ministrel into a three-dimensional character, viewed through Huck's revelations, Hurston uses black southern dialect to show that complex social relationships and common feats of metaphoric language are possible in something considered "substandard" to English. |
The book, written in black southern [[dialect]], has attracted criticism also by those who claim it portrays [[African-American]]s as ignorant (despite the fact that Hurston is, herself, African-American). Similar criticisms have been leveled at Twain's ''[[The Adventures of Huckleberry Finn|Huckleberry Finn]]''. But while Twain transforms the ministrel into a three-dimensional character, viewed through Huck's revelations, Hurston uses black southern dialect to show that complex social relationships and common feats of metaphoric language are possible in something considered "substandard" to English. |
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Revision as of 10:24, 2 August 2006
| File:Theireyes.jpg | |
| Author | Zora Neale Hurston |
|---|---|
| Language | English |
| Genre | Fiction |
| Publisher | J.B. Lippincott Inc. (original hardcover) |
Publication date | 1937 |
| Publication place | United States |
| ISBN | ISBN 0060931418 (Perennial softcover) Parameter error in {{ISBNT}}: invalid character |
Their Eyes Were Watching God, (1937), set in southern Florida in the early 20th century, is the best-known novel by African-American writer Zora Neale Hurston.
Plot summary
Template:Spoiler The main character, a black woman in her early forties named Janie Crawford, tells the story of her life and journey via an extended flashback to her best friend, Pheoby. Her life has three major periods corresponding to her marriages to three men.
Janie's grandmother, Nanny, was a slave who was impregnated by a white man (Hurston implies that it was the slaveowner) and gave birth to a daughter. That daughter was raped as a teenager and became pregnant with Janie, but left Janie with Nanny and is not present in the novel. Nanny sees Janie kissing a neighborhood boy and fears that Janie will become a "mule" to some man, so she arranges for Janie to marry Logan Killicks, an older man and farmer who is looking for a wife to keep his home and help on the farm. Janie has the idea that marriage must involve love, forged in a pivotal early scene where she sees bees pollinating a pear tree and believes that marriage is the human equivalent to this natural process. Logan Killicks, however, wants a domestic helper rather than a lover or partner, and after he begins to hit Janie and to try to force her to help him with the hard labor of the farm, Janie runs off with the glib Joe (Jody) Starks, who takes her to Eatonville (which in reality was Hurston's hometown).
Starks arrives in Eatonville (the United States's first all-black community) to find the residents devoid of ambition, so he arranges to buy more land from the neighboring landowner, hires some local residents to build a general store for him to own and run, and has himself appointed mayor. Janie soon realizes that Joe, too, wants her more for her help than for her individuality, as he asks her to run the store but forbids her from participating in the substantial social life that occurs on the store's front porch.
After Starks dies, Janie finds herself financially independent and beset with suitors, some of whom are men of some means or have prestigious occupations, but she falls in love with a drifter and gambler named Tea Cake. She sells the store and the two head to Jacksonville and get married, only to move to the Everglades region soon after for Tea Cake to find work planting and harvesting beans. While their relationship has its ups and downs, including mutual bouts of jealousy, Janie now has the marriage with love that she had wanted.
The area is hit with a hurricane, and while Tea Cake and Janie survive it, Tea Cake is bitten by a rabid dog while saving Janie from drowning, and he contracts the disease himself. He ultimately tries to shoot Janie with his pistol, but she shoots him with a rifle in self-defense. She is charged with murder; at the trial, Tea Cake's black, male friends show up to oppose her, while a group of local white women is there to support her. The all-white jury acquits Janie, and she returns to Eatonville, only to find the residents gossiping about her and assuming (or perhaps wishing) that Tea Cake has run off with her money. Template:Endspoiler
Analysis
Their Eyes Were Watching God is a multi-layered novel, which garnered attention and controversy at the time, but remains one of the most important books revealing the origins of black culture and heritage.
Janie is a prototypical black woman of the new generation. Slavery has long since ended, but living with her grandmother has caused her to be taught a certain linear viewpoint of the world. Her independent and deterministic spirit lies dormant beneath the surface.
The phonetically-written speech of the African Americans in the novel not only gives context, but helps round out the aesthetic to the novel. While Zora has been criticised for condescending her own people, a more critical analysis of the novel and the author reveals an earnest attempt . Rather than appearing patronising, the frequent dialogue is indeed the most oft-quoted and engrossing-- often, as well, the most telling and philosophical.
Janie is an anomaly in her time in that she subconsciously realises that she is a human being rather than a category. All the same, she simultaneously recognises her position in the society she lives in (both the world and where she lives), and many times proclaims her commitment to being a black woman. Through her commitment she will prove to the world, or at least those around her, her worth.
Zora liberally sprinkles the novel with spiritual overtones, but despite the title, they are hardly the focal point of the narrative. The characters, including Janie, are appropriately Christian, and their thoughts inevitably reflect this belief in some capacity at various points in the story, whether it be pleading to God in a moment of intense emotion, or simply wondering what 'He' has in store for them. The title has less to do with a literal belief in God, and more with human emotion--They seemed to be staring at the dark, but their eyes were watching God, reads the full quote. The storm and other such mercurial things are spoken in terms of 'His' judgement, but once again, they serve as broad strokes of the brush rather than concentrated, determined proselytising.
Zora maintains an emphasis on the worth of humanity. All characters have flaws, whether they be overt or subtle, and they are almost never outright admonished for them; rather they are, at the very least by the omniscient narrator, forgiven for simply being themselves--imperfect beings. Zora imbues the readers with an intense feeling of brotherhood and community, even in times of struggle. Janie is often criticised and prodded, but she never returns the favor, and merely braves it through, believing in their ultimate kind-heartedness and taking solace in her own.
Zora's work is treasured in the literary community, and is a testament to black history to this day.
Criticism
While today Hurston's book is present on many (if not most) reading lists for African American literature programs in the United States, the book was not universally praised by Hurston's peers, with particular criticism levelled at her use of phonetic spellings of the dialect spoken by blacks of African and Caribbean descent in the South of the early 20th century (for example, "tuh" instead of "to" and "Ah" instead of "I"). Richard Wright called Their Eyes Were Watching God a "minstrel-show turn that makes the white folks laugh" and said it showed "no desire whatever to move in the direction of serious fiction."[1] Ralph Ellison said the book contained a "blight of calculated burlesque."[2] Many other prominent authors that were a part of the Harlem Renaissance were upset that Hurston exposed divisions between light skinned African-Americans and those that had darker skin, as seen in Mrs. Turner, as well as the more subtle division between black men and women. This concern is quickly dispelled, however, as the character is largely an adversary of the rest in the book; Exemplifying her minor role in the novel for this argument is a straw man and disingenuous.
The book, written in black southern dialect, has attracted criticism also by those who claim it portrays African-Americans as ignorant (despite the fact that Hurston is, herself, African-American). Similar criticisms have been leveled at Twain's Huckleberry Finn. But while Twain transforms the ministrel into a three-dimensional character, viewed through Huck's revelations, Hurston uses black southern dialect to show that complex social relationships and common feats of metaphoric language are possible in something considered "substandard" to English.
Biblical allusions
Page numbers are from the Perennial version of this novel (ISBN 0060931418)
- "They sat in judgment." (pg 1)
- "Lemme scrub mah feet." (pg 5) - See Genesis 28:4, Exodus 3:5, Acts 7:33, Genesis 19:2
- "Sam say most of 'em goes to church so they'll be sure to rise in judgement." (pg 6)
- The "pear tree" scene (pg 10-11) - See Genesis 2-4, Consider Janie as a prelapsarian figure.
- "A highway through de wilderness" (pg 16) - See Matthew 4:1
- "Isaac and Rebecca at de well" (pg 42) - See Genesis 24:13-15
- "And when Ah touch de match tuh da lamp-wick let de light penetrate inside of yuh, and let it shine, let it shine, let it shine." (pg 45) - See Genesis 1:3
- "He felt like rushing forth with the meat knife and chopping off the offending hand." (pg 55) - see the Antithesis of the Law
- "the thing that Saul's daughter had done to David" (pg 79) - See I Samuel 18-19
- "...he'd be walkin' da water lak old Peter befo' he knowed it." (pg 101) See Matthew 14:28-29
- "Ah'm de Apostle Paul tuh de Gentiles." (pg 104)
- "You got de keys to de kingdom." (pg 109) - See Matthew 16:18-19
- The "Flood" in Chapter 18 - See Genesis 6-9
- "The wheel kept turning round and round." (pg 166) - See Book of Ezekiel
- "His pale white horse had galloped over waters and thundered over land." (pg 168) - See Book of Revelation 6:2
Film adaptation
The book was adapted into the 2005 film Their Eyes Were Watching God by Suzan-Lori Parks and Misan Sagay was produced by Oprah Winfrey's Harpo Productions. Winfrey served as the host for the broadcast. Halle Berry starred as Janie Crawford. The film aired on ABC on March 16, 2005.
Notes
External links
- Extensive summary, analysis, and important quotes from "Their Eyes Were Watching God"
- GradeSaver study guide: Their Eyes Were Watching God
- Their Eyes Were Watching God at IMDb
- Perspectives on Gossip The theme of gossip in three literary pieces, including 'Their Eyes Were Watching God'
