When necessary, the critics provide relevant historical backgrounds and culture settings.
Thompson examines personification in Hurston. Plant, while Susan Meisenhelder addresses herself to Mules and Men.
Sometimes I find myself thinking of her as a Shakespearean character, so much does she now belong to American literary legend.
Of all major African-American writers, she appears to have possessed the most personal verve, a life-force wonderfully embodied in Their Eyes Were Watching God surely one of the great titles.
Flamboyant writers—Lord Byron, Oscar Wilde, Hemingway—manifest a curious relationship of the work to the life, one that breaks down the wavering demarcation between art and reality. Hurston—novelist, anthropologist, folklorist—had a fierce dislike of racial politics, black and white, and loathed any attempt to subsume her individuality under any category whatsoever.
We all of us pay high prices for our freedom from cant, social dogma, and societal morality. Hurston, passionate and driven by a daemon, plunged into a terrible final decade, in which she alienated most of her friends, admirers, readers.
She opposed desegregation, arguing that it would degrade black education. Rejected by the publishing world and by foundations, she died in a welfare home and was buried in an unmarked grave. Her mourners all have been retrospective.
Ralph Ellison, a great writer and a warm acquaintance, once at dinner together told me he could not understand my admiration for Their Eyes Were Watching God, a novel he found alternately overwritten and underwritten.
It was probably inevitable that she would immerse herself in the destructive element, but she achieved one undying book, heroic and poignant.
II Extra-literary factors have entered into the process of even secular canonization from Hellenistic Alexandria into the High Modernist Era of Eliot and Pound, so that it need not much dismay us if contemporary work by women and by minority writers becomes esteemed on grounds other than aesthetic.
When the High Modernist critic Hugh Kenner assures us of the permanent eminence of the novelist and polemicist Wyndham Lewis, we can be persuaded, unless of course we actually read books like Tarr and Hitler.
In the matter of Zora Neale Hurston, I have had a contrary experience, starting with skepticism when I first encountered essays by her admirers, let alone by her idolators. Man of the Mountain is an impressive book in its mode and ambitions, but a mixed achievement, unable to resolve problems of diction and of rhetorical stance.
Essentially, Hurston is the author of one superb and moving novel, unique not in its kind but in its isolated excellence among other stories of the kind. The dream is the truth. Then they act and do things accordingly.
In a larger perspective, should the contexts modify, the representation of Janie will take its significant place in a long tradition of such representations in English and American fiction. This tradition extends from Samuel Richardson to Doris Lessing and other contemporaries, but only rarely has been able to visualize authentically strong women who begin with all the deprivations that circumstance assigns to Janie.
Dat was all right when you was little.
Have some sympathy fuh me. Yet the excess works, partly because Hurston is so considerable and knowing a mythologist.
Hovering in Their Eyes Were Watching God is the Mosaic myth of deliverance, the pattern of revolution and exodus that Hurston reimagines as her prime trope of power: But there are other concepts of Moses abroad in the world.
Asia and all the Near East are sown with legends of this character. They are so numerous and so varied that some students have come to doubt if the Moses of the Christian concept is real. Then Africa has her mouth on Moses. All across the continent there are the legends of the greatness of Moses, but not because of his beard nor because he brought the laws down from Sinai.
No, he is revered because he had the power to go up the mountain and to bring them down. Many men could climb mountains. Anyone could bring down laws that had been handed to them. Who has the power to command God to go to a peak of a mountain and there demand of Him laws with which to govern a nation?
What other man has ever commanded the wind and the hail?The Gilded Six-Bits Homework Help Questions. In "The Gilded Six-Bits," who is the protagonist in the story and what is the point of view? The story is told from a third person limited point of view. In other cases—as with Don DeLillo, John Gardner, Annie Dillard, and Zora Neale Hurston, for example—a significant body of critical writing has already accrued, and the authors of these essays have had to sift through this material in order to take a critical position.
TEXT ANALYSIS: SHERWOOD ANDERSON’S REVOLT 2. and one of the first American authors to «become aware of the implications in the work of Sigmund Freud. but revitalized what the eastern taste called «regionalist» literature. The Gilded Six-Bits by Zora Neale Hurston By Sarah Wyman | On | Comments (0) In “The Gilded Six-Bits,” a short story, as well as her other works of fiction and essays, one sees Zora Neale Hurston ’s wide scope as a writer.
The Gilded Six-Bits as written by Hurston begins with a more vivid ment on the black nature of the community.
From the outside perspective, the story which is set in the early years of s has a dominant white point of outlook of life. MODERN AND CONTEMPORARY AMERICAN LITERATURE Charles Darwin’s On the Origin of Species () and The Descent of Man (). and as interconnected symbolic schemes that were shared by many societies.