Yeah buts live in the woods

Chapter 11-15 Critique

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ZORA NEALE HURSTON

Their Eyes Were

Watching God

With a Foreword by Edwidge Danticat

To Henry Allen Moe

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Contents

E-Book Extra

Janie’s Great Journey: A Reading Group Guide

Acknowledgments

Foreword by Edwidge Danticat

Foreword by Mary Helen Washington

1 Ships at a distance have every man’s wish on board.

2 Janie saw her life like a great tree in leaf…

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3 There are years that ask questions and years that answer.

4 Long before the year was up, Janie noticed that her…

5 On the train the next day, Joe didn’t make many…

6 Every morning the world flung it- self over and exposed the…

7 The years took all the fight out of Janie’s face.

8 After that night Jody moved his things and slept in…

9 Joe’s funeral was the finest thing Orange County had ever…

10 One day Hezekiah asked off from work to go off…

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11 Janie wanted to ask Hezekiah about Tea Cake, but she…

12 It was after the picnic that the town began to…

13 Jacksonville. Tea Cake’s letter had said Jacksonville. He had worked…

14 To Janie’s strange eyes, everything in the Everglades was big…

15 Janie learned what it felt like to be jealous. A…

16 The season closed and people went away like they had…

17 A great deal of the old crowd were back. But…

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18 Since Tea Cake and Janie had friended with the Bahaman…

19 And then again Him-with-the- square-toes had gone…

20 Because they really loved Janie just a little less than…

Afterword by Henry Louis Gates, Jr.

About the Author

Books by Zora Neale Hurston

Credits

Copyright

About the Publisher

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E-Book Extra

Janie’s Great Journey:

A Reading Group Guide

Their Eyes Were Watching God by Zora Neale Hurston

Introduction

In her award-winning autobiography, Dust Tracks on a Road(1942), Zora Neale Hurston claimed to have been born in Eatonville, Florida, in 1901. She was, in fact, born in Notasulga, Alabama, on January 7, 1891, the fifth child of John Hurston (farmer, carpenter, and Baptist preacher) and Lucy Ann Potts (school teacher). The author of numer- ous books, including Their Eyes Were Watching God, Jonah’s Gourd Vine, Mules and Men, and Moses, Man of the Mountain, Hurston had achieved fame and sparked controversy as a novelist, anthropologist, outspoken essayist, lecturer, and theatrical producer during her sixty- nine years. Hurston’s finest work of fiction appeared at a time when artistic and political statements—whether single sentences or book- length fictions—were peculiarly conflated. Many works of fiction were informed by purely political motives; political pronouncements

frequently appeared in polished literary prose. And Hurston’s own political statements, relating to racial issues or addressing national politics, did not ingratiate her with her black male contemporaries. The end result was that Their Eyes Were Watching God went out of print not long after its first appearance and remained out of print for nearly thirty years. Henry Louis Gates, Jr., has been one among many to ask: “How could the recipient of two Guggenheims and the author of four novels, a dozen short stories, two musicals, two books on black mythology, dozens of essays, and a prizewinning autobiography virtu- ally ‘disappear’ from her readership for three full decades?”

That question remains unanswered. The fact remains that every one of Hurston’s books went quickly out of print; and it was only through the determined efforts, in the 1970s, of Alice Walker, Robert Hemenway (Hurston’s biographer), Toni Cade Bambara, and other writers and scholars that all of her books are now back in print and that she has taken her rightful place in the pantheon of American authors.

In 1973, Walker, distressed that Hurston’s writings had been all but forgotten, found Hurston’s grave in the Garden of Heavenly Rest and installed a gravemarker. “After loving and teaching her work for a number of years,” Walker later reported, “I could not bear that she did not have a known grave.” The gravemarker now bears the words that Walker had inscribed there:

ZORA NEALE HURSTON

GENIUS OF THE SOUTH

NOVELIST FOLKLORIST ANTHROPOLOGIST

(1891-1960)

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Questions for Discussion

1. What kind of God are the eyes of Hurston’s characters watching? What is the nature of that God and of their watching? Do any of them question God?

2. What is the importance of the concept of horizon? How do Janie and each of her men widen her horizons? What is the significance of the novel’s final sentences in this regard?

3. How does Janie’s journey—from West Florida, to Eatonville, to the Everglades—represent her, and the novel’s increasing immersion in black culture and traditions? What elements of individual action and communal life characterize that immersion?

4. To what extent does Janie acquire her own voice and the ability to shape her own life? How are the two related? Does Janie’s telling her story to Pheoby in flashback undermine her ability to tell her story directly in her own voice?

5. What are the differences between the language of the men and that of Janie and the other women? How do the differences in language reflect the two groups’ approaches to life, power, relationships, and self-realization? How do the novel’s first two paragraphs point to these differences?

6. In what ways does Janie conform to or diverge from the assump- tions that underlie the men’s attitudes toward women? How would you explain Hurston’s depiction of violence toward women? Does the novel substantiate Janie’s statement that “Sometimes God gits familiar wid us womenfolks too and talks His inside business”?

7. What is the importance in the novel of the “signifyin’” and “playin’ de dozens” on the front porch of Joe’s store and elsewhere? What

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purpose do these stories, traded insults, exaggerations, and boasts have in the lives of these people? How does Janie counter them with her conjuring?

8. Why is adherence to received tradition so important to nearly all the people in Janie’s world? How does the community deal with those who are “different”?

9. After Joe Starks’s funeral, Janie realizes that “She had been getting ready for her great journey to the horizons in search of people; it was important to all the world that she should find them and they find her.” Why is this important “to all the world”? In what ways does Janie’s self-awareness depend on her increased awareness of others?

10. How important is Hurston’s use of vernacular dialect to our un- derstanding of Janie and the other characters and their way of life? What do speech patterns reveal about the quality of these lives and the nature of these communities? In what ways are “their tongues cocked and loaded, the only real weapon” of these people?

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Acknowledgments

The Estate of Zora Neale Hurston would like to thank those people who have worked so hard over the years in introducing new genera- tions of readers to the work of Zora Neale Hurston. We are indebted to Robert Hemenway, Alice Walker, and all the Modern Language Asso- ciation folks who helped usher in Zora’s rediscovery. We are also deeply appreciative of the hard work and support of our publisher, Cathy Hemming; our editor, Julia Serebrinsky; and our agent, Victoria Sanders, without whom this reissue would not have been possible.

Foreword

BY EDWIDGE DANTICAT

I “Ships at a distance have every man’s wish on board.” So begins Zora Neale Hurston’s brilliant novel about a woman’s search for her authentic self and for real love. At first it might seem contradictory that a work whose central character is the remarkably resolute and re- silient Janie Crawford should start with a dictum about “the life of men.” However, that is one of the many shrewd manifestations of Zora Neale Hurston’s enormous talents: her ability to render a world com- plete with its codes and disciplines within a few sentences, and then placing in that world her vision of how her people—the women and men of her own creation, her characters—function, triumph, and sur- vive. So off that metaphorically distant ship comes our heroine Janie Crawford, and suddenly we realize that she had been on her own sin- gular journey all along, her dreams “mocked to death by Time,” but never totally defeated. And since women “remember everything they don’t want to forget,” Janie Crawford recalls all the crucial moments of her life, from the time she first discovers that she is a “colored” little girl by searching for her face in a group photograph, to the moment she returns to Eatonville, Florida, from the Everglades, not swindled and deceived, as had been expected, but heartbroken, yet boldly defi- ant, after having toiled in the bean fields, survived a hurricane, and lost the man she loved.

Janie Crawford is able to retrace her steps, disembark from her own ship, come home, and remember, because she has been close to death but has lived a very full life. So in spite of the judgmental voices that greet her upon her return, in spite of the “mass cruelty” invoked by her prodigal status, Janie has earned the right to be the griot of her own tale, the heroine of her own quest, the “member” of her own remembering.

In the loose call-and-response structure that frames the nov- el—Janie’s friend Pheoby asks her to tell her where she has been, and Janie responds with the story that constitutes the book—Janie’s is an intimate audience of one. She entrusts her adventures to Pheoby to re- tell to others only if Pheoby chooses. (“You 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.”) Janie is recounting her story as much to Pheoby as to herself. Her response to Pheoby’s call is at the same time an echo, much like the nymph Echo who retains only her voice after having lit- erally been torn apart. Hurston herself also becomes Janie’s echo by picking up the narrative thread in intervals, places where in real life, or in real time, Janie might have simply grown tired of talking. Much like the porch sitters at the beginning of the book who are the first to see Janie arrive, Janie, Pheoby, and Zora Neale Hurston form their own storytelling chain, and it is through their linking of voices that we are taken on this intimate yet communal journey that is Their Eyes Were Watching God.

II I have always been extremely proud to remind all who would listen that Zora Neale Hurston’s masterpiece, Their Eyes Were Watching God, was written, by her own account, in seven weeks, in my home- land, Haiti. I once made a complete fool of myself in front of a group of young women writers who had just created a book club and had

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gracefully invited me to their first meeting. Soon after the book club’s newly elected president announced that the first book they’d be read- ing would be Their Eyes Were Watching God, I intervened to declare, “Did you know that Zora wrote it in seven weeks in Haiti?”

I was hastily rebuffed by a curt “So?” from one of the members.

“So?” I replied, embarrassed. “Could you write a book like that in seven weeks?”

Of course Hurston’s own account of how long it took to compose the novel has been debated and contested. However, I am awed by her ability to have found the time during her anthropological travels and constant research in Haiti to produce a novel—at all. As a writer, I am amazed by the way she often managed to use the places and circum- stances she found herself in to create a room, a world, of her own. Even with the menace of pennilessness always looming, she somehow unearthed the solace, or perhaps the desperation, to write.

Many of my contemporaries, including myself, often com- plain—sometimes with book contracts in tow—about not having enough time, money, and space to write. Yet Zora battled to write and she did, knowing, as Janie Crawford must have also known, that “there is no agony like bearing an untold story inside you.” Thus, no matter how many times I have read this book, when Janie begins telling that untold story inside her, I am always doubly elated, both with the story itself and with the way in which it came to be. And so when I blurt out my favorite piece of Hurston trivia, I do it partially out of pride for her association with Haiti, but I also do it heeding Alice Walker’s extremely wise advice in her foreword to Robert E. He- menway’s literary biography of Hurston: “We are a People.” (And I in- clude all the international peoples of the African diaspora in this cat- egory.) “A People do not throw their geniuses away.”

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Fortunately, over the years, I have met very few active readers of my generation (born after 1960), writers and nonwriters alike, who would even consider throwing Zora away. Many of us can remember vividly our first encounter with her work, particularly Their Eyes Were Watching God. Because of the efforts of Ms. Walker and others, who valiantly reclaimed Zora for themselves and for all of us, we read Zora either in high school or in college classes, where her work is enthusi- astically taught by men and women—most of whom were much older than we were when they first read her—and still had the exuberance of a recent discovery, much as in the early days of a love affair, or a re- union with a friend long thought dead.

I first read Their Eyes Were Watching God in an elective black his- tory class at Clara Barton High School in Brooklyn, New York. The class was taught by a young teacher who conducted it during his lunch hour. There was not much reading for young adults about Zora and her work, so we struggled with the plot and the language with a lot of coaching from our teacher. Most of us were new immigrants to the United States and read Janie, Pheoby, and Tea Cake’s dialogue out loud with our heavy Creole accents, and managed to come away with only a glimmer of the brilliance of what we had read.

At times, feeling as if my lack of English had robbed me of precious narrative information, I would raise questions that went beyond the scope of the novel, and my teacher would become very excited, ap- plauding the fact that I was stretching my imagination way beyond the words in front of me, which is what all good readers are supposed to do. “Where was Tea Cake’s family?” I would ask. “And what did Janie’s friend Pheoby do while Janie was gone?”