Their Eyes Were Watching God Biography, Background, Historical Context

Biography Zora Neale Hurston was born in Alabama or Eatonville, Florida in 1891. She lived in an all African-American community for her childhood years. Preacher’s daughter She wrote several novels, plays, essays and short stories. Her life’s motto was “Jump at the sun!” given to her by her mother. Her writing helped shape future female African-American writers’ approach to authorship and development of identity. She was a writer, anthropologist and political activist. Studied at Barnard and Columbia Anthropological work centered around Haiti/Creole

Harlem Renaissance Lasted from 1919-1937. Goals of the Harlem Renaissance: To respond to the social conditions of African- Americans; To break with the 19th century minstrel stereotypes of African- Americans; To place greater emphasis on black culture; To provide political and social uplift for African-Americans through social programs such as the NAACP.

Hurston’s Influence on Harlem Renaissance Their Eyes Were Watching God is considered the last text of the Harlem Renaissance. Her portrayal of an African- American female able to define herself outside of social conventions and stereotypes has provided a model for modern African Americans seeking their identities in unconventional roles.

Uplift Agenda W. E. B. DuBois-–co-founder of the NAACP “All art is propaganda and art will always be political.” Promoted the “uplift agenda”— African Americans conform to the social mores of the day Hurston rejects ”uplift” because she disagrees that African Americans accommodating or assimilating to the cultural standards of the white majority.

Hurston’s Views on Harlem Renaissance A lot of the Harlem Renaissance was a response to the ”uplift agenda.” Hurston wanted to distinguish herself from the Harlem Renaissance, calling it a “sobbing school of Negrohood,” where lives are protrayed as “miserable, downtrodden, and deprived.”

Regional Dialect in TEWWG Hurston employed regional black dialect in her writing. Hurston chose to do this because she wanted to portray African-Americans as they appeared in some southern areas of the United States. Realism includes dialect, local color and familial settings. Some critics felt the dialect was a caricature of African American culture rooted in racism.

Early Critical Reception of TEWWG Sterling Brown: It does not “depict the harsher side of black life in the South” Richard Wright: It “carries no theme, no message, no thought,” but is like a minstrel show. Benjamin Brawley: “Her interest . . . Is not in solving problems, the chief concern being with individuals.” *Note that all these critics were male. Quite possibly offended by the portrayal of black men in the novel. Richard Wright’s criticism was very damaging to Hurston’s reputation.

Affirmative View of African American Culture But I am not tragically colored. There is no great sorrow damned up in my soul, nor lurking behind my eyes. I do not mind at all. I do not belong to the sobbing school of Negrohood who hold that nature somehow has given them a lowdown dirty deal and whose feelings are hurt about it. . . . No, I do not weep at the world—I am too busy sharpening my oyster knife. --“How It Feels to Be Colored Me” Politically conservative in 1950s. Opposed 1954 Supreme Court desegregation decision

Hurston’s Views of the South Zora Neale Hurston believed that authentic black culture can only be found in the south. Hurston opposed the integrationist measures implemented in the Brown vs. Board of Education decision, seeing integration as a way for cultural values to become tainted. Hurston became a spokeswoman for the first integrated all-black community, Eatonville, Florida.

Feminist Issues in TEWWG Their Eyes Were Watching God is considered the first modern feminist text by an African-American. Their Eyes Are Watching God describes Janie’s search to find her identity and voice apart from her three husbands. Janie leaves her first husband in search of a more fulfilling relationships. Janie finds her voice through her femininity and through her community. Janie chooses to work outside the home to find purpose outside of domestic life.