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Their Eyes Were Watching God by Zora Neale Hurston
Book Summary InformationAuthor: Zora Neale Hurston Edition: Paperback Audio: English (Original Language); English (Unknown); English (Published) Published: 2006-06-01 ISBN: 0061120065 Number of pages: 256 Publisher: Harper Perennial Modern Classics Product features:
Book Reviews of Their Eyes Were Watching GodBook Review: Ah believes dis here book just ain't cuttin' it for literature Summary: 1 StarsZora Neale Hurston's Their Eyes Were Watching God (1937) is the story of Janie Crawford, a black woman in the 1930s whose entire life, from her childhood discovery of her color to her multiple relationships, divorces and trials, is chronicled through a narration given by Janie to her best friend Pheoby in the present. The book is set in Eatonville, Florida, an all-black community founded as a sanctuary from the racism of the Deep South.
The novel is, unfortunately, a dud. The dialogue and even some of the prose is written totally in dialect, spelled exactly as it would be spoken: "Ah" for "I", "tuh" for "to", "laks" for "likes," etc. While this may sound creative, as some kinder reviewers have suggested, the dialect renders the book almost insufferably incoherent, at least to someone who appreciates the usage of proper English. When you have to simultaneously decipher sentences such as "Ah laks tuh go tuh dat dere store wid mah chillun and buys me a drink uh two fo' mahself" and understand their meaning to the story, the novel practically requires you to reread a passage several times to grasp what it's trying to say. The dialect, while realistic to the setting/era, often spiels for pages at a time and is woefully unreadable. Spelling out dialect like this is an amateur mistake of which most beginning writers are warned, and which gives the average reader a migraine.
The characterization is also bland and one-dimensional. The novel follows this pattern for the first half: Janie marries a man whom she loves at first, then discovers to be a sexist pig. He insults/abuses her, and she leaves him. Everything is filled with a curiously dry straightforward logic. The little introspection that exists in the book is about Janie "waking" to her newfound feminist identity as a woman. Her character is clearly more of an expression of Hurston's thoughts on women than a fully fleshed person.
Hurston's prose is melodramatic and far too sappy to have survived on its own in literary history. Moonlight is "amber fluid"; a darkening night "puts on flesh"; Tea Cake, one of Janie's lovers, "melts her resistance" immediately following an argument and loves her while their "fumes and emanations" fill the room and they collapse in "sweet exhaustion". To think that some people would call Anne Rice baroque and yet have the audacity to term "Eyes" literature.
Some reviews have compared this book to Faulkner's work; while Faulkner, like Hurston, is sometimes incomprehensible at first reading, his writing is more original, deeper in meaning and populated with more realistic characters than Hurston's. He renders dialect with word choice, using phrases such as "I aim" to give it a Southern feel, and only occasionally alters a spelling. That some schools stress proper language usage and in the same breath refer to "Eyes" as an enduring classic seems simply shameful.
Summary of Their Eyes Were Watching God One of the most important works of twentieth-century American literature, Zora Neale Hurston's beloved 1937 classic, Their Eyes Were Watching God, is an enduring Southern love story sparkling with wit, beauty, and heartfelt wisdom. Told in the captivating voice of a woman who refuses to live in sorrow, bitterness, fear, or foolish romantic dreams, it is the story of fair-skinned, fiercely independent Janie Crawford, and her evolving selfhood through three marriages and a life marked by poverty, trials, and purpose. A true literary wonder, Hurston's masterwork remains as relevant and affecting today as when it was first published -- perhaps the most widely read and highly regarded novel in the entire canon of African American literature. At the height of the Harlem Renaissance during the 1930s, Zora Neale Hurston was the preeminent black woman writer in the United States. She was a sometime-collaborator with Langston Hughes and a fierce rival of Richard Wright. Her stories appeared in major magazines, she consulted on Hollywood screenplays, and she penned four novels, an autobiography, countless essays, and two books on black mythology. Yet by the late 1950s, Hurston was living in obscurity, working as a maid in a Florida hotel. She died in 1960 in a Welfare home, was buried in an unmarked grave, and quickly faded from literary consciousness until 1975 when Alice Walker almost single-handedly revived interest in her work. Of Hurston's fiction, Their Eyes Were Watching God is arguably the best-known and perhaps the most controversial. The novel follows the fortunes of Janie Crawford, a woman living in the black town of Eaton, Florida. Hurston sets up her characters and her locale in the first chapter, which, along with the last, acts as a framing device for the story of Janie's life. Unlike Wright and Ralph Ellison, Hurston does not write explicitly about black people in the context of a white world--a fact that earned her scathing criticism from the social realists--but she doesn't ignore the impact of black-white relations either: It was the time for sitting on porches beside the road. It was the time to hear things and talk. These sitters had been tongueless, earless, eyeless conveniences all day long. Mules and other brutes had occupied their skins. But now, the sun and the bossman were gone, so the skins felt powerful and human. They became lords of sounds and lesser things. They passed nations through their mouths. They sat in judgment. One person the citizens of Eaton are inclined to judge is Janie Crawford, who has married three men and been tried for the murder of one of them. Janie feels no compulsion to justify herself to the town, but she does explain herself to her friend, Phoeby, with the implicit understanding that Phoeby 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." Hurston's use of dialect enraged other African American writers such as Wright, who accused her of pandering to white readers by giving them the black stereotypes they expected. Decades later, however, outrage has been replaced by admiration for her depictions of black life, and especially the lives of black women. In Their Eyes Were Watching God Zora Neale Hurston breathes humanity into both her men and women, and allows them to speak in their own voices. --Alix Wilber
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