Comparison Of What It's Like To Be A Black Girl

During a time where African American literature was fueled with racial segregation and pride in ones race during the Harlem Renaissance, Zora Neale Hurston offers a different and controversial approach with her literary work “How it feels to be colored me”.(13) In the works Hurston uses several colloquialisms, anecdotes, imagery and figurative expression to invite the reader on an adventure filled with pleasure. The poem takes the reader from the beginning of the Hurston’s childhood back in Eatonville, Florida into adulthood in Orlando, Florida. Hurston proves that overcoming racism can be accomplished by uniting the public and ignoring the visual difference in a person’s outer appearance. Hurston’s strength, individuality and resilience scream

The short story, “Where Are You Going, Where Have You Been”, by Joyce Oates, (1966), and the poem, “What it’s Like to Be a Black Girl”, by Patricia Smith, (1991), are both about the coming of age of young girls and the conflicts that they encounter. The two pieces explore issues that most young girls have with their bodies and others during their puberty years. The literary elements that will be compared in this essay is imagery and symbolism. The main conflict in both pieces that will be explored is individual versus self. These literary elements and conflict will help us to explore the issues that these two individual young girls

The phrase “art imitates life” can be used to describe many works of literature. Authors and the stories they write are often influenced by the changing world around them along with the evolution of new perspectives and ways of thinking regarding a subject. While this may sound simply like a common literary trope, it is of great importance and significance in many genres of literature. None has this been more apparent than in both the anti-slavery and women’s empowerment movement of the early to mid-1800s. Two major influence authors in their respective subjects, Frederick Douglass and Fanny Fern, were heavily influenced by the changing societal trends of the time of which they expressed through their writing. Douglass’s speech in particular “What to a Slave is the 4th of July?” was heavily influenced by Douglass’s own personal experience as a slave as well as the rising prominence of the abolitionist movement in the United States. By referencing the contradictory nature of the Constitution relegating personal freedoms exclusively to white, property owning males, Douglass bluntly references the systematic inequalities faced by people of color in the United States. Never would the works of an African American author, especially one challenging the established institution of slavery, gain so much attention if not for the anti-slavery movement and shifting perspectives surrounding it.

When comparing and contrasting the poem What It’s Like to Be a Black Girl by Patricia Smith with the short story Country Lovers by Nadine Gordimer. The poem and the short story are both great examples of the difficulty of life between different ethnic backgrounds. The Poem What It’s Like to Be a Black Girl by Patricia Smith is more recent than the short story Country Lovers by Nadine Gordimer they are written during different time frames and their stories are unique within their time frame.

The memoir “How It Feels to Be Colored Me” by Zora Neale Hurston, was first published in 1928, and recounts the situation of racial discrimination and prejudice at the time in the United States. The author was born into an all-black community, but was later sent to a boarding school in Jacksonville, where she experienced “race” for the first time. Hurston not only informs the reader how she managed to stay true to herself and her race, but also inspires the reader to abandon any form of racism in their life. Especially by including Humor, Imagery, and Metaphors, the author makes her message very clear: Everyone is equal.

Each story makes use of a very unique tone and form of narration yet these same qualities can be compared to some extent across these essays. The authors utilize different forms of writing to convey their intended focus to the audience. I found each story relative to one another in that they all seemed to touch of the subject of the roles of different genders in our contemporary society maybe even across different cultures.

The early 1900s was a very challenging time for Negroes especially young women who developed issues in regards to their identities. Their concerns stemmed from their skin colors. Either they were fair skinned due mixed heritage or just dark skinned. Young African American women experienced issues with racial identity which caused them to be in a constant struggle that prohibits them from loving themselves and the skin they are in. The purpose of this paper is to examine those issues in the context of selected creative literature. I will be discussing the various aspects of them and to aid in my analysis, I will be utilizing the works of Nella Larsen from The Norton Anthology of African American Literature, Jessie Bennett Redmond Fauset,

Both Zora Neale Hurston and Langston Hughes were great writers but their attitudes towards their personal experience as an African American differed in many ways. These differences can be attributed to various reasons that range from gender to life experience but even though they had different perceptions regarding the African American experience, they both shared one common goal, racial equality through art. To accurately delve into the minds of the writers’ one must first consider authors background such as their childhood experience, education, as well their early adulthood to truly understand how it affected their writing in terms the similarities and

“How it feels to be colored me” portrays the attitude of the author after learning she was colored at the age of thirteen. The young Zora lives her entire childhood in a small, all colored, South Florida town where she proclaims herself, “… everybody’s Zora” (Hurston, 539), because she holds no prejudice in her innocent heart. When she enters school in Jacksonville at the age of thirteen she is shocked to realize that she is now “… a little colored girl” (Hurston, 539); she lost her identity somewhere along the way. Neal write the she found she was colored in her “… heart as well as in the mirror [she] became a fast brown …” (Hurston, 539) her world was never the same. However, Zora is not willing to surrender to the rules of society, she continues to live her life in a positive manner.

In “How it feels to be colored me” Zora Neale Hurston begins recanting her life in Eatonville, Florida. This little town was a black community and the only white people who ventured in to Eatonville were tourist either coming from or heading to Orlando which was just south of Zora’s home town, Eatonville. The town never gave much attention to the southerners never stopping from chewing sugar cane as they pasted but the Northerners who came through were a different breed. In Eatonville the timid would peer behind curtains, those more venturesome would come on to the porch and watch them past with equal amount of pleasure as the tourist got from surveying the village. Young Hurston was more venturesome then most

All three of the poems discussed in this essay relate to the struggles suffered by African Americans in the late 18th century to the early 19th century in many different ways. They had to live under harsh

Tunc also notes that traces of racism can still be found in Southern literature. Even though civil rights were being encouraged, some individuals still held onto their Old Southern beliefs. Examples of these traits can be found in the works of Southern authors. In Zora Neale Hurston’s “Sweat”, Alice Walker’s “Everyday Use”, and Kate Chopin’s “Desiree’s Baby”, the authors use racism as a defining point in their short stories. Each of the authors draw attention to the separation and the lingering hostility between the African American and Caucasian communities.

The introductory line of Harriet Jacob’s preface to Incidents in the Life of a Slave Girl, “Reader, be assured this narrative is no fiction”, is short yet serving (Jacobs 224). Although brief in its nature, this statement manages to encompass two major aspects that characterize African-American literature: audience and truth. In all writing, understanding the target audience and how to arrange an argument or essay to appeal to that specific crowd is paramount. However, it is especially important for African-American authors, who typically need to expose injustices or call for social change in their works. In particular, two African-American authors who understood their audience and how to manipulate that understanding were Charles W. Chesnutt and Marcus Garvey. Although they were born only twenty-nine years apart, Chesnutt and Garvey technically wrote for different time periods. While Chesnutt’s work is associated with “Literature of the Reconstruction”, Garvey was grouped with authors and activists from the Harlem Renaissance (Gates and Smith 580 ). The separation of their literary epochs drove Chesnutt and Garvey to write for contradistinctive audiences that demanded unique written techniques and rhetorical strategies, but that both asked for utmost honesty.

African American literature is the body of work produced in the United States by writers of African descent. This particular genre traces back to the works from the late eighteenth century by writers such as Phillis Wheatley to later reaching early high points with slave narratives and the Harlem Renaissance, and thus continuing today with authors such as Colson Whitehead and Maya Angelou. Among the themes and issues explored within African American literature are the roles of African Americans within the larger American society, African-American culture, racism, slavery, and equality. African American writing has also tended to incorporate oral forms such as spirituals, gospel music, jazz, and rap. Dating back to the pre-Revolutionary War period, African American writers have engaged in a creative dialogue with American letters. The result is a literature rich in culture and social insight. These pieces offer illuminating assessments of American identities as well as its history. Since the time of early slavery African American literature has been overlooked within the literature criticism. This essay thrives to show that within the English profession African American literature does belong alongside the great works such as A Christmas Carol by Charles Dickens and poetry as A Road less taken by Robert Frost. I will dive deep into history to not only investigate what critics think about African American literature, but why is it not held to a higher standard just as American

Over time, it has become relatively easy, almost second nature, for people to devise strict societal barriers and categorize people, cultures, and ideas into separate boxes. In Jean Toomer’s “Portrait in Georgia”, however, this is exceptionally challenging for the reader to do so. With his poetic paintbrush, Toomer describes a beautiful woman, but he intentionally blurs the racial lines of black and white in order to illustrate an underlying theme concerning the deep-rooted problems of racism in America. To help convey this theme, Toomer utilizes the literary tool of imagery, and he does so masterfully. Each image is meticulously placed and organized to provide the most powerful impact possible. While certain images emphasize the beauty and grandeur of a woman, others bring up unbelievably violent, gory, and horrific images of death associated with the treatment of African Americans during the time of Jim Crow Laws. Overall, Toomer’s use of imagery brings “Portrait in Georgia” to life, grabs the reader’s attention, successfully demonstrates an extremely powerful message, and causes society’s darker parts to be questioned.