Dust Tracks on a Road: An Autobiography by Zora Neale Hurston

The Harlem Renaissance marked the coming out of many brilliant black authors and thinkers. Names like Jessie Redmon Fauset, Alain Locke, Ralph Waldo Ellison, Langston Hughes, and Zora Neale Hurston marked the scene. Hurton portrays many messages in her stories without having to explicitly spell it out. This among other reasons make Hurston's writing so rich. Two of her almost fable-like stories, "Sweat" and "The Gilded Six-Bits", each portray powerful messages individually. In "Sweat," you get a message of "whatever goes over the Devil's back, is got to come under his belly." You will reap what you sow among other messages. In "The Gilded Six-Bits," you learn that time will heal, money is the root of all evil, and other morals. These

Zora Neale Hurston was born in 1901. She was raised in Eatonville, Florida. Hurston went to Howard University and progressed on to Barnard College. Hurston’s work reflected the use of African American legends in her short stories. Hurston was a vital figure who composed stories and played during the Harlem Renaissance in the 1920s and 1930s. She was committed to telling the stories of many cultures to allocate their social legacy with deference and love with an end goal to beat the unrefined stereotyping of her period. In 1925 during the Harlem Renaissance, Hurston wrote a story called “Spunk”. In the story “Spunk”, Hurston used the literary terms like character, setting, and conflict that catches the reader’s attention and made

Zora Neale Hurston, known as one of the most symbolic African American women during the Harlem Renaissance in the 1930’s. Hurston was known as a non fiction writer, anthropologist and folklorist. Hurston’s literature has served as a big eye opener during the Harlem Renaissance, celebrating black dialect and their traditions. Most of her published stories “depict relationships among black residents in her native southern Florida, was largely unconcerned with racial injustices” (Bomarito 89). Hurston was unique when it came to her racial point of views, promoting white racism instead of black racism. Even though her works had been forgotten by the time of her death, now her literature has left a bigger impact to future literature

     Zora Neale Hurston was a phenomenal woman. At the height of her success she was known as the “Queen of the Harlem Renaissance.” She came to overcome obstacles that were placed in front of her. Hurston rose from poverty to fame and lost it all at the time of her death. Zora had an unusual life; she was a child that was forced to grow up to fast. But despite Zora Neale Hurston’s unsettled life, she managed to surmount every obstacle to become one of the most profound authors of the century.

She uses idealistic examples and real world situations to get the best realistic interpretation on the matter of the harlem renaissance. This novel also is a great way to learn and understand the importance of women's roles and rights during the harlem renaissance era for the black/african american women. All in all, Hurston’s depiction of the harlem renaissance reflects and departs the major topics and does so

Purpose- Hurston’s purpose is to demonstrate that she is proud of her color. She does not need the bragging rights of having Native American ancestry, nor does she ‘belong to the sobbing school of Negrohood who hold that nature somehow has given them a lowdown dirty deal and whose feelings are all hurt about it.’

The story Sweat by Zora Neale Hurston tells the story of Delia who overcame her abusive husband, Sykes through her development of becoming a strong woman. The development of Delia’s character throughout the story relates to Zora Neale Hurston’s life of growing up into a strong, empowered woman. Delia and Zora were both verbally and physically abused which made them afraid and timid. Zora made her characters talk in a dialect that she grew up listening to which was uncommon to do in literature. Delia and Zora both had to provide for themselves by putting in the effort remain stable and happy. They also stood up for what they believed in which started their development into strong women. Delia had to let her husband die in order to gain independence, while Zora had to move away from home in order to be successful in her future which developed them both develop into independent women. They became stronger because of these things which empowered them to take back control of their lives. The snake is a symbol in the story that represents the evil that was overcome by the good. This story can now be better analyzed when looking at the life of Delia which connects to Zora Neale Hurston’s life.

At the same time, however, Janie begins to confuse this desire with romance. Despite the fact that nature’s “love embrace” leaves her feeling “limp and languid,” she pursues the first thing she sees that appears to satisfy her desire: a young man named Johnny Taylor (Hurston 11). Leaning over the gate’s threshold to kiss Johnny, Janie takes the first step toward her newfound horizon. Nanny sees this kiss and declares Janie’s womanhood. She wants Janie to marry Logan Killicks, a financially secure and well-respected farmer who can protect her from corruption. The marriage of convenience that Nanny suggests is “desecrating … [Janie’s] pear tree” because it contradicts her ideal vision of love (Hurston 14). Because she did not have the strength to fight people in her youth, Janie’s grandmother believes that Janie needs to rely on a husband in order to stay safe and reach liberation. Ironically, Janie’s adherence to Nanny’s last request suppresses her even more because it causes her to leave behind her own horizon.

In the opening sentence of the story Hurston’s writes, “It was eleven o’clock of a Spring night in Florida. It was Sunday” (Hurston, 73). The beginning signifies correct English grammar and proper sentence structure, but in seamless Zora Neale Hurston’s fashion, the dialogue from the protagonist Delia Jones reads in broken incorrect syntax, “Sykes, you quit grindin’ dirt into these clothes! How can Ah git through by Sat’day if Ah don’t start on Sunday” (74)? In her short stories Hurston’s diction is elevated with the usage of morphology with the constant exchange of word formation with infixes, affixes and the combining of word choices. Hurston’s choice of diction offered a rhymical affect that adds a melodious tone to her writing shaped by the Harlem Renaissance period. As noted in the, The Florida Historical Quarterly “Hurston blended narrator and protagonist through language” (Haskin, 207) Her writing style aid in the management of mood, tone, character depiction, movement, and atmosphere in storytelling procedures. In the commencement of her stories, the storyteller, is communicating in standard English, the third-party narrative speaks as a representative for the character waiting to find his or her voice. As the character(s) discoveries their voice, they sway the narrator, and in the conclusion the narrator and central character are speaking for each other, using equally poetic, participating language (207).

Although Zora Neale Hurston and Jamaica Kincaid lived in different times, thematically their writing had similar themes. If they had been contemporaries, they most certainly would have discussed their common experiences as black women who faced financial challenges and the racial divide that they experienced in their daily lives. Without a doubt, their writing was personally cathartic. Although in Kincaid’s writing, she addresses her issues with her mother head on, I have no doubt that Hurston’s stories were also influenced by her early family life.

Zora Neale Hurston breathes life into “Spunk” by contrasting African American slang with the formal, educated tone of the narrator to emphasize adversity and express culture in the South. Hurston’s most memorable moments in her childhood were a result of “Skillful story-tellers [that] could hold their listeners spellbound for hours, with tales that combined elements of African tradition, the history of slavery, and current events,” (Bily). Oral storytelling was a news source and form of entertainment for those living in poverty. In “Spunk,” it is evident that Hurston’s goal is to combine the setting she grew up in with her fondness for written literature when Elijah Mosley cries, “‘Looka theah, folkses!’… slapping his leg gleefully.

Hurston opens the story with Missy anxiously awaiting Joe’s return home from work. Upon his arrival, they have flirtatious play fights and wrestle in “a furious mass of male and female energy”. Joe always placed candy kisses home to Missy May for her to discover in his pockets during a frantic, yet playful search. Throughout “The Gilded Six-Bits” Joe and Missy May continually refer to each other as “sugar,” “honey”, and other endearing names. After Missy May has exposed her infidelity to Joe she realizes that “with this strange man in her bed, she felt embarrassed to get up and dress…” Joe calmly reply’s “Missy May you cry too much. Don’t look back like Lot’s wife and turn to salt.” Joe does not want his wife to concentrate on the past; he aspires to keep all focus on the future with his wife. This character trait, which Joe shows, can either portray his maturity of moving forward – or it portrays his immaturity trying to ignore the past. Joe and Missy may have an excellent marriage set on a solid foundation of love, caring, and understanding, yet this incident of infidelity threatened to destroy the relationship that they have built up. Going through this incident shows the realness of their relationship, and how both have grown from this hardship.

In the short story “Drenched in Light” by Zora Neale Hurston, the author appeals to a broad audience by disguising ethnology and an underlying theme of gender, race, and oppression with an ambiguous tale of a young black girl and the appreciation she receives from white people. Often writing to a double audience, Hurston had a keen ability to appeal to white and black readers in a clever way. “[Hurston] knew her white folks well and performed her minstrel shows tongue in cheek” (Meisenhelder 2). Originally published in The Opportunity in 1924, “Drenched in Light” was Hurston’s first story to a national audience.

Zora Neale Hurston autobiography Dust Tracks on a Road, sketches her own life living in Eatonville, Florida, was the first organized self-government African American community. Many people saw the African American community as racism and segregation. Hurston implies that the nicest people she met in her early stages were whites who showed her compassion. According to her official website Zora Neale Hurston, “Dust Tracks on a Road, was her account of her rise from childhood poverty in the rural south to a prominent place among the leading artists and intellectuals of the Harlem Renaissance.” Many people viewed Dust Tracks on a Road, as a fantasy life she idealized

"Before You Find a Prince First, you must Have to Kiss A few Frogs.” This quote represents the story of a beautiful girl named Janie. The novel was written by an American folklorist and author, Zora Neale Hurston. Her novel titled "Their Eyes Were Watching God," is about a sixteen-year-old who is under grandmother 's care. Their Eyes Were Watching God gives a brief representation of the life that black slaves had to live. Through the black American culture, many slaves were force to sexual and physical abuse from their owners. This is the case of Janie 's grandmother Nanny; she is raped by her master, and has a daughter named Leafy. Also, she is raped by her school teacher, and has Janie. After having Janie, Leafy rans away from home and never comes back, so Nanny transfers her hopes to Janie. Janie grows up with Nanny 's perspective of life that makes her later on hate Nanny. She teaches Janie not to be attracted to love instead she wants Janie to seek for financial stability and physical protection. Indeed, Nanny 's love for Janie is powerful; their economic background blinds her to see what Janie really wants. Nanny always wants the best for Janie, so she marries her to Logan Killicks, who is an old, unattractive, and wealthy farmer. Roughly a year later, Janie leaves her miserable life to marry a charismatic man whose name is Joe Starks. Years later, the charismatic and loving man disappears and becomes Janie 's shadow. Soon after Joe 's death,