Naming In Tea Cake By Zora Neale

The difference between Janie’s desire for freedom and her agreement to her transition from marriage to marriage shows a contrast in her attempt to balance multiple identities. The entirety of Their Eyes Were Watching God emphasizes Janie’s struggle to become both a woman and black person in a society that does not allow either to exist at the same time. Janie went through several marriages before she found her ultimate happiness. In her attempt to reject her Nanny’s pairing of herself and Logan Killicks, her Nanny explains that “de white man is de ruler of everything as fur as Ah been able tuh find out”

When Janie is about sixteen her grandmother finds her in the act of kissing a boy, and afraid for Janie, she arranges for Janie to be married to Logan Killicks, who is an older man with vast property to his name. Nanny, as Janie calls her, is unable to wrap her mind around the idea of marrying for love and mocks Janie saying, "So you don't want to marry off decent like, do yuh? You just wants to hug and kiss and feel around with first one man and then another, huh?" (Their Eyes Are Watching God, 13). Her grandmothers’ gift of life is different from the life that Janie wants to live. She tells Janie, “De nigger woman is de mule uh de world so fur as Ah can see.'” (Their Eyes Are Watching God, 11). Nanny doesn’t believe that trying to find love and make a better life for you will succeed, she tells Janie that marrying and older man with land to his name will bring security, and she shouldn’t want more than that. Because of this Janie agrees and goes along with the plan. She is depicted as very compliant and rarely speaks her mind, even saying “But Ah hates disagreement and confusion, so Ah better not talk. It makes it hard tuh git along” (Their Eyes Were Watching God, 90).

She understands how slavery can destroy or “dirty” a person to the point where “you forgot who you were and couldn’t think it up.” This is the justification for trying to kill her children so they would never have to experience what it is like to have your identity stripped from you. Even though “she and others lived through and got over it”, her personality/identity was so damaged that she didn’t want her kids to live through slavery. However, Sethe failed to apply this to herself. She overlooked the fact that her own corruption led to her struggles with motherhood. In never learning how to properly mother a child, Sethe made the rash decision of killing them to free them from the horrors of slavery. In the passage above, Morrison uses the symbol of dirt to portray how Sethe’s own corruption affected her children and hindered their freedom. In trying to save her children from the “dirt”, Sethe dirtied her children anyway because slavery is so powerful that if it affects one, it affects all. The dirt of slavery never left Sethe and made it hard for her to discover herself and find her own freedom. Again, Morrison establishes the difference between being free and freeing oneself. Because she has been so corrupted by slavery, neither Sethe nor her children can be truly

Morrison utilizes the physical appearance to portray racial stereotypes among her readers. The physical description of Twyla’s mother represents an ambiguous description of a black woman. The author denotes her beauty and conspicuous behind, portraying her as a black woman, who ordinarily have larger behinds than white women. It is, therefore, possible for a reader to assume that Mary is black, an assumption that could be wrong since she could be a white woman with an equally more rounded bottom (Morrison 1175). The church, a place of worship, where humans are expected to set aside their differences is not spared from the racial stereotypes. The dressing of the girl’s mothers comes into play, Twyla’s mom dresses indecently, while Roberta’s

Feminism and gender equality is one of the most important issues of society today, and the debate dates back much farther than Zora Neale Hurston’s novel, Their Eyes Were Watching God. To analyze Janie’s existence as a feminist or anti-feminist character requires a potential critic to look at her relationships and her reactions to those relationships throughout the novel. Trudier Harris claims that Janie is “questing after a kind of worship.” This statement is accurate only up until a certain point in her life, until Janie’s “quest” becomes her seeking equality with her partner. In Their Eyes Were Watching God, Janie’s main goal pertaining to her romantic relationships undergoes multiple changes from her original goal of a type of worship to a goal to maintain an equal relationship with her husband.

While the heart-shaped world in the drawing represents Janie’s world with both goodness and conflict in the form of light and darkness, it is surrounded by other important features such as religion and personal values that act as major influences to how her world works. Therefore, our drawing is a complete representation of not only Janie Mae Crawford’s views on the world from her perspective, but also her life itself as seen throughout the

Throughout the Novel Janie struggles with handling the opinions of others and allowing them to affect how she sees herself. For instance Hurston writes “some people could look at a mud puddle and see an ocean with ships. Here Nanny had taken the biggest thing God ever made, the horizon- for no matter how far a person can go the horizon is still way beyond you- and pinched it into such a little bit of a thing that she could tie it about her granddaughter’s neck tight enough to choke her” (Hurston 89). Here Hurston demonstrates that others will always see things differently from one's perspective and Janie’s ongoing internal conflict with doing what would make her happy or doing what will satisfy those around her. However at the end of the novel Janie ultimately departs from the beliefs of others and displays self empowerment by disregarding the opinions of others over her actions. Similarly Hurston states “so she was free and the judge and everybody up there smiled with her and shook her hand. And the white women cried and stood around her like a protecting wall”(Hurston 188). This quote from the novel indicates that Janie displays self empowerment throughout the course of the novel and individual progress. This quote also shows the ideal of equality because although Janie is mixed she has always made her African

Yet another example of Sethe’s dependence on her own strength is the account of Sethe’s own escape from “the grips of slavery in order to protect her children from what Morrison describes as School teacher’s brutal empire”.(196) Sethe is married by fourteen and is a mother by fifteen; but she is older and pregnant with her last child before she has to become superior protector of her children. Twenty-eight days after being a free woman, Sethe is forced to make the ultimate sacrifice as a mother. Although she is jailed as a murderer, her attempt to kill her four children is done so that her children would never know the life of a slave, so they would never be acquainted with “what Baby Suggs died of, what Ella knew, what Stamp saw and what

While Morrison depicts myriad abuses of slavery like brutal beatings and lynching, the depictions of and allusions to rape are of primary importance; each in some way helps explain the infanticide that marks the beginnings of Sethe’s story as a free woman. Sethe kills her child so that no white man will ever “dirty” her, so that no young man with “mossy teeth” will ever hold the child down and suck her breast (Pamela E. Barnett 193)

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.

Janie is a black woman who asserts herself beyond expectation.  She has a persistence that characterizes her search for the love that she dreamed of since she was a girl.  Janie understands the societal status that her life has handed her, yet she is determined to overcome this, and she is resentful toward anyone or anything that interferes with her quest for happiness. "So de white man throw down de load and tell de nigger man tuh pick it up. He pick it up because he have to, but he don't tote it. He hand it to his womenfolks. De nigger woman is de mule uh de world so fur as Ah can see, "(Page 14)  laments Janie's grandmother as she tried to justify the marriage that she has arranged for her granddaughter with Logan Killicks. This paragraph establishes the existence of the inferior status of women in Janie's society, a status which Janie must somehow overcome in order to emerge a heroine in the end of the novel.

When Janie was about sixteen, she spent a spring afternoon under a blossoming tree in Nanny?s yard. Here she comes to the realization that something is missing in her life? sexual ecstasy. The blooms, the new leaves and the virgin- like spring came to life all around her. She wondered when and where she might find such an ecstasy herself. According to Hurston, Nanny finds Janie kissing a boy named Johnny Taylor and her ?head and face looked like the standing roots of some old tree that had been torn away by storm? (12) . Nanny can think of no better way to protect Janie than by marrying her to a middle-aged black farmer whose prosperity makes it unnecessary for him to use her as a ?mule? (Bush 1036).

She [Janie] knew the world was a stallion rolling in the blue pasture of ether. She knew that God tore down the old world every evening and built a new one by sun-up. It was wonderful to see it take form with the sun and emerge from the gray dust of its making. The familiar people and things had failed her so she hung over the gate and looked up the road towards way off. She knew now that marriage did not make love. Janie’s first dream was dead, so she became a woman

Sethe is constantly unable to find herself to be able to let go of the past, and she is often found clinging onto the past too strongly. Morrison describes Sethe as someone who is not “interested in the future, “ and how her thoughts are rather “loaded with the past and hungry for more, it left her no room to imagine, let alone plan for the next day.”, the specific word choice of “loaded” and “hungry” are juxtaposed, creating an imagery of a selfish being, who despite having had enough still wants more. This imagery causes the reader the envision Sethe as still living in the past, and unable to properly adapt to the the change in environment from always living in fear of what to expect to being able to being a functional member society. The concept of Sethe clinging onto the past is also represented physically in the text, as seen through how the scars on her back are described like a “tree”, the visual imagery of a tree is often associated with roots. Roots which are something regularly identified with our past; ingrained into us and forever a part of us. Through Morrison’s apt use of visual imagery by coupling roots and scarring together, Morrison insinuates to the reader that the scars of slavery will forever be a part of Sethe, no matter where she goes, where she runs, slavery and abuse will always follow

In the book Their Eyes Were Watching God, Janie provides a recollection of her life to her friend when she arrives back home from Florida. She encountered and married three men on her way, two of which were because of the beliefs her grandmother imposed on her. Logan Killicks was her first husband and he did not respect her and all he did was provide her protection, like her Nanny wanted. Her second husband, Joe Starks was a refined and mature man who dressed nicely but also did not treat Janie well. Janie’s final husbands name was Vergible Woods, or Tea Cake, and he treated Janie with the utmost respect and loved and cared for her. All of these characters helped to develop the theme that Janie is in pursuit of a fulfilling and unconditional love.