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Of Hurston's four novels and more than 50 published short stories, plays, and essays, her most popular is the 1937 novel Their Eyes Were Watching God. Hurston was born in Notasulga, Alabama, and moved to Eatonville, Florida, with her family in 1894. Eatonville would become the setting for many of her stories and is now the site of the Zora! While in New York she became a central figure of the Harlem Renaissance. Her short satires, drawing from the African-American experience and racial division, were published in anthologies such as The New Negro and Fire!! After moving back to Florida, Hurston published her literary anthropology on African-American folklore in North Florida, Mules and Men 1935 and her first three novels: Also published during this time was Tell My Horse: Voodoo and Life in Haiti and Jamaica 1938 , documenting her research on rituals in Jamaica and Haiti.

Hurston's works touched on the African-American experience and her struggles as an African-American woman. Her novels went relatively unrecognized by the literary world for decades, but interest revived after author Alice Walker published "In Search of Zora Neale Hurston" in the March 1975 issue of Ms. Hurston's manuscript Every Tongue Got to Confess 2001 , a collection of folktales gathered in the 1920s, was published posthumously after being discovered in the Smithsonian archives. Her nonfiction book Barracoon was published posthumously in 2018. All of her four grandparents had been born into slavery.

Her father was a Baptist preacher and sharecropper, who later became a carpenter, and her mother was a school teacher. She was born in Notasulga, Alabama, on January 7, 1891, where her father grew up and her grandfather was the preacher of a Baptist church. Her father was elected as mayor of the town in 1897 and in 1902 became minister of its largest church, Macedonia Missionary Baptist. As an adult, Hurston used Eatonville as a backdrop in her stories. It was a place where African Americans could live as they desired, independent of white society. In 1901, some northern schoolteachers visited Eatonville and gave Hurston a number of books that opened her mind to literature.

Hurston spent the remainder of her childhood in Eatonville, and described the experience of growing up there in her 1928 essay, "How It Feels To Be Colored Me". Her father remarried to Mattie Moge which was considered scandalous, as it was rumored that he had had relations with Moge before his first wife's death. Hurston's father and stepmother sent her to a Baptist boarding school in Jacksonville, Florida. They eventually stopped paying her tuition and she was dismissed. In 1917, Hurston began attending Morgan College, the high school division of Morgan State University, a historically black college in Baltimore, Maryland. At this time, apparently to qualify for a free high-school education as well, perhaps to reflect her literary birth , the 26-year-old Hurston began claiming 1901 as her year of birth.

While she was at Barnard, she conducted ethnographic research with noted anthropologist Franz Boas of Columbia University. She also worked with Ruth Benedict as well as fellow anthropology student Margaret Mead. Living in Harlem in the 1920s, Hurston befriended the likes of Langston Hughes and Countee Cullen, among several others. Her apartment, according to some accounts, was a popular spot for social gatherings. Around this time, Hurston experienced a few early literary successes, including placing in short-story and playwriting contests in Opportunity magazine.

In 1927, Hurston married Herbert Sheen, a jazz musician and a former teacher at Howard who later became a physician. In 1934 she established a school of dramatic arts "based on pure Negro expression" at Bethune-Cookman University at the time, Bethune-Cookman College , a historically black college in Daytona Beach, Florida. The English Department at Bethune-Cookman College remains dedicated to preserving her cultural legacy. Hurston traveled extensively in the Caribbean and the American South and immersed herself in local cultural practices to conduct her anthropological research.

Based on her work in the South, sponsored from 1928 to 1932 by Charlotte Osgood Mason, a wealthy philanthropist, Hurston wrote Mules and Men in 1935. She was doing research in lumber camps and commented on the practice of white men in power taking black women as sexual concubines, including having them bear children. This later was referred to as "paramour rights," based in the men's power under racial and related to practices during slavery times. She used this material as well in fictional treatment developed for her novels such as Jonah's Gourd Vine 1934.

In 19, Hurston traveled to Jamaica and Haiti for research, with support from the Guggenheim Foundation. She drew from this for her anthropological work, Tell My Horse 1938. From October 1947 to February 1948, she lived in Honduras, at the north coastal town of Puerto Cortés. She had some hopes of locating either Mayan ruins or vestiges of an as yet undiscovered civilization. Hurston expressed interest in the polyethnic nature of the population in the region many, such as the Miskito Zambu and Garifuna, were of partial African ancestry and had developed creole cultures. During her last decade, Hurston worked as a freelance writer for magazines and newspapers. Mc Collum was charged with murdering a white doctor and politician, who Mc Collum said had forced her to have sex and bear his child.

Hurston recalled what she had seen of white male sexual dominance in the lumber camps in North Florida, and discussed it with Nunn. They both thought the case might be about such "paramour rights," and wanted to "expose it to a national audience. Adams' alleged involvement as well in Sam Mc Collum's gambling operation. Her articles were published by the newspaper during the trial. Ruby Mc Collum was convicted by an all-white, all-male jury, and sentenced to death. Hurston had a special assignment to write a serialized account, The Life Story of Ruby Mc Collum, over three months in 1953 in the newspaper. Unable to pay independently to return for the appeal and second trial, she contacted journalist William Bradford Huie, with whom she had worked at The American Mercury, to try to interest him in the case.

He covered the appeal and second trial, and also developed material from a background investigation. Hurston shared her material with him from the first trial, but he acknowledged her only briefly in his book, Ruby Mc Collum: Woman in the Suwannee Jail 1956 , which became a bestseller. Hurston celebrated that "Mc Collum's testimony in her own defense marked the first time that a woman of African-American descent was allowed to testify as to the paternity of her child by a white man. Hurston firmly believed that Ruby Mc Collum's testimony sounded the death toll of 'paramour rights' in the Segregationist South.

Taking jobs where she could find them, she worked occasionally as a substitute teacher. At age 60, Hurston had to fight "to make ends meet" with the help of public assistance. At one point she worked as a maid on Miami Beach's Rivo Alto Island During a period of financial and medical difficulties, Hurston was forced to enter St. Lucie County Welfare Home, where she suffered a stroke. Hunt found an unmarked grave in the general area where Hurston had been buried and decided to mark it as hers. After Hurston died her papers were ordered to be burned. A law officer and friend, Patrick Du Val, passing by the house where she had lived, stopped and put out the fire, thus saving an invaluable collection of literary documents for posterity.

The nucleus of this collection was given to the University of Florida libraries in 1961 by Mrs. Other materials were donated in 19 by Frances Grover, daughter of E. Grover, a Rollins College professor and long-time friend of Hurston's. Shortly before she entered Barnard, Hurston's short story "Spunk" was selected for The New Negro, a landmark anthology of fiction, poetry, and essays focusing on African and African-American art and literature. In 1926, a group of young black writers including Hurston, Langston Hughes, and Wallace Thurman, calling themselves the Niggerati, produced a literary magazine called Fire!!

In 1927 Hurston interviewed Cudjoe Kazzola Lewis, of Africatown, Alabama, who was the last known survivor of the Transatlantic slave trade. Hemenway, this piece largely plagiarized the work of Emma Roche, In 1928 Hurston returned with additional resources; she conducted more interviews, took photographs, and recorded the only known film footage of an African who had been trafficked to the United States through the slave trade. Based on this material, she wrote a manuscript, Barracoon, which Hemenway described as "a highly dramatic, semifictionalized narrative intended for the popular reader. In 1930, she collaborated with Langston Hughes on Mule Bone: It was published posthumously and staged on Broadway in 1991.

Hurston translated her anthropological work into the performing arts, and her folk revue, The Great Day, which featured authentic African song and dance, premiered at the John Golden Theatre in New York in January 1932. There was only one performance of The Great Day, despite the positive reviews. The Broadway debut left Hurston in 0 worth of debt. No producers wanted to move forward with a full run of the show. Hurston had a strong belief that folk should be dramatized. Hurston's first three novels were published in the 1930s: In 1937, Hurston was awarded a prestigious Guggenheim Fellowship to conduct ethnographic research in Jamaica and Haiti.

Tell My Horse 1938 documents her account of her fieldwork studying spiritual and cultural rituals in Jamaica and vodoun in Haiti. Her last published novel, Seraph on the Suwanee, notable principally for its focus on white characters, was published in 1948. Jackson 2000 argues that Hurston's meditation on abjection, waste, and the construction of class and gender identities among poor whites reflects the eugenics discourses of the 1920s. In 1952, Hurston was assigned by the Pittsburgh Courier to cover the small-town murder trial of Ruby Mc Collum, the prosperous black wife of the local bolita racketeer, who had killed a racist white doctor.

She also contributed to Ruby Mc Collum: Woman in the Suwannee Jail 1956 , a book by journalist and civil rights advocate William Bradford Huie. Woman in the Suwannee Jail 1956 , to which Hurston had contributed, for inclusion in its two-century retrospective of American true crime writing. Hurston's nonfiction book Barracoon was published in 2018. Hurston's work slid into obscurity for decades, for both cultural and political reasons. Many readers objected to the representation of African-American dialect in Hurston's novels, given the racially charged history of dialect fiction in American literature.

Her stylistic choices in dialogue were influenced by her academic experiences. Thinking like a folklorist, Hurston strove to represent speech patterns of the period which she documented through ethnographic research. Uh slew-foot, drag-leg lie at dat, and Ah dare yuh tuh hit me too. Several of Hurston's literary contemporaries criticized her use of dialect as a caricature of African-American culture rooted in a racist tradition. You know Ahm uh fightin' dawg and mah hide is worth money. These writers associated with the Harlem Renaissance were critical of Hurston's later work, which in their view did not further the movement.

The sensory sweep of her novel carries no theme, no message, no thought. In the main, her novel is not addressed to the Negro, but to a white audience whose chauvinistic tastes she knows how to satisfy. She exploits that phase of Negro life which is "quaint," the phase which evokes a piteous smile on the lips of the "superior" race. Unlike Hurston, Wright wrote in explicitly political terms, as someone who had become disenchanted with communism, using the struggle of African Americans for respect and economic advancement as both the setting and the motivation for his work.

Other popular African-American authors of the time, such as Ralph Ellison, dealt with the same concerns as Wright. Hurston, who was a conservative, was on the other side of the disputes over the promise left-wing politics held for African-Americans. Beito and Linda Royster Beito have argued that she can better be characterized as a libertarian. She was a Republican who was generally sympathetic to the foreign policy non-interventionism of the Old Right and a fan of Booker T. She disagreed with the philosophies including Communism and the New Deal supported by many of her colleagues in the Harlem Renaissance, such as Langston Hughes, who was in the 1930s a supporter of the Soviet Union and praised it in several of his poems.

Despite much common ground with the Old Right in domestic and foreign policy, Hurston was not a social conservative. Her writings show an affinity for feminist individualism. In this respect, her views were similar to two libertarian novelists who were her contemporaries: Rose Wilder Lane and Isabel Paterson. Life, as it is, does not frighten me, since I have made my peace with the universe as I find it, and bow to its laws. Prayer seems to me a cry of weakness, and an attempt to avoid, by trickery, the rules of the game as laid down. The ever-sleepless sea in its bed, crying out "how long?

It seems to me that organized creeds are collections of words around a wish. However, I would not, by word or deed, attempt to deprive another of the consolation it affords. Somebody else may have my rapturous glance at the archangels. The springing of the yellow line of morning out of the misty deep of dawn, is glory enough for me. I know that nothing is destructible; things merely change forms. When the consciousness we know as life ceases, I know that I shall still be part and parcel of the world. I was a part before the sun rolled into shape and burst forth in the glory of change. I was, when the earth was hurled out from its fiery rim.

I shall return with the earth to Father Sun, and still exist in substance when the sun has lost its fire, and disintegrated into infinity to perhaps become a part of the whirling rubble of space. The stuff of my being is matter, ever changing, ever moving, but never lost; so what need of denominations and creeds to deny myself the comfort of all my fellow men? The wide belt of the universe has no need for finger-rings. She also shared his opposition to Roosevelt and Truman's interventionist foreign policy. I am one with the infinite and need no other assurance. In the original draft of her autobiography, Dust Tracks on a Road, Hurston compared the United States government to a "fence" in stolen goods and to a Mafia-like protection racket.

In 1952, Hurston supported the presidential campaign of Senator Robert A. Hurston thought it ironic that the same "people who claim that it is a noble thing to die for freedom and democracy... We, too, consider machine gun bullets good laxatives for heathens who get constipated with toxic ideas about a country of their own. Roosevelt "can call names across an ocean" for his Four Freedoms, but he did not have "the courage to speak even softly at home. She felt that if separate schools were truly equal and she believed that they were rapidly becoming so , educating black students in physical proximity to white students would not result in better education.

In addition, she worried about the demise of black schools and black teachers as a way to pass on cultural tradition to future generations of African Americans. Hurston had not reversed her long-time opposition to segregation. Rather, she feared that the Court's ruling could become a precedent for an all-powerful federal government to undermine individual liberty on a broad range of issues in the future. If I say a whole system must be upset for me to win, I am saying that I cannot sit in the game, and that safer rules must be made to give me a chance. If others are in there, deal me a hand and let me see what I can make of it, even though I know some in there are dealing from the bottom and cheating like hell in other ways.

Even though criticized, Hurston appeared to oppose integration based on pride and her sense of independence. She would not "bow low before the white man," and claimed "adequate Negro schools" already existed in 1955. Jeffrey Anderson states that Hurston's research methods were questionable, and that she fabricated material for her works on voodoo. He observed that she admitted inventing dialogue for her book Mules and Men in a letter to Ruth Benedict and described fabricating the Mules and Men story of rival voodoo doctors as a child in her later autobiography.

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