Product Description

Set intimately within the social context of black life, this is a collection of stories, "big old lies," songs, voodoo customs and superstitions passed down through oral tradition.

Product Details

• Amazon Sales Rank: #562859 in Books
• Published on: 1990-02-28
• Released on: 1990-01-22
• Original language: English
• Number of items: 1
• Binding: Paperback
• 336 pages

Review
"A classic in style and form . . . Introduces the reader to the whole world of jook joints, lying contests, and tall tale sessions that make up the drama of the folk life of black people in the rural South."-- Mary Helen WashingtonA

About the Author
In her award-winning autobiography, Dust Trackson a Road (1942), Zora Neale Hurston claimed to have been born inEatonville, Florida, in 1901. She was, in fact, born in Notasulga, Alabama, onJanuary 7, 1891, the fifth child of John Hurston (farmer, carpenter, and Baptistpreacher) and Lucy Ann Potts (school teacher). The author of numerous books,including Their Eyes Were Watching God, Jonah's Gourd Vine, Mulesand Men, and Moses, Man of the Mountain, Hurston had achieved fameand sparked controversy as a novelist, anthropologist, outspoken essayist,lecturer, and theatrical producer during her sixty-nine years. Hurston's finestwork of fiction appeared at a time when artistic and politicalstatements--whether single sentences or book-length fictions--were peculiarlyconflated. Many works of fiction were informed by purely political motives;political pronouncements frequently appeared in polished literary prose. AndHurston's own political statements, relating to racial issues or addressingnational politics, did not ingratiate her with her black male contemporaries.The end result was that Their Eyes Were Watching God went out of printnot long after its first appearance and remained out of print for nearly thirtyyears. Henry Louis Gates, Jr., has been one among many to ask: "How couldthe recipient of two Guggenheims and the author of four novels, a dozen shortstories, two musicals, two books on black mythology, dozens of essays, and aprizewinning autobiography virtually 'disappear' from her readership for threefull decades?"

That question remains unanswered. The fact remains thatevery one of Hurston's books went quickly out of print; and it was only throughthe determined efforts, in the 1970s, of Alice Walker, Robert Hemenway (Hurston'sbiographer), Toni Cade Bambara, and other writers and scholars that all of herbooks are now back in print and that she has taken her rightful place in thepantheon of American authors.

In 1973, Walker, distressed that Hurston's writings hadbeen all but forgotten, found Hurston's grave in the Garden of Heavenly Rest andinstalled a gravemarker. "After loving and teaching her work for a numberof years," Walker later reported, "I could not bear that she did nothave a known grave." The gravemarker now bears the words that Walker hadinscribed there:

ZORA NEALE HURSTON
GENIUS OF THE SOUTH
NOVELIST FOLKLORIST ANTHROPOLOGIST
(1891-1960)

In Brief
Zora Neale Hurston (1891-1960) was a novelist, folklorist, and anthropologist whose fictional and factual accounts of black heritage are unparalleled. She Is the author of many books, including Their Eyes Were Watching God, Dust Tracks on a Road, Tell My Horse, and Mules and Men.

From AudioFile
One could almost accuse Ruby Dee of being a witch doctor. Her narration of this seminal collection of black American folklore is nothing short of extraordinary. Using varying accents and dialects of the Deep South (Eatonville, Florida), she tells stories, she interrupts, she cuts up, she teases, she banters--she inhabits, not mere characters, but groups of characters--friends and neighbors gathered on the porch, in the dance hall, in a card game, hanging around the country store. Her off-the-beat vocal rhythms and prodigious energy create a narrative drive that propels the listener. And the stories are a treasure--traditional tales, explanatory tales, jokes and one-upmanship contests--here are ordinary people finding joy and comedy in everyday experience. As later African-American literature became increasingly militant, Hurston was accused of turning black experience into a minstrel show. But her accomplishment, unappreciated for fifty years, was in revealing so intimately and eloquently how these people made it through their days--and nights. E.K.D. An AUDIOFILE Earphones Award Winner. (c)AudioFile, Portland, Maine

Customer Reviews

A Folklore Classic
Although she really was born in Georgia, Hurston considered Eatonville, Florida her hometown. She originally wrote this work as a play with Langston Hughes. They had planned to call it "Mule Bone," but the two had a falling out prior to staging the work. The theater world's loss was actually the literary and folklore world's gain, and this book is a terrific study of black folklore from Florida and Louisiana. The book has wonderful folktales and descriptions of rootwork, and once the reader becomes acclimated to Hurston's use of black English, it is a pleasure to read. Hurston provided rich commentary by embedding the texts into a narrative about doing fieldwork in the 1920s. It's worth noting that Hurston compressed the amount of fieldwork time in this book as she had spent much more time in Florida than she presents in this work. It's important to keep these types of literary devices in mind when reading her book as she includes lots of allusions, hidden meanings, and clever wordplays to develop fascinating commentary on folklore.

Classic Black Folk tales at there greatest
A fantastic collection by Zora Neale Hurtson. Includes spells, and superstions, witch craft, and some of the best short stories around. She gathers up the urban legends of the 1930-40's rural south and connects you to a culture and way of thinking that is both delightful and intriguing. At times amusing; it is written in the way of oral tradition, where people gather around and tell stories, the more outlandish, the more unique the better. Her work is simply wonderful. A great book, and good for those bad weather days.

Hurston's Mules and Men
I read Zora Neale Hurston's novel "Their Eyes are Watching God" and wanted to read more. Hurston (1891 -- 1960) had studied anthropology at Barnard with one of the founders of modern anthropology, Franz Boas. With Boas' encouragement and funding from a private source, Hurston travelled South to collect African-American folklore. Her first stop was Eatonville, Florida, an all-black community where Hurston had spent much of her childhood. She then went South to Polk County, Florida and its sawmills and the Everglades. She went further South to Pierce and Lakeland gathering folk materials before heading to New Orleans to study Hoodoo. In 1927, she rented a small house in Eau Gallie, near Melbourne, Florida where she organized her extensive notes. Her book, "Mules and Men" was published in 1935.

"Mules and Men" is an outstanding source of information about the folk-tales, called "lies", of rural Southern African-Americans. (Florida was a gathering place for African-Americans throughout the South because of the economic opportunities it offered.) She visited old friends in Eatonville, and won the confidence of people in the other communities she visited. The tales include animal stories ("why dogs and cats are enemies", "how the snake got poison," for example) stories of pre-civil war days involving a slave named "Jack" and his master, stories of the battle between the sexes, contests between "Jack" and the devil, bragging contests, and much else. Hurston also collected songs and lyrics, including "John Henry", sermons, and hoodoo formulas while in New Orleans.

But this book is much more than a compilation of folk materials. Hurston brings her material to life by bringing the story-tellers and the communities she visited to life. She writes with deep and obvious affection for the rural African-American communities of the South in the mid-1920s. Hurston's folk-tales are embedded in a fascinating story of their own as she introduces the reader to the small towns, the parties, the sawmills, the jooks, and the life of her story tellers. One of the characters that Hurston befriends is a woman named Big Sweet who lives with a man named Joe. Joe cheats on Big Sweet, and Big Sweet puts Joe right in no uncertain terms. Big Sweet and her enemy, a woman named Lucy, draw knives with potentially fatal consequences in a fight in a jook that involves Zora. Big Sweet is a strong and convincingly drawn character in her own right. The characters and communities in the book were for me even more convincing that the stories.

The first part of Mules and Men describes Hurston's collecting of folk tales, while the second, shorter part discusses her experiences with Hoodoo doctors in New Orleans. Hoodoo played a large role in the lives of some African-Americans. I was reminded of Memphis Minnie's blues song "Hoodoo Lady" and of Muddy Waters' "I got my mojo working". The founder of Hoodoo was a woman named Marie Leveau. Hurston describes how she gained the confidence of several Hoodoo doctors in New Orleans, received initiation from them, and was in one case asked to stay on as a successor practitioner. Hurston relays Hoodoo spells used to kill an enemy, to make an unwanted person leave town, to get a lover or to get rid of an unwanted lover, and to bring help to those in jail. She recounts the stories of these conjures, of the Hoodoo doctors, and their clients with a great deal of seriousness. I found this section of the book fascinating but troubling and different from the folk-tales and people discussed in the first part of the book.

The book is written almost entirely in dialect, but I found it easy to follow as the book progressed. Hurston wrote this book to preserve an important part of African-American culture in the United States and to express her commitment to and love for this culture. She believed this culture had its own strengths and could develop its own course and destiny internally. This is a fascinating, moving book and a thought-provoking picture of one form of the African-American experience in the United States.

Robin Friedman