• BABG

Zora Neale Hurston: Fiction

(1891-1960)

Zora Neale Hurston knew how to make an entrance. On May 1, 1925, at a literary awards dinner sponsored by Opportunity magazine, the earthy Harlem newcomer turned heads and raised eyebrows as she claimed four awards: a second-place fiction prize for her short story “Spunk,” a second-place award in drama for her play Color Struck, and two honorable mentions.

The names of the writers who beat out Hurston for first place that night would soon be forgotten. But the name of the second-place winner buzzed on tongues all night, and for days and years to come. Lest anyone forget her, Hurston made a wholly memorable entrance at a party following the awards dinner. She strode into the room–jammed with writers and arts patrons, black and white–and flung a long, richly colored scarf around her neck with dramatic flourish as she bellowed a reminder of the title of her winning play: “Colooooooor Struuckkkk!” Her exultant entrance literally stopped the party for a moment, just as she had intended. In this way, Hurston made it known that a bright and powerful presence had arrived. By all accounts, Zora Neale Hurston could walk into a roomful of strangers and, a few minutes and a few stories later, leave them so completely charmed that they often found themselves offering to help her in any way they could.

Gamely accepting such offers–and employing her own talent and scrappiness–Hurston became the most successful and most significant black woman writer of the first half of the 20th century. Over a career that spanned more than 30 years, she published four novels, two books of folklore, an autobiography, numerous short stories, and several essays, articles and plays.

Born on Jan. 7, 1891, in Notasulga, Alabama, Hurston moved with her family to Eatonville, Florida, when she was still a toddler. Her writings reveal no recollection of her Alabama beginnings. For Hurston, Eatonville was always home.

Established in 1887, the rural community near Orlando was the nation’s first incorporated black township. It was, as Hurston described it, “a city of five lakes, three croquet courts, three hundred brown skins, three hundred good swimmers, plenty guavas, two schools, and no jailhouse.”

In Eatonville, Zora was never indoctrinated in inferiority, and she could see the evidence of black achievement all around her. She could look to town hall and see black men, including her father, John Hurston, formulating the laws that governed Eatonville. She could look to the Sunday Schools of the town’s two churches and see black women, including her mother, Lucy Potts Hurston, directing the Christian curricula. She could look to the porch of the village store and see black men and women passing worlds through their mouths in the form of colorful, engaging stories.

Growing up in this culturally affirming setting in an eight-room house on five acres of land, Zora had a relatively happy childhood, despite frequent clashes with her preacher-father, who sometimes sought to “squinch” her rambunctious spirit, she recalled. Her mother, on the other hand, urged young Zora and her seven siblings to “jump at de sun.” Hurston explained, “We might not land on the sun, but at least we would get off the ground.”

Hurston’s idyllic childhood came to an abrupt end, though, when her mother died in 1904. Zora was only 13 years old. “That hour began my wanderings,” she later wrote. “Not so much in geography, but in time. Then not so much in time as in spirit.”

After Lucy Hurston’s death, Zora’s father remarried quickly–to a young woman whom the hotheaded Zora almost killed in a fistfight–and seemed to have little time or money for his children. “Bare and bony of comfort and love,” Zora worked a series of menial jobs over the ensuing years, struggled to finish her schooling, and eventually joined a Gilbert & Sullivan traveling troupe as a maid to the lead singer. In 1917, she turned up in Baltimore; by then, she was 26 years old and still hadn’t finished high school. Needing to present herself as a teenager to qualify for free public schooling, she lopped 10 years off her life–giving her age as 16 and the year of her birth as 1901. Once gone, those years were never restored: From that moment forward, Hurston would always present herself as at least 10 years younger than she actually was. Apparently, she had the looks to pull it off. Photographs reveal that she was a handsome, big-boned woman with playful yet penetrating eyes, high cheekbones, and a full, graceful mouth that was never without expression.

Zora also had a fiery intellect, an infectious sense of humor, and “the gift,” as one friend put it, “of walking into hearts.” Zora used these talents–and dozens more–to elbow her way into the Harlem Renaissance of the 1920s, befriending such luminaries as poet Langston Hughes and popular singer/actress Ethel Waters. Though Hurston rarely drank, fellow writer Sterling Brown recalled, “When Zora was there, she was the party.” Another friend remembered Hurston’s apartment–furnished by donations she solicited from friends–as a spirited “open house” for artists. All this socializing didn’t keep Hurston from her work, though. She would sometimes write in her bedroom while the party went on in the living room.

By 1935, Hurston–who’d graduated from Barnard College in 1928–had published several short stories and articles, as well as a novel (Jonah’s Gourd Vine) and a well-received collection of black Southern folklore (Mules and Men). But the late 1930s and early ’40s marked the real zenith of her career. She published her masterwork, Their Eyes Were Watching God, in 1937; Tell My Horse, her study of Caribbean Voodoo practices, in 1938; and another masterful novel, Moses, Man of the Mountain, in 1939. When her autobiography, Dust Tracks on a Road, was published in 1942, Hurston finally received the well-earned acclaim that had long eluded her. That year, she was profiled in Who’s Who in America, Current Biography and Twentieth Century Authors. She went on to publish another novel, Seraph on the Suwanee, in 1948.

Still, Hurston never received the financial rewards she deserved. (The largest royalty she ever earned from any of her books was $943.75.) So when she died on Jan. 28, 1960–at age 69, after suffering a stroke–her neighbors in Fort Pierce, Florida, had to take up a collection for her February 7 funeral. The collection didn’t yield enough to pay for a headstone, however, so Hurston was buried in a grave that remained unmarked until 1973.

That summer, a young writer named Alice Walker traveled to Fort Pierce to place a marker on the grave of the author who had so inspired her own work. Walker found the Garden of Heavenly Rest, a segregated cemetery at the dead end of North 17th Street, abandoned and overgrown with yellow-flowered weeds.

Back in 1945, Hurston had foreseen the possibility of dying without money–and she’d proposed a solution that would have benefited her and countless others. Writing to W.E.B. Du Bois, whom she called the “Dean of American Negro Artists,” Hurston suggested “a cemetery for the illustrious Negro dead” on 100 acres of land in Florida. Citing practical complications, Du Bois wrote a curt reply discounting Hurston’s persuasive argument. “Let no Negro celebrity, no matter what financial condition they might be in at death, lie in inconspicuous forgetfulness,” she’d urged. “We must assume the responsibility of their graves being known and honored.”

As if impelled by those words, Walker bravely entered the snake-infested cemetery where Hurston’s remains had been laid to rest. Wading through waist-high weeds, she soon stumbled upon a sunken rectangular patch of ground that she determined to be Hurston’s grave. Unable to afford the marker she wanted–a tall, majestic black stone called “Ebony Mist”–Walker chose a plain gray headstone instead. Borrowing from a Jean Toomer poem, she dressed the marker up with a fitting epitaph: “Zora Neale Hurston: A Genius of the South.”

By Valerie Boyd (Zora Neale Hurston)


THE MULE-BONE: A COMEDY OF NEGRO LIFE IN THREE ACTS

BY LANGSTON HUGHES and ZORA HURSTON

SETTING: The raised porch of JOE CLARK'S Store and the street in front. Porch stretches almost completely across the stage, with a plank bench at either end. At the center of the porch three steps leading from street. Rear of porch, center, door to the store. On either side are single windows on which signs, at left, "POST OFFICE", and at right, "GENERAL STORE" are painted. Soap boxes, axe handles, small kegs, etc., on porch on which townspeople sit and lounge during action. Above the roof of the porch the "false front", or imitation second story of the shop is seen with large sign painted across it "JOE CLARK'S GENERAL STORE". Large kerosine street lamp on post at right in front of porch.

Saturday afternoon and the villagers are gathered around the store. Several men sitting on boxes at edge of porch chewing sugar cane, spitting tobacco juice, arguing, some whittling, others eating peanuts. During the act the women all dressed up in starched dresses parade in and out of store. People buying groceries, kids playing in the street, etc. General noise of conversation, laughter and children shouting. But when the curtain rises there is momentary lull for cane-chewing. At left of porch four men are playing cards on a soap box, and seated on the edge of the porch at extreme right two children are engaged in a checker game, with the board on the floor between them.

When the curtain goes up the following characters are discovered on the porch: MAYOR JOE CLARK, the storekeeper; DEACON HAMBO; DEACON GOODWIN; Old Man MATT BRAZZLE; WILL CODY; SYKES JONES; LUM BOGER, the young town marshall; LIGE MOSELY and WALTER THOMAS, two village wags; TOM NIXON and SAM MOSELY, and several others, seated on boxes, kegs, benches and floor of the porch. TONY TAYLOR is sitting on steps of porch with empty basket. MRS. TAYLOR comes out with her arms full of groceries, empties them into basket and goes back in store. All the men are chewing sugar cane earnestly with varying facial expressions. The noise of the breaking and sucking of cane can be clearly heard in the silence. Occasionally the laughter and shouting of children is heard nearby off stage.

HAMBO: (To BRAZZLE) Say, Matt, gimme a jint or two of dat green cane—dis ribbon cane is hard.

LIGE: Yeah, and you ain't got de chears in yo' parlor you useter have.

HAMBO: Dat's all right, Lige, but I betcha right now wid dese few teeth I got I kin eat up more cane'n you kin grow.

LIGE: I know you kin and that's de reason I ain't going to tempt you. But youse gettin' old in lots of ways—look at dat bald-head—just as clean as my hand. (Exposes his palm).

HAMBO: Don't keer if it tis—I don't want nothin'—not even hair—between me and God. (General laughter—LIGE joins in as well. Cane chewing keeps up. Silence for a moment.)

(Off stage a high shrill voice can be heard calling:)

VOICE: Sister Mosely, Oh, Sister Mosely! (A pause) Miz Mosely! (Very irritated) Oh, Sister Mattie! You hear me out here—you just won't answer!

VOICE OF MRS. MOSELY: Whoo-ee … somebody calling me?

VOICE OF MRS. ROBERTS: (Angrily) Never mind now—you couldn't come when I called you. I don't want yo' lil ole weasley turnip greens. (Silence)

MATT BRAZZLE: Sister Roberts is en town agin! If she was mine, I'll be hen-fired if I wouldn't break her down in de lines (loins)—good as dat man is to her!

HAMBO: I wish she was mine jes' one day—de first time she open her mouf to beg anybody, I'd lam her wid lightning.

JOE CLARK: I God, Jake Roberts buys mo' rations out dis store than any man in dis town. I don't see to my Maker whut she do wid it all…. Here she come….

(ENTER MRS. JAKE ROBERTS, a heavy light brown woman with a basket on her arm. A boy about ten walks beside her carrying a small child about a year old straddle of his back. Her skirts are sweeping the ground. She walks up to the step, puts one foot upon the steps and looks forlornly at all the men, then fixes her look on JOE CLARK.)

MRS. ROBERTS: Evenin', Brother Mayor.

CLARK: Howdy do, Mrs. Roberts. How's yo' husband?

MRS. ROBERTS: (Beginning her professional whine): He ain't much and I ain't much and my chillun is poly. We ain't got 'nough to eat! Lawd, Mr. Clark, gimme a lil piece of side meat to cook us a pot of greens.

CLARK: Aw gwan, Sister Roberts. You got plenty bacon home. Last week, Jake bought….


MRS. ROBERTS: (Frantically) Lawd, Mist' Clark, how long you think dat lil piece of meat last me an' my chillun? Lawd, me and my chillun is hongry! God knows, Jake don't fee-eed me!

(MR. CLARK sits unmoved. MRS. ROBERTS advances upon him)

Mist' Clark!

CLARK: I God, woman, don't keep on after me! Every time I look, youse round here beggin' for everything you see.

LIGE: And whut she don't see she whoops for it just de same.

MRS. ROBERTS: (In dramatic begging pose) Mist' Clark! Ain't you boin' do nuthin' for me? And you see me and my poor chillun is starvin'….

CLARK: (Exasperated rises) I God, woman, a man can't git no peace wid somebody like you in town. (He goes angrily into the store followed by MRS. ROBERTS. The boy sits down on the edge of the porch sucking the baby's thumb.)

VOICE OF MRS. ROBERTS: A piece 'bout dis wide….

VOICE OF CLARK: I God, naw! Yo' husband done bought you plenty meat, nohow.

VOICE OF MRS. ROBERTS: (In great anguish) Ow! Mist' Clark! Don't you cut dat lil tee-ninchy piece of meat for me and my chillun! (Sound of running feet inside the store.) I ain't a going to tetch it!

VOICE OF CLARK: Well, don't touch it then. That's all you'll git outa me.

VOICE OF MRS. ROBERTS: (Calmer) Well, hand it chear den. Lawd, me and my chillun is so hongry…. Jake don't fee-eed me. (She re-enters by door of store with the slab of meat in her hand and an outraged look on her face. She gazes all about her for sympathy.) Lawd, me and my poor chillun is so hongry … and some folks has _every_thing and they's so stingy and gripin'…. Lawd knows, Jake don't fee-eed me! (She exits right on this line followed by the boy with the baby on his back.)

(All the men gaze behind her, then at each other and shake their heads.)

HAMBO: Poor Jak…. I'm really sorry for dat man. If she was mine I'd beat her till her ears hung down like a Georgy mule.

WALTER THOMAS: I'd beat her till she smell like onions.

LIGE: I'd romp on her till she slack like lime.

NIXON: I'd stomp her till she rope like okra.

VOICE OF MRS. ROBERTS: (Off stage right) Lawd, Miz Lewis, you goin' give me dat lil han'ful of greens for me and my chillun. Why dat ain't a eye-full. I ought not to take 'em … but me and my chillun is so hongry…. Some folks is so stingy and gripin'! Lawd knows, Tony don't feed me!

(The noise of cane-chewing is heard again. Enter JOE LINDSAY left with a gun over his shoulder and the large leg bone of a mule in the other hand. He approaches the step wearily.)

HAMBO: Well, did you git any partridges, Joe?

JOE: (Resting his gun and seating himself) Nope, but I made de feathers fly.

HAMBO: I don't see no birds.

JOE: Oh, the feathers flew off on de birds.

LIGE: I don't see nothin' but dat bone. Look lak you done kilt a cow and et 'im raw out in de woods.

JOE: Don't y'all know dat hock-bone?

WALTER: How you reckon we gointer know every hock-bone in Orange County sight unseen?


JOE: (Standing the bone up on the floor of the porch) Dis is a hock-bone of Brazzle's ole yaller mule.

© 2019 by MJ Fievre