A flamboyant leader during the Harlem Renaissance
(an era of notable cultural and artistic achievements from
the African American community in Harlem during the
1920s and 1 1930s). Zora Neale Hurston achieved fame
and notoriety in the first half of the 20th century but then
faded into obscurity. 2 Raised in Eatonville, Florida,
Hurston spent her years of literary productivity in New York,
only to return to Florida at the end of her career, penniless
and out of print. This renewed interest in Hurston’s work
brought several of the author’s works, such as Their Eyes
Were Watching God and Mules and Men, back into the
literary limelight. Though now generally recognized as an
important contributor to the American literary canon,
3 Hurston was one of the most controversial authors of
her time.
In 1925, Hurston began her studies at Barnard College,
4 where, under the tutelage of Franz Boas, the “Father
of Modern Anthropology”—she embraced the idea of
cultural relativism, or studying a culture in isolation rather
than in comparison to others. Her work reflected this 5
exposition, as she sought to capture what she termed the
“natural” art of African Americans 6 through speech
song and folklore. By adopting the vernacular, for example,
Hurston believed that she could develop the authenticity
of her characters and present the uniqueness of African
American culture. 7
Hurston’s revolutionary work resulted in scathing
criticism, especially from some of the intellectual leaders of
the Harlem Renaissance. Two of the movement’s
8 rulers, authors Langston Hughes and Richard Wright,
saw Hurston’s work as a harmful caricature of African
American life and even accused Hurston of creating new
stereotypes that were no better than the old. 9 While
Hurston viewed her work as a tribute to a rich and
sophisticated culture, her detractors saw it as a mockery,
10 and Hurston’s work, according to them, was
lampooning African Americans in the worst possible way.
Today, Hurston is often revered as a fiercely
independent thinker who challenged many of the literary
and social norms of her day. Since Walker’s rediscovery
of Hurston’s work, a dozen short story collections, essays,
and folk tales have been published posthumously. Festivals,
foundations, literary societies, endowed chairs, journals,
and honors now exist in Hurston’s name. 11 When
Walker found Hurston’s unmarked grave in 1973, she
purchased a headstone and inscribed the epitaph: “A Genius
of the South,” illustrating her veneration of Hurston’s work.
(an era of notable cultural and artistic achievements from
the African American community in Harlem during the
1920s and 1 1930s). Zora Neale Hurston achieved fame
and notoriety in the first half of the 20th century but then
faded into obscurity. 2 Raised in Eatonville, Florida,
Hurston spent her years of literary productivity in New York,
only to return to Florida at the end of her career, penniless
and out of print. This renewed interest in Hurston’s work
brought several of the author’s works, such as Their Eyes
Were Watching God and Mules and Men, back into the
literary limelight. Though now generally recognized as an
important contributor to the American literary canon,
3 Hurston was one of the most controversial authors of
her time.
In 1925, Hurston began her studies at Barnard College,
4 where, under the tutelage of Franz Boas, the “Father
of Modern Anthropology”—she embraced the idea of
cultural relativism, or studying a culture in isolation rather
than in comparison to others. Her work reflected this 5
exposition, as she sought to capture what she termed the
“natural” art of African Americans 6 through speech
song and folklore. By adopting the vernacular, for example,
Hurston believed that she could develop the authenticity
of her characters and present the uniqueness of African
American culture. 7
Hurston’s revolutionary work resulted in scathing
criticism, especially from some of the intellectual leaders of
the Harlem Renaissance. Two of the movement’s
8 rulers, authors Langston Hughes and Richard Wright,
saw Hurston’s work as a harmful caricature of African
American life and even accused Hurston of creating new
stereotypes that were no better than the old. 9 While
Hurston viewed her work as a tribute to a rich and
sophisticated culture, her detractors saw it as a mockery,
10 and Hurston’s work, according to them, was
lampooning African Americans in the worst possible way.
Today, Hurston is often revered as a fiercely
independent thinker who challenged many of the literary
and social norms of her day. Since Walker’s rediscovery
of Hurston’s work, a dozen short story collections, essays,
and folk tales have been published posthumously. Festivals,
foundations, literary societies, endowed chairs, journals,
and honors now exist in Hurston’s name. 11 When
Walker found Hurston’s unmarked grave in 1973, she
purchased a headstone and inscribed the epitaph: “A Genius
of the South,” illustrating her veneration of Hurston’s work.