Zora Neale Hurston

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Hurston, Zora Neale,

1891?–60, African-American writer, b. Notasulga, Ala. She grew up in the pleasant all-black town of Eatonville, Fla. and, moving north, graduated from Barnard College, where she studied with Franz BoasBoas, Franz
, 1858–1942, German-American anthropologist, b. Minden, Germany; Ph.D. Univ. of Kiel, 1881. He joined an expedition to Baffin Island in 1883 and initiated his fieldwork with observations of the Central Eskimos.
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. Her placid childhood and privileged academic background are often cited as major reasons for her work's general lack of stress on racism, a characteristic so unlike such contemporaries as Richard WrightWright, Richard,
1908–60, American author. An African American born on a Mississippi plantation, Wright struggled through a difficult childhood and worked to educate himself.
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. An anthropologist and folklorist, Hurston collected African-American folktales in the rural South and sympathetically interpreted them in the collections Mules and Men (1935) and Tell My Horse (1938). A third volume of tales, Every Tongue Got to Confess, was discovered in manuscript and published in 2001. Hurston, a significant figure in the Harlem RenaissanceHarlem Renaissance,
term used to describe a flowering of African-American literature and art in the 1920s, mainly in the Harlem district of New York City. During the mass migration of African Americans from the rural agricultural South to the urban industrial North
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, was also the author of four novels including Jonah's Gourd Vine (1934) and the influential Their Eyes Were Watching God (1937). Her plays include the comedy Mule Bone (1931), written in collaboration with her friend Langston HughesHughes, Langston
(James Langston Hughes), 1902–67, American poet and central figure of the Harlem Renaissance, b. Joplin, Mo., grad. Lincoln Univ., 1929. He worked at a variety of jobs and lived in several countries, including Mexico and France, before Vachel Lindsay
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See her autobiography (1942); C. Kaplan, ed., Zora Neale Hurston: A Life in Letters (2002); biographies by R. E. Hemenway (1977) V. Boyd (2002), and V. L. Moylan (2011); studies by H. Bloom, ed. (1986), S. Glassman and K. L. Seidel (1991), J. Carter-Sigglow (1994), J. Lowe (1994), D. G. Plant (1995), L. M. Hill (1996), G. L. Cronin (1998), A. I. Karanja (1999), S. E. Meisenhelder (1999), and D. Miles (2002).

Hurston, Zora Neale

(1903–60) writer, anthropologist, folklorist; born in Eatonville, Fla. She studied at Howard University (1923–24), Barnard College (B.A. 1928), and did graduate work at Columbia University. She spent much of her life collecting folklore of the South (1927–31; 1938–39) and of other places such as Haiti (1937–38), Bermuda (1937–38), and Honduras (1946–48); she published her findings in such works as Mules and Men (1935). She lived in New York City and held a variety of jobs, such as teacher, librarian, and assistant to Fannie Hurst. She was associated with the Harlem Renaissance of the 1920s, and would later influence such writers as Ralph Ellison and Toni Morrison. She is best known for Their Eyes Were Watching God (1937), a novel celebrating the lives of African-Americans. In 1950 she moved to Florida and became increasingly conservative and alienated from her fellow African-Americans, taking a stand even against school integration. She died in poverty and was all but forgotten, but by the 1970s her works were being rediscovered and recognized for their insights.
References in periodicals archive ?
8) In the previous letter to Burroughs Mitchell, Hurston writes "Nor is that trite picture of the noble and freedom-loving Negro true.
Hurston and Wright's photographic efforts invite a critical rethinking of these boundaries and a complex account of what and how may be theorized a (post) colonial gaze.
In this collection of 20 essays, new and established Hurston scholars simultaneously celebrate Hurston's life and achievements, and question her motivations and choices.
Looking for the next critical work in Hurston scholarship has become a steady pleasure in the academy, since for three decades Zora Neale Hurston was a creative and shaping force in African American fiction and cultural studies.
What would Zora Neale Hurston and Langston Hughes think about this current debate?
Hurston ultimately presents Jim's relationship with nature in positive terms and so creates what I call a "working-class pastoral" that affirms the value of knowing nature through labor.
Patterson's efforts to situate Hurston in the South will put off some readers, in part because of her dismissal of Jean Toomer: she omits both Hurston's and Langston Hughes's acknowledgement of the importance of folkloric value in Toomer's Cane to their work as they traveled through Georgia.
The use of a physical manifestation of place takes Harris-Lopez's work "south of tradition" and offers a non-traditional look at the work of a variety of authors: Petry, Hurston, Andrews, Ellison, and Walker.
HarperCollins has a strong heritage of publishing books by African-American authors: books by authors such as Shelby Steele, Lawrence Otis Graham, Richard Wright, Earl Graves, Zora Neale Hurston, and Marion Wright Edelman; highly successful children's books by authors such as Walter Dean Myers, Joyce Carol Thomas, Jerry Pinckney and Eloise Greenfield; and popular Christian titles by Zondervan authors such as Dr.
Company's High-Performance and Long-Lasting LED Lights Were Donated and Installed in the Hurston Family's Coco, Florida Net Zero Home
Crossing the creek; the literary friendship of Zora Neale Hurston and Marjorie Kinnan Rawlings.
For instance, in a letter to Carl Van Vechten about what she considered her most important work, Herod the Great, Zora Neale Hurston claims that "Moses forced" his laws on the ancient Hebrews "by terror and death" and that "Moses was responsible for the actual death of at least a half million of the people in his efforts to force his laws upon them" (Zora 529).