ISBN: 9780817309657

Various critics have concluded that Zora Neale Hurston simply capitulated to external demands, writing stories white people wanted to hear. Susan Edwards Meisenhelder, however, argues tha… Altro …

Various critics have concluded that Zora Neale Hurston simply capitulated to external demands, writing stories white people wanted to hear. Susan Edwards Meisenhelder, however, argues that Hurston's response to her situation was much more sophisticated than her critics have recognized. Meisenhelder suggests, in fact, that Hurston's work, both fictional and anthropological, constitutes an extended critique of the values of white culture and a rejection of white models for black people. Repeatedly, Hurston's work shows the divisive effects that traditional white values, including class divisions and gender imbalances, have on blacks.Although Hurston openly criticized white culture in letters, in articles for black publications, and in the manuscript version of her autobiography, her attack is more indirect in her work published by white publishers and in white periodicals. Meisenhelder convincingly demonstrates that Hurston, drawing a lesson from African American folk tales dealing with black survival in a white world, plays the role of artful trickster in such publications. In the tales of Daddy Mention, High John de Conquer, and other figures that she recorded and commented on in her anthropological works, Hurston found models of black people self-consciously donning a mask of subservience, even living up to racist stereotypes, to make fun of and win something from whites. Seeing Hurston as such a trickster figure in her writing invites substantial reinterpretation of many of her works. Media > Book, [PU: University of Alabama Press]<

ISBN: 9780817309657

Various critics have concluded that Zora Neale Hurston simply capitulated to external demands, writing stories white people wanted to hear. Susan Edwards Meisenhelder, however, argues tha… Altro …

Various critics have concluded that Zora Neale Hurston simply capitulated to external demands, writing stories white people wanted to hear. Susan Edwards Meisenhelder, however, argues that Hurston's response to her situation was much more sophisticated than her critics have recognized. Meisenhelder suggests, in fact, that Hurston's work, both fictional and anthropological, constitutes an extended critique of the values of white culture and a rejection of white models for black people. Repeatedly, Hurston's work shows the divisive effects that traditional white values, including class divisions and gender imbalances, have on blacks.Although Hurston openly criticized white culture in letters, in articles for black publications, and in the manuscript version of her autobiography, her attack is more indirect in her work published by white publishers and in white periodicals. Meisenhelder convincingly demonstrates that Hurston, drawing a lesson from African American folk tales dealing with black survival in a white world, plays the role of artful trickster in such publications. In the tales of Daddy Mention, High John de Conquer, and other figures that she recorded and commented on in her anthropological works, Hurston found models of black people self-consciously donning a mask of subservience, even living up to racist stereotypes, to make fun of and win something from whites. Seeing Hurston as such a trickster figure in her writing invites substantial reinterpretation of many of her works. Media >, [PU: University of Alabama Press]<