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It’s uh known fact, Pheoby, you got tuh go there tuh know there. Yo’ papa and yo’ mama and nobody else can’t tell yuh and show yuh. Two things everybody’s got tuh do fuh theyselves. They got tuh go tuh God, and they got tuh find out about livin’ fuh theyselves. (183) The passage that I have quoted here is the final paragraph in Janie’s story. It gains authority from claiming the tone of the preacher and the pedagogue, and at the same time it evokes the dilemma of the intellectual. Hurston’s journey away from the community that produced her and that she wants to reproduce has provided her with a vision of an alternative world.
Edward W Said, “Representing the Colonized: Anthropology’s Interlocutors,” Critical Inquiry 15 (Winter 1989): 205–6. 7. See Gayatri Chakravorty Spivak, In Other Worlds: Essays in Cultural Politics (New York: Methuen, 1987), pp. 197–221. ” 8. See, for example, Hemenway, Zora Neale Hurston, p. 50. 9. , p. 56. 10. Hurston, “Spirituals and Neo-spirituals,” in The Sanctified Church (Berkeley, CA: Turtle Island, 1981), pp. 80–1. 11. Hemenway, Zora Neale Hurston, p. 92. 12. See Hazel V. Carby, “Proletarian or Revolutionary Literature: C.
When Hurston complained about “race records” and the commercialization of the blues, she failed to apply her own analysis of processes of cultural transformation. ”13 But, on the other hand, Hurston did not take seriously the possibility that African-American culture was being transformed as African-American peoples migrated from rural to urban areas. The creation of a discourse of “the folk” as a rural people in Hurston’s work in the 1920s and 1930s displaces the migration of black people to cities.