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Literary Qualities |
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Written by Administrator
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Thursday, 12 January 2006 |
Literary Qualities
Although the framing device of Janie telling Pheoby her story sets up the novel as Janie's story, it is not told in the first person.
Instead, a narrative voice tells most of the story, and there has been much discussion of whose voice this is. Claire Crabtree, writing in Southern Literary Journal, argues that it is "always close to but not identical with Janie's consciousness," indicating that the omniscient narrator, who knows more about other characters' thoughts than Janie could know herself, is also closely aligned with the heroine. The narrator also uses free indirect speech at many points to convey Janie's thoughts, another indication that the narrator and Janie's consciousness are closely aligned. But Henry Louis Gates, Jr. in his The Signifying Monkey, argues that the narrative voice "echoes and aspires to the status of the impersonality, anonymity, and authority of the black vernacular tradition, a nameless, selfless tradition, at once collective and compelling." The narrator, then, who speaks in standard English, while the characters speak in black dialect, becomes, according to Gates, more and more representative of the black community as it progressively adopts the patterns of black vernacular speech. The narrative voice takes on the aspect of oral speech, telling not only Janie's story, but many other stories as well.
For example, Nanny's voice takes over as she tells the story of Janie's heritage, and the voices on the porch also take over for long stretches as their "arguments" tell the story of life in Eatonville. In essence, there are many storytellers within the larger story of Janie's life, and many voices inform the novel.
One of the most unique features of Their Eyes Were Watching God is its integration of folklore with fiction. Hurston borrows literary devices from the black rural oral tradition, which she studied as an anthropologist, to further cement her privileging of that tradition over the Western literary tradition. For example, she borrows the technique of repetition in threes found commonly in folklore in her depiction of Janie's three marriages. Also, in the words of Crabtree, "Janie follows a pattern familiar to folklorists of a young person's journey from home to face adventure and various dangers, followed by a triumphant homecoming." In addition, Janie returns "richer and wiser" than she left, and she is ready to share her story with Pheoby, intending that the story be repeated, as a kind of folktale to be passed on.
The Harlem Renaissance, which experienced its heyday in the 1920s but also flourished well into the 1930s, was an outpouring of creative innovation among blacks that celebrated the achievements of black intellectuals and artists. The initial goal of the writers of the Harlem Renaissance was to overcome racism and convince the white public that African-Americans were more intelligent than the stereotypes of docile, ignorant blacks that pervaded the popular arena. In order to do so, then, most of the early writers associated with the movement imitated the themes and styles of mainstream, white literature. But later writers felt that African-American literature should depict the unique and debilitating circumstances in which blacks lived, confronting their white audiences with scenes of brutal racism. Zora Neale Hurston, considered the most important female member of the Harlem Renaissance, felt that the writings of African-Americans should celebrate the speech and traditions of black people. The use of dialect in Their Eyes Were Watching God caused much controversy among other black writers of the day when it was first published because many felt that such language in the mouths of black characters perpetuated negative stereotypes about blacks as ignorant, but more modern commentators agree that the novel's celebration of black language was the most important contribution Hurston made to African-American literature.
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