The Harlem RenaissanceThe Harlem Renaissance

Zora Neale HurstonZora Neale Hurston

Zora Neale HurstonZora Neale Hurston1891-19601891-1960

Now lauded as the intellectual and spiritual foremother to a Now lauded as the intellectual and spiritual foremother to a generation of black and women writers, Zora Neale generation of black and women writers, Zora Neale Hurston's books were all out of print when she died in Hurston's books were all out of print when she died in poverty and obscurity in 1960. poverty and obscurity in 1960.

Born on January 7, 1891, in Notasulga, Alabama, Hurston Born on January 7, 1891, in Notasulga, Alabama, Hurston and her family soon moved to Eatonville, Florida, the first and her family soon moved to Eatonville, Florida, the first all-black incorporated town in the United States. Her all-black incorporated town in the United States. Her parents were John Hurston, a carpenter and Baptist parents were John Hurston, a carpenter and Baptist preacher who served several terms as mayor of Eatonville, preacher who served several terms as mayor of Eatonville, and Lucy Potts Hurston, a schoolteacher before she raised and Lucy Potts Hurston, a schoolteacher before she raised eight children. Her mother's death and father's remarriage eight children. Her mother's death and father's remarriage led the outspoken Hurston to leave her hometown at led the outspoken Hurston to leave her hometown at fourteen and become a wardrobe girl in an all-white fourteen and become a wardrobe girl in an all-white traveling Gilbert and Sullivan troupe. traveling Gilbert and Sullivan troupe.

She completed her education at Morgan Academy in She completed her education at Morgan Academy in Baltimore and Howard University in Washington, DC, Baltimore and Howard University in Washington, DC, supporting herself with a variety of jobs from manicurist to supporting herself with a variety of jobs from manicurist to maid. Heeding her mother's encouragement to "jump at de maid. Heeding her mother's encouragement to "jump at de sun," she arrived in New York in January 1925 with $1.50 in sun," she arrived in New York in January 1925 with $1.50 in her pocket. her pocket.

"I do not attempt to solve "I do not attempt to solve any problems [in my any problems [in my

novels]. I know I cannot novels]. I know I cannot straighten out with a straighten out with a few pen-strokes what few pen-strokes what

God and men took God and men took centuries to mess up. centuries to mess up. So I tried to deal with So I tried to deal with life as we actually live life as we actually live

it-not as the it-not as the sociologists imagine sociologists imagine

it." it." -Zora Neale Hurston-Zora Neale Hurston

From a letter to Fannie From a letter to Fannie Hurst Hurst

Later that year, as the only black scholar at Barnard Later that year, as the only black scholar at Barnard College, Hurston studied with Dr. Franz Boas, often College, Hurston studied with Dr. Franz Boas, often called the father of American anthropology. His called the father of American anthropology. His encouragement, combined with a stipend of $200 a encouragement, combined with a stipend of $200 a month and a car from patron Charlotte Osgood month and a car from patron Charlotte Osgood Mason, allowed Hurston to complete much of her Mason, allowed Hurston to complete much of her anthropological work in the American South. This anthropological work in the American South. This lifelong passion to collect, record, and broadcast lifelong passion to collect, record, and broadcast the everyday idiomatic communication of her the everyday idiomatic communication of her people would inform four novels, two collections of people would inform four novels, two collections of folklore, an autobiography, and dozens of stories, folklore, an autobiography, and dozens of stories, articles, plays, and essays. articles, plays, and essays.

This ambition also led to tension in her romantic This ambition also led to tension in her romantic life. Hurston married and divorced three husbands life. Hurston married and divorced three husbands and, at age forty-four, fell in love with twenty-three-and, at age forty-four, fell in love with twenty-three-year-old Percy Punter. When he asked her to year-old Percy Punter. When he asked her to forsake her career to marry him, she refused forsake her career to marry him, she refused because she "had things clawing inside [her] that because she "had things clawing inside [her] that must be said." She wrote must be said." She wrote Their Eyes Were Watching Their Eyes Were Watching God, God, trying in its pages "to embalm all the trying in its pages "to embalm all the tenderness of [her] passion for him." tenderness of [her] passion for him."

Mama exhorted her children at every

opportunity to “jump at de sun.” We might not land on the sun, but at least we would get

off the ground. - Zora Neale

Hurston

Despite the novel's 1937 publication, Hurston's Despite the novel's 1937 publication, Hurston's struggle for financial security continued struggle for financial security continued throughout the 1940s. Once, she even pawned throughout the 1940s. Once, she even pawned her typewriter. The largest royalty any of her her typewriter. The largest royalty any of her books ever earned was $943.75. Since most of her books ever earned was $943.75. Since most of her books were published during the Depression, she books were published during the Depression, she paid her bills through story and essay sales, book paid her bills through story and essay sales, book advances, and two Works Progress Administration advances, and two Works Progress Administration jobs with the Federal Writers' Project. jobs with the Federal Writers' Project.

In the 1950s Hurston remained devoted to writing, In the 1950s Hurston remained devoted to writing, but white publishers rejected her books, in part but white publishers rejected her books, in part because the "New Negro" had fallen out of because the "New Negro" had fallen out of fashion. Other complications followed, and her fashion. Other complications followed, and her health seriously declined. Her anticommunist health seriously declined. Her anticommunist essays and denunciation of school integration essays and denunciation of school integration increasingly alienated her from other black increasingly alienated her from other black writers. After a stroke in 1959, she reluctantly writers. After a stroke in 1959, she reluctantly entered a welfare home, where she died-entered a welfare home, where she died-penniless-on January 28, 1960. Her grave penniless-on January 28, 1960. Her grave remained unmarked until 1973. remained unmarked until 1973.

Harlem Renaissance: The EraHarlem Renaissance: The EraF. Scott Fitzgerald coined the F. Scott Fitzgerald coined the

term “Jazz Age” to reflect an term “Jazz Age” to reflect an era of ragtime, jazz, stylish era of ragtime, jazz, stylish

automobiles, and uninhibited automobiles, and uninhibited young women with bobbed young women with bobbed hair. But this decade also hair. But this decade also

marked the Harlem marked the Harlem Renaissance – the artistic and Renaissance – the artistic and political cultural birth of the political cultural birth of the

“New Negro” in literature and “New Negro” in literature and art.art.

Scholars rightly have trouble with Scholars rightly have trouble with the term “Harlem the term “Harlem

Renaissance.”Renaissance.”

Although the great northward Although the great northward migration led many African migration led many African

Americans to Harlem, a similar Americans to Harlem, a similar renewal was also happening in renewal was also happening in

Chicago, Philadelphia, and Chicago, Philadelphia, and Washington, D.C., especially Washington, D.C., especially

through the influence of Louis through the influence of Louis Armstrong's’ and Duke Armstrong's’ and Duke

Ellington’s jazz.Ellington’s jazz.

Most of the literary harlemites Most of the literary harlemites were not from New York, nor did were not from New York, nor did they depict Harlem life in their they depict Harlem life in their

writing – least of all in their writing – least of all in their fiction. In addition, the decade fiction. In addition, the decade is not really a renaissance so is not really a renaissance so

much as a creative outpouring, much as a creative outpouring, a reframing of how Negro artists a reframing of how Negro artists

chose to convey their African chose to convey their African andand American heritage. This American heritage. This stance was no longer one of stance was no longer one of

apology or defeat, but rather of apology or defeat, but rather of assertion and pride.assertion and pride.

The beginning of the period most The beginning of the period most closely coincides with Benjamin closely coincides with Benjamin Brawley’s 1919 book Brawley’s 1919 book The Negro The Negro

in Literature and Art in the in Literature and Art in the United StatesUnited States. Alain Locke’s . Alain Locke’s

1925 anthology 1925 anthology The New NegroThe New Negro later synthesized a Negro vision later synthesized a Negro vision

of all the arts, featuring of all the arts, featuring sections on art, music, dance, sections on art, music, dance, sculpture, drama, and poetry.sculpture, drama, and poetry.

He argued that “for generations in the mind of America, the Negro He argued that “for generations in the mind of America, the Negro has been more of a formula than a human being – a something has been more of a formula than a human being – a something to be argued about, condemned or defended, to be ‘kept down,’ to be argued about, condemned or defended, to be ‘kept down,’

or ‘in his place,’ or ‘helped up,’ to be worried with or worried or ‘in his place,’ or ‘helped up,’ to be worried with or worried over, harassed or patronized, a social bogey or a social burden.”over, harassed or patronized, a social bogey or a social burden.”

Despite still-flourishing Jim Crow laws, many white New York Despite still-flourishing Jim Crow laws, many white New York writers, publishers, and patrons rallied behind Negro writers and writers, publishers, and patrons rallied behind Negro writers and

intellectuals, who in turn vociferously protested injustice and intellectuals, who in turn vociferously protested injustice and racism. As a result, an environment was created where many racism. As a result, an environment was created where many

talented black painters, sculptors, singers, and writers flourished talented black painters, sculptors, singers, and writers flourished as artists – something new for the grandchildren of American as artists – something new for the grandchildren of American

slavery.slavery.

Harlem nightclubs and salons also provided opportunities Harlem nightclubs and salons also provided opportunities for musicians, actors, writers, and poets to mingle, for musicians, actors, writers, and poets to mingle, especially at the mixed parties hosted by Carl Van especially at the mixed parties hosted by Carl Van

Vechten. At these gathering, Hurston first met longtime Vechten. At these gathering, Hurston first met longtime friends such as Fannie Hurst and Langston Hughes. As a friends such as Fannie Hurst and Langston Hughes. As a popular member of the Harlem elite, Hurston was known popular member of the Harlem elite, Hurston was known

for her Eatonville folktales, her radical behavior, her for her Eatonville folktales, her radical behavior, her controversial opinions, and her audacious hats.controversial opinions, and her audacious hats.

Though Hurston’s fiction can still be usefully read in the Though Hurston’s fiction can still be usefully read in the context of the Harlem Renaissance, most of her work context of the Harlem Renaissance, most of her work

was published after its heyday.was published after its heyday.

Harlem Renaissance: Hurston’s Harlem Renaissance: Hurston’s CircleCircleZora Neale Hurston wrote that New York City was a “long step for Zora Neale Hurston wrote that New York City was a “long step for

the waif of Eatonville,” but the support of several intellectuals, the waif of Eatonville,” but the support of several intellectuals, artist, and patrons helped her become one of the movement’s artist, and patrons helped her become one of the movement’s

most vivacious and controversial personalities.most vivacious and controversial personalities.

One of America's most popular and highly paid writers of the

1920s and ‘30s, Fannie Hurst (1889-1968) published more

than 18 novels, including Imitation of Life. She originally

hired Hurston as a secretary, but they soon became friends. On their frequent trips they defied

Jim Crow laws by eating in restaurants together, but

Hurston was often forced to sleep in a separate hotel.

Hurston’s Circle continued…Hurston’s Circle continued…

Like Hurston, poet Like Hurston, poet Langston Langston HughesHughes (1902-1967) lived in (1902-1967) lived in

Harlem in the 1920s, Harlem in the 1920s, published in Alain Locke’s published in Alain Locke’s The The

New NegroNew Negro, worked on the , worked on the journal journal Fire!!,Fire!!, and received and received awards from awards from Opportunity. Opportunity.

When he accompanied When he accompanied Hurston on one of her Hurston on one of her

Southern folklore-collecting Southern folklore-collecting trips, he encouraged her to trips, he encouraged her to seek the assistance of his seek the assistance of his patron, Charlotte Osgood patron, Charlotte Osgood Mason. Hurston’s close Mason. Hurston’s close

friendship with Hughes ended friendship with Hughes ended after a long dispute over their after a long dispute over their collaborative play, collaborative play, Mule BoneMule Bone..

Hurston’s circle continued…Hurston’s circle continued…

Hurston considered Hurston considered Charles S. Charles S. JohnsonJohnson (1893-1956) (1893-1956)

the :root) of the entire Harlem the :root) of the entire Harlem Renaissance. As editor and Renaissance. As editor and founder of the magazine founder of the magazine

OpportunityOpportunity, he published , he published several of her early stories, several of her early stories, including “Sweat.” Hurston including “Sweat.” Hurston

began a correspondence with began a correspondence with him while she was still a him while she was still a

student at Howard University student at Howard University in Washington, D.C. He in Washington, D.C. He

emphatically encouraged her emphatically encouraged her to move to New York, a to move to New York, a decision that profoundly decision that profoundly

affected her career.affected her career.

Hurston’s circle continued…Hurston’s circle continued…

Charlotte Osgood MasonCharlotte Osgood Mason (1854-1946) was already (1854-1946) was already

the “Godmother” of Hughes the “Godmother” of Hughes and Alain Locke when she and Alain Locke when she

met Hurston. Under met Hurston. Under Mason’s patronage, Mason’s patronage,

Hurston published her first Hurston published her first anthropological pieces but anthropological pieces but was forbidden to publish was forbidden to publish anything else. The one-anything else. The one-year contract Hurston year contract Hurston

signed in 1927 was signed in 1927 was eventually extended until eventually extended until

1931.1931.

Hurston’s circle continued…Hurston’s circle continued…Some argue that no white Some argue that no white person contributed more to person contributed more to

the Harlem Renaissance the Harlem Renaissance than than Carl Van VechtenCarl Van Vechten

(1880-1964). As a (1880-1964). As a photographer, writer, and photographer, writer, and

patron of the arts, including patron of the arts, including Hughes and Hurston. His Hughes and Hurston. His

1926 novel, 1926 novel, Nigger HeavenNigger Heaven split the Harlem elite. His split the Harlem elite. His

photo collections at Yale and photo collections at Yale and Howard universities remain Howard universities remain

important to this day.important to this day.

Critics who felt that Hurston’s fiction undermined Critics who felt that Hurston’s fiction undermined their attempts to combat racism misunderstood their attempts to combat racism misunderstood her aesthetic. As she once wrote in a letter, “I her aesthetic. As she once wrote in a letter, “I tried…not to pander to the folks who expect a tried…not to pander to the folks who expect a

clown and a villain in every Negro. Neither did I clown and a villain in every Negro. Neither did I want to pander to those “race’ people among us want to pander to those “race’ people among us

who see nothing but perfection in all of us.” who see nothing but perfection in all of us.” Holding to this vision would cost her, financially Holding to this vision would cost her, financially and otherwise right up until her death in 1960.and otherwise right up until her death in 1960.

A decade later, writer Alice Walker A decade later, writer Alice Walker was researching a story on voodoo. was researching a story on voodoo.

She came across Hurston’s She came across Hurston’s Mules Mules and Menand Men, which ultimately led , which ultimately led

Walker to Walker to Their Eyes Were Watching Their Eyes Were Watching GodGod – the book she regards as the – the book she regards as the

most important of her life.most important of her life.

Posing as Hurston’s niece, Walker Posing as Hurston’s niece, Walker traveled to Eatonville, where she traveled to Eatonville, where she

endured many sets of contradictory endured many sets of contradictory directions and found her way at last directions and found her way at last

to the cemetery: the Garden of to the cemetery: the Garden of Heavenly Rest, on 17Heavenly Rest, on 17thth Street. Even Street. Even

there, no one was certain of the there, no one was certain of the grave’s location. The weeds were so grave’s location. The weeds were so

thick that Walker feared snakes thick that Walker feared snakes might be lurking underfoot. She might be lurking underfoot. She finally found the spot, and she finally found the spot, and she

purchased and commissioned a purchased and commissioned a proper stone to mark Hurston’s proper stone to mark Hurston’s

grave.grave.

Zora Neale Hurston Zora Neale Hurston was born in was born in Eatonville, FL on Eatonville, FL on January 7,1891. January 7,1891. Throughout her life, Throughout her life, and right up until her and right up until her death in the 1960s, death in the 1960s, Hurston was an Hurston was an anthropologist, anthropologist, dramatist, essayist, dramatist, essayist, folklorist, novelist,  folklorist, novelist,  and autobiographer.  and autobiographer. 

At the time of her At the time of her death, Zora Neale death, Zora Neale Hurston was a pauper Hurston was a pauper (very poor; destitute) (very poor; destitute) and was buried in an and was buried in an unmarked grave.unmarked grave.

The EndThe End