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What is the importance of character development in literature
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A dialectic is the process of synthesizing truth by holding contradictory ideas in tension. Since Richard Wright’s short story “Long Black Song” and Zora Neale Hurston’s short story “Sweat” have opposing arguments they must engage in a dialectic. Both stories examine the oppression of the African American race, but they find different sources for its difficulties and demise. In “Long Black Song”, Silas, while expressing his frustration for the superiority of the white men, articulates that the black woman is the source of African American difficulties. In “Sweat”, Sykes’s encounter with death reveals that the African American man’s arrogance is the cause of the demise of the African American race. Wright’s short story “Long Black Song” and Hurston’s short story “Sweat” engage in a dialectic, in which “Sweat” repudiates “Long Black Song”, and produce the truth that one’s hubris that is the source of the difficulties of one’s race and the demise of oneself.
In Wright’s short story “Long Black Song”, through his anger about white men, Silas reveals that the black woman is the source of African American difficulties. His anger for white men is triggered when he learns about Sarah’s interaction with the young white man selling clocks and gramophones. It escalates as he discovers that Sarah was raped by the white man. When the white man returns with his colleague for the gramophone, Silas whips and shoots at them. He wishes “all them white folks dead” (436). As he is expressing his hatred toward white men, his anger shifts to Sarah:
The white folks ain never gimme a chance! They ain never give no black man a chance! There ain nothin in yo whole life yuh kin keep from em! They take yo lan! They take yo freedom! They take yo women! N ...
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...black woman cannot be the source of African American difficulties. However, the conclusion from “Sweat” is not entirely true either because a woman’s hubris, not only a man’s, could bring her to her downfall. The truth that emerges from the tension between the two stories is that one’s hubris is the source of the difficulties of one’s race and the demise of oneself.
When comparing the two short stories and holding them in tension with each other, it is neither the black woman nor the African American man’s arrogance, but one’s hubris that is the source of the difficulties of one’s race and the demise of oneself. Wright believes that the black woman is the source of difficulties. Hurston believes that the black man’s hubris is the cause of his demise. By holding these two stories in tension with each other, the emerging truth is that hubris is the cause of downfall.
The two concepts are perhaps the most powerful writing of the sheer burden of African-American in our society. Ever though the story was written many decades ago, many African-American today reflect on how things haven’t changed much over time. Still today American will conceptualize what is “Black” and what is “American”.
In Their Eyes were watching God, Hurston’s heavy use of dialect and folk speech drew both praise and criticism from other African-American writers and literalists in her time. The toughest criticism came from Richard Wright, who wrote that Hurston “exploits that phase of Negro life which is ‘quaint.’” Wright said Hurston’s dialogue captured only the “psychological movements of the Negro folk-mind in their pure simplicity,” and likened Hurston’s technique to that of a minstrel show designed to appease a white audience. During a time of pervasive and overt racial oppression, Wright found in Their Eyes Were Watching God, “no theme, no message, no thought.”( Wright, 1937). This sparring or confliction of schools of thought or ideologies is one of the many fundamental differences that separate many black people today. People who follow Neale Hurston’s line of thought would say that although the black man has been afflicted by the environment that the “oppressor” or the white man has set for up him. Their eyes were watching God was written in the same time period as Native Son so why is there such large fundamental differences in the way that the two authors write? Wright’s description of racism is captivating, but not novel. Due to its tragic nature, the somber racial situation of mid-19th century America is well documented. The more interesting aspect of Wright’s account is his attribution of racism to massive misunderstandings between both blacks and whites of the other social group. On pages 18 and 19, Bigger and Gus play ‘whites and blacks’, a game in which they imitate the ostentatious and rude way in which they believe all white people speak. The separation between blacks and whites leads Bigger to view white society as “a cold and distant world; a world of white secrets carefully guided” . Wright does not blame Bigger for having such a narrow-minded view of white people, but
In the novel, the author proposes that the African American female slave’s need to overcome three obstacles was what unavoidably separated her from the rest of society; she was black, female, and a slave, in a white male dominating society. The novel “locates black women at the intersection of racial and sexual ideologies and politics (12).” White begins by illustrating the Europeans’ two major stereotypes o...
Ethnic group is a settled mannerism for many people during their lives. Both Zora Neale Hurston, author of “How It Feels to Be Colored Me; and Brent Staples, author of “Just Walk On By: A Black Man Ponders His Power to Alter Public Space,” realize that their life will be influenced when they are black; however, they take it in pace and don’t reside on it. They grew up in different places which make their form differently; however, in the end, It does not matter to them as they both find ways to match the different sexes and still have productivity in their lives.. Hurston was raised in Eatonville, Florida, a quiet black town with only white passer-by from time-to-time, while Staples grew up in Chester, Pennsylvania, surrounded by gang activity from the beginning. Both Hurston and Staples share similar and contrasting views about the effect of the color of their
This paper examines the drastic differences in literary themes and styles of Richard Wright and Zora Neale Hurston, two African--American writers from the early 1900's. The portrayals of African-American women by each author are contrasted based on specific examples from their two most prominent novels, Native Son by Wright, and Their Eyes Were Watching God by Hurston. With the intent to explain this divergence, the autobiographies of both authors (Black Boy and Dust Tracks on a Road) are also analyzed. Particular examples from the lives of each author are cited to demonstrate the contrasting lifestyles and experiences that created these disparities, drawing parallels between the authors’ lives and creative endeavors. It becomes apparent that Wright's traumatic experiences involving females and Hurston's identity as a strong, independent and successful Black artist contributed significantly to the ways in which they chose to depict African-American women and what goals they adhered to in reaching and touching a specific audience with the messages contained in their writing.
Both Zora Neale Hurston and Langston Hughes were great writers but their attitudes towards their personal experience as an African American differed in many ways. These differences can be attributed to various reasons that range from gender to life experience but even though they had different perceptions regarding the African American experience, they both shared one common goal, racial equality through art. To accurately delve into the minds of the writers’ one must first consider authors background such as their childhood experience, education, as well their early adulthood to truly understand how it affected their writing in terms the similarities and differences of the voice and themes used with the works “How it Feels to be Colored Me” by Hurston and Hughes’ “The Negro Mother”. The importance of these factors directly correlate to how each author came to find their literary inspiration and voice that attributed to their works.
Hurston begins the essay in her birth town: Eatonville, Florida; an exclusively Negro town where whites were a rarity, only occasionally passing by as a tourist. Hurston, sitting on her porch imagines it to be a theatre as she narrates her perspective of the passing white people. She finds a thin line separating the spectator from the viewer. Exchanging stances at will and whim. Her front porch becomes a metaphor for a theater seat and the passers
Prejudice is a cancer that spreads hate among its perpetrators and victims alike. In 1930 Langston Hughes penned the novel, Not Without Laughter. This powerful story, written from the perspective of an African-American boy named James “Sandy” Rodgers, begins in the early 1900’s in the small town of Stanton, Kansas. Through the eyes of young Sandy, we see the devastating impact of racism on his family and those they are close to. We also see how the generations of abuse by whites caused a divide within the black community. Among, and even within, black families there were several social classes that seemed to hinge on seeking equality through gaining the approval of whites. The class someone belonged to was determined by the color of their skin, the type of church one attended, their level of education, and where an individual was able to find work.
Zora Neale Hurston’s “Sweat” is a distressing tale of human struggle as it relates to women. The story commences with a hardworking black washwoman named Delia contently and peacefully folds laundry in her quiet home. Her placidity doesn’t last long when her abusive husband, Sykes, emerges just in time to put her back in her ill-treated place. Delia has been taken by this abuse for some fifteen years. She has lived with relentless beatings, adultery, even six-foot long venomous snakes put in places she requires to get to. Her husband’s vindictive acts of torment and the way he has selfishly utilized her can only be defined as malignant. In the end of this leaves the hardworking woman no choice but to make the most arduous decision of her life. That is, to either stand up for herself and let her husband expire or to continue to serve as a victim. "Sweat,” reflects the plight of women during the 1920s through 30s, as the African American culture was undergoing a shift in domestic dynamics. In times of slavery, women generally led African American families and assumed the role as the adherent of the family, taking up domestic responsibilities. On the other hand, the males, slaves at the time, were emasculated by their obligations and treatment by white masters. Emancipation and Reconstruction brought change to these dynamics as African American men commenced working at paying jobs and women were abandoned at home. African American women were assimilated only on the most superficial of calibers into a subcategory of human existence defined by gender-predicated discrimination. (Chambliss) In accordance to this story, Delia was the bread victor fortifying herself and Sykes. Zora Neale Hurston’s 1926 “Sweat” demonstrates the vigor as wel...
Hurston, Zora Neale. “How It Feels to Be Colored Me.” Writer’s Presence: A Pool of Readings. 5th ed. Ed. Robert Atawan and Donald McQuade. Boston:Bedford/St. Martin’s, 2006. 166-170. Print
Zora Neale Hurston’s short story Sweat is a visceral reminder of the acute oppression and sexism women have always faced in American society. The protagonist of the story, Delia, is married to a cruel and angry man named Sykes. Through a depiction of their married life, this short story shows that despite patriarchal oppression, women have exercised their agency and resisted in a myriad of ways. The story begins with Delia, a working Black woman in Florida, who is a white woman. It is a warm spring day and she is sorting and soaking the clothing she washes for the white residents of her town.
Zora Neale Hurston’s writing embodies the modernism themes of alienation and the reaffirmation of racial and social identity. She has a subjective style of writing in which comes from the inside of the character’s mind and heart, rather than from an external point of view. Hurston addresses the themes of race relations, discrimination, and racial and social identity. At a time when it is not considered beneficial to be “colored,” Hurston steps out of the norm and embraces her racial identity.
“As you grow older, you’ll see white men cheat black men every day of your life,” (Lee 295.) African Americans will be doomed in certain situations due to a lack of community background, and they will always find themselves losing games, court cases, or whatever they are competing against a white man in. African Americans lacked the rights of white Americans which created unequal chances and opportunities for success. “Until my father explained it to me later, I did not understand the subtlety of Tom’s predicament: he would not have dared strike a white woman under any circumstances and expect to live long, so he took his first opportunity to run--a sure sign of guilt,” (Lee 260-261.) In her coming to age, Scout real...
The four poems by Langston Hughes, “Negro,” “Harlem,” “The Negro Speaks of Rivers,” and “Theme for English B” are all powerful poems and moving poems! Taken all together they speak to the very founding of relations of whites and blacks all the way down through history. The speaker in the poem the, “Negro” and also, “The Negro Speaks of Rivers,” tells the tale of freedom and enslavement that his people have endured, and it heralds their wisdom and strength. The poems “Harlem” and “Theme for English B” speaks to the continuous unfair treatment that the blacks have received at the hands of white people throughout the years.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.