Showing posts with label african-america n fiction. Show all posts
Showing posts with label african-america n fiction. Show all posts

Zora Neale Hurston: A Life in Letters Review

Zora Neale Hurston: A Life in Letters
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Putting words to paper, from writing letters, notes, or even a book often epitomizes the need to garner those thoughts that should be preserved lest we forget that when done right, can be worth the work. Zora Neale Hurston: A Life In Letters, edited by Karla Kaplan captivates an anthology revealing contradictions and conjectures of a woman who was the most brazenly impious of the Harlem literary avant-garde, and who never fit happily within any political group. This is truly a big book at 880 pages, certainly not one to read verbatim. Even in bulk, the substance therein is worth spending time getting a gist of what was on her mind while appealing to the personalities that she directed the letters to. Ironically, I used a unique method to get more out of this tome by reading it in tandem with Wrapped In Rainbows, a biography written by journalist Valerie Boyd. By doing it this way, I was able to make direct reference to certain passages outlined in the biography whenever emphasis was made to specific letters written. This book has a character of its own, and allows you to feel the essence of Zora herself. The fact that Zora was quoted often enough to be elevated to legendary status, and what you read therein is Zora at her best. The letters were more than 500 in all, written through the eyes of a woman who always had something to say and said it vociferously.
I personally feel that her life in letters reveal more about her than perhaps the entire body of her published works combined, especially since books that were considered autobiographical didn't reveal nearly as much as they should have. Her tone and tenor for the most part was vivacious illustrating wit, irony, satire, and quirky anecdotes that were evident in some capacity as she conveyed her thoughts. The subjects of her intent were to authoritative figures such as Carl Van Vecten, Lanston Hughes, Franz Boaz, Dorothy West, W.E.B. DuBois, Alain Locke, and many others..And you could see what gave her spunk. The true essence of the book other than giving you what you already know about Zora, would be other facets of her personality. I was able to get views of different transitional periods as she endeavored to reinvent herself whenever the mood struck. To wit: Her years as a Barnard College undergrad; Turbulent years trying to conform to Columbia University studying under Franz Boaz; Zora the twice honored Guggenheim fellow; Zora the folklorist; and, Zora in total chaos.
To suffer bitterly and not be considered within the public domain for acceptability, A Life In Letters reads like a gigantic reference manual with gobs of information, a well-documented glossary of the people, places, events, and institutions meticulously annotated by Ms Kaplan. Check out how each decade is introduced by an essay on societal and personal points that distinguished Zora relative to that specific time frame. This is a fine, well put together, if not revealing work into the intimate psyche about this brilliant and complex woman who all acknowledge now of being way ahead of her time. Reading this book, Hurston fans will slake thirst, appease hunger, and get a better flavor to what has been cooked up about her....real or imagined. What better way to shed light than to illuminate periphery than with the vivid letters she wrote?

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The Known World: A Novel Review

The Known World: A Novel
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Edward P. Jones tackles a difficult subject with depth and courage. Unlike other reviews listed here, I did not find his prose difficult, but enjoyed its richness and color, and found "The Known World" filled with flawed and genuine people of all races who grapple with slavery-America's "peculiar institution"-in a way that will surprise and compel readers.
Mourners come to Manchester County, Virginia to bury Henry Townsend and comfort his widow Caldonia. Henry was only 31 years old, a successful landowner and the owner of 33 slaves. He was also black, and a former slave himself. His human property learned from the start that working for a black master was no different from working for a white-or an Indian, for that matter. But they hold out the tiniest shred of hope that Caldonia, who was born free, will free them.
Henry's father Augustus bought his own freedom from his owner, Bill Robbins. He then worked to buy his wife, and then his son. But Henry always felt more affinity with Robbins than he did with his own family, shocking his parents when he buys his first slave. There are a number of black and Cherokee slave owners in the area who look on slaves with perhaps even more dispassionate eyes than do their white neighbors. "The legacy," Henry's mother-in-law calls his slaves when Caldonia briefly considers manumitting them. "Don't throw away the legacy."
I have never found a book that looks at slavery like "The Known World" does. Throw your preconceived notions out the window and be prepared to be completely pulled into a world where, no matter the characters' race, nothing is black and white.

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Zora Neale Hurston: A Life in Letters Review

Zora Neale Hurston: A Life in Letters
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You'll fall in love with Zora through the letters that she wrote from the early 20s until her death in 1960. A compelling and fascinating woman who didn't leave much unsaid. The letters still brim with vitality and energy and reflect the character of a woman way ahead of her time.

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" I mean to live and die by my own mind," Zora Neale Hurston told the writer Countee Cullen. Arriving in Harlem in 1925 with little more than a dollar to her name, Hurston rose to become one of the central figures of the Harlem Renaissance, only to die in obscurity.Not until the 1970s was she rediscovered by Alice Walker and other admirers. Although Hurston has entered the pantheon as one ofthe most influential American writers of the 20th century,the true nature of her personality has proven elusive.Now, a brilliant, complicated and utterly arresting woman emerges from this landmark book.Carla Kaplan, a noted Hurston scholar, has found hundreds of revealing, previously unpublished letters for this definitive collection; she also provides extensive and illuminating commentary on Hurston's life and work, as well as an annotated glossary of the organizations and personalities that were important to it.From her enrollment at Baltimore's Morgan Academy in 1917, to correspondence with Marjorie Kinnan Rawlings, Langston Hughes, Dorothy West and Alain Locke, to a final query letter to her publishers in 1959, Hurston's spirited correspondence offers an invaluable portrait of a remarkable, irrepressible talent.

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The Mule-Bone: A Comedy of Negro Life in Three Acts Review

The Mule-Bone: A Comedy of Negro Life in Three Acts
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Aside from the controversy of the dispute between Hughes and Hurston, I deal with the story and play itself.
The play "Mule Bone" is based on "The Bone of Contention," a 1930 short story by the Queen of Black Folklore (ZNH) based on a folktale from her hometown of Eatonville Fla. about two men who fight over a turkey. One uses a Mule bone to assault the other, and the town's Black Baptists and Methodists split over the issue as Mayor Joe Clarke tries to settle the matter.
The play by Hughes and Hurston is similar, only the two men are now a song and dance team fighting over the affections of a local vamp and an epilogue is added to the ending.
Overall, it's mildly amusing. It does a decent job in capturing some subtleties of Black rural life in 1930 such as the courting rituals and the "dozens" insults between the Black Baptists and Methodists (one Baptist insults a Methodist as a "half-washed Christian." Anyone familiar with the competing theologies will have a good laugh at this one). But those familair with Hurston's work will see a lot of "The Eatonville Anthology" and the later "Mules and Men" here. Nothing really outstanding to the Hurston fan, but worthy of a few chuckles.
However, had this play been performed in 1930, I doubt very seriously that it would have been considered as revolutionary as the authors intended. It would have surely set off a firestorm of controversy. Given the fact that few literate Blacks who attended plays wanted anything to remind them of their rural Southern origins, this play would have been damned and dismissed by the African-American elite and white liberals of the day. While the heavy dialect, the use of the n-word, the casual attitude toward domestic violence, the illiteracy and pompousness of many characters, etc. were realistic aspects of Black rural life at the time, this was a side of Black life that many feared would be exploited by bigots to prevent their inclusion into mainstream society. In fact, I have read where these issues accompanied the play upon its actual performance in 1991.
But even a so-so effort by Hughes and Hurston proves to be far more interesting than many other efforts by others at the time.

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