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Their Eyes Were Watching God: A Novel Reissue Edition, Kindle Edition
| Zora Neale Hurston (Author) See search results for this author |
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A PBS Great American Read Top 100 Pick
“A deeply soulful novel that comprehends love and cruelty, and separates the big people from the small of heart, without ever losing sympathy for those unfortunates who don’t know how to live properly.” —Zadie Smith
One of the most important and enduring books of the twentieth century, Their Eyes Were Watching God brings to life a Southern love story with the wit and pathos found only in the writing of Zora Neale Hurston. Out of print for almost thirty years—due largely to initial audiences’ rejection of its strong black female protagonist—Hurston’s classic has since its 1978 reissue become perhaps the most widely read and highly acclaimed novel in the canon of African-American literature.
- ISBN-13978-0060838676
- EditionReissue
- PublisherAmistad
- Publication date17 Mar. 2009
- LanguageEnglish
- File size4900 KB
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Product description
Review
From the Back Cover
"Belongs in the category ... of enduring American literature." -- Saturday ReviewFair and long-legged, independent and articulate, Janie Crawford sets out to be her own person -- no mean feat for a black woman in the '30s. Janie's quest for identity takes her through three marriages and into a journey back to her roots. --This text refers to an alternate kindle_edition edition.
About the Author
Zora Neale Hurston, the author of Their Eyes Were Watching God, was deemed "one of the greatest writers of our time" by Toni Morrison. With the publication of Lies and Other Tall Tales, The Skull Talks Back, and What's the Hurry, Fox? new generations will be introduced to Hurston's legacy. She was born in Notasulga, Alabama, in 1891, and died in 1960.
--This text refers to an alternate kindle_edition edition.Excerpt. © Reprinted by permission. All rights reserved.
Ships at a distance have every man's wish on board. For some they come in with the tide. For others they sail forever on the horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men.
Now, women forget all those things they don't want to remember, and remember everything they don't want to forget. The dream is the truth. Then they act and do things accordingly.
So the beginning of this was a woman and she had come back from burying the dead. Not the dead of sick and ailing with friends at the pillow and the feet. She had come back from the sodden and the bloated; the sudden dead, their eyes flung wide open in judgment.
The people all saw her come because it was sundown. The sun was gone, but he had left his footprints in the sky. It was the time for sitting on porches beside the road. It was the time to hear things and talk. These sitters had been tongueless, earless, eyeless conveniences all day long. Mules and other brutes had occupied their skins. But now, the sun and the bossman were gone, so the skins felt powerful and human. They became lords of sounds and lesser things. They passed nations through their mouths. They sat in judgment.
Seeing the woman as she was made them remember the envy they had stored up from other times. So they chewed up the back parts of their minds and swallowed with relish. They made burning statements with questions, and killing tools out of laughs. It was mass cruelty. A mood come alive, Words walking without masters; walking altogether like harmony in a song.
"What she doin coming back here in dem overhalls? Can't she find no dress to put on? - Where's dat blue satin dress she left here in? - Where all dat money her husband took and died and left her? - What dat ole forty year ole 'oman doin' wid her hair swingin' down her back lak some young gal? Where she left dat young lad of a boy she went off here wid? - Thought she was going to marry? - Where he left her? - What he done wid all her money? - Betcha he off wid some gal so young she ain't even got no hairs - why she don't stay in her class?"
When she got to where they were she turned her face on the bander log and spoke. They scrambled a noisy "good evenin'" and left their mouths setting open and their ears full of hope. Her speech was pleasant enough, but she kept walking straight on to her gate. The porch couldn't talk for looking.
The men noticed her firm buttocks like she had grape fruits in her hip pockets; the great rope of black hair swinging to her waist and unraveling in the wind like a plume; then her pugnacious breasts trying to b ore holes in her shirt. They, the men, were saving with the mind what they lost with the eye. The women took the faded shirt and muddy overalls and laid them away for remembrance. It was a weapon against her strength and if it turned out of no significance, still it was a hope that she might fall to their level some day.
But nobody moved, nobody spoke, nobody even thought to swallow spit until after her gate slammed behind her.
Pearl Stone opened her mouth and laughed real hard because she didn't know what else to do. She fell all over Mrs. Sumpkins while she laughed. Mrs. Sumpkins snorted violently and sucked her teeth.
"Humph! Y'all let her worry yuh. You ain't like me. Ah ain't got her to study 'bout. If she ain't got manners enough to stop and let folks know how she been malkin' out, let her g'wan! "
"She ain't even worth talkin' after," Lulu Moss drawled through her nose. "She sits high, but she looks low. Dat's what Ah say 'bout dese ole women runnin' after young boys."
Pheoby Watson hitched her rocking chair forward before she spoke. "Well, nobody don't know if it's anything to tell or not. Me, Ah'm her best friend, and Ah don't know."
"Maybe us don't know into things lak, you do, but we all know how she went 'way from here and us sho seen her come back. 'Tain't no use in your tryin' to cloak no ole woman lak Janie Starks, Pheoby, friend or no friend."
"At dat she ain't so ole as some of y'all dat's talking."
"She's way past forty to my knowledge, Pheoby."
"No more'n forty at de outside."
"She's 'way too old for a boy like Tea Cake."
"Tea Cake ain't been no boy for some time. He's round thirty his ownself."
"Don't keer what it was, she could stop and say a few words with us. She act like we done done something to her," Pearl Stone complained. "She de one been doin' wrong."
"You mean, you mad 'cause she didn't stop and tell us all her business; Anyhow, what you ever know her to do so bad as y'all make out? The worst thing Ah ever knowedher to do was taking a few years offa her age and dat ain't never harmed nobody. Y'all makes me tired. De way you talkin' you'd think de folks in dis town didn't do nothin' in de bed 'cept praise de Lawd. You have to 'scuse me, 'cause Ah'm bound to go take her some supper." Pheoby stood up sharply.
"Don't mind us," Lulu smiled, "just go right ahead, us can mind yo' house for you till you git back. Mah supper is done. You bettah go see how she feel. You kin let de rest of us know."
(Continues...)
--This text refers to an alternate kindle_edition edition.
Excerpted from Their Eyes Were Watching Godby Hurston, Zora Neale Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.Copyright © 2003 Jill Churchill
All right reserved.
Book Description
Synopsis
From the Inside Flap
'She was stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of the breeze when the inaudible voice of it all came to her'
When, at sixteen, Janie is caught kissing shiftless Johnny Taylor, her grandmother swiftly marries her off to and old man with sixty acres. Jane endures two stifling marriages before she finally meets the man of her dreams - who offers not diamonds, but a packet of flowering seeds.
--This text refers to an alternate kindle_edition edition.Product details
- ASIN : B000UMN7C6
- Publisher : Amistad; Reissue edition (17 Mar. 2009)
- Language : English
- File size : 4900 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Not Enabled
- Print length : 223 pages
- Best Sellers Rank: 57,820 in Kindle Store (See Top 100 in Kindle Store)
- Customer reviews:
About the author

Zora Neale Hurston was born on Jan. 7, 1891, in Notasulga, Alabama. Hurston moved with her family to Eatonville, Florida, when she was still a toddler. Her writings reveal no recollection of her Alabama beginnings. For Hurston, Eatonville was always home.
Growing up in Eatonville, in an eight-room house on five acres of land, Zora had a relatively happy childhood, despite frequent clashes with her preacher-father. Her mother, on the other hand, urged young Zora and her seven siblings to "jump at de sun."
Hurston's idyllic childhood came to an abrupt end, though, when her mother died in 1904. Zora was only 13 years old.
After Lucy Hurston's death, Zora's father remarried quickly and seemed to have little time or money for his children. Zora worked a series of menial jobs over the ensuing years, struggled to finish her schooling, and eventually joined a Gilbert & Sullivan traveling troupe as a maid to the lead singer. In 1917, she turned up in Baltimore; by then, she was 26 years old and still hadn't finished high school. Needing to present herself as a teenager to qualify for free public schooling, she lopped 10 years off her life--giving her age as 16 and the year of her birth as 1901. Once gone, those years were never restored: From that moment forward, Hurston would always present herself as at least 10 years younger than she actually was.
Zora also had a fiery intellect, and an infectious sense of humor. Zora used these talents--and dozens more--to elbow her way into the Harlem Renaissance of the 1920s, befriending such luminaries as poet Langston Hughes and popular singer/actress Ethel Waters.
By 1935, Hurston--who'd graduated from Barnard College in 1928--had published several short stories and articles, as well as a novel (Jonah's Gourd Vine) and a well-received collection of black Southern folklore (Mules and Men). But the late 1930s and early '40s marked the real zenith of her career. She published her masterwork, Their Eyes Were Watching God, in 1937; Tell My Horse, her study of Caribbean Voodoo practices, in 1938; and another masterful novel, Moses, Man of the Mountain, in 1939. When her autobiography, Dust Tracks on a Road, was published in 1942, Hurston finally received the well-earned acclaim that had long eluded her. That year, she was profiled in Who's Who in America, Current Biography and Twentieth Century Authors. She went on to publish another novel, Seraph on the Suwanee, in 1948.
Still, Hurston never received the financial rewards she deserved. So when she died on Jan. 28, 1960--at age 69, after suffering a stroke--her neighbors in Fort Pierce, Florida, had to take up a collection for her funeral. The collection didn't yield enough to pay for a headstone, however, so Hurston was buried in a grave that remained unmarked until 1973.
That summer, a young writer named Alice Walker traveled to Fort Pierce to place a marker on the grave of the author who had so inspired her own work.
Walker entered the snake-infested cemetery where Hurston's remains had been laid to rest. Wading through waist-high weeds, she soon stumbled upon a sunken rectangular patch of ground that she determined to be Hurston's grave. Walker chose a plain gray headstone. Borrowing from a Jean Toomer poem, she dressed the marker up with a fitting epitaph: "Zora Neale Hurston: A Genius of the South."
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This 1930s deeply human story of one indefatigable black woman's life, loves and catastrophes dazzled and delighted me from start to finish.
It was apparently written in a hurry and the story does have a breakneck feel to it. Characterful expressions burst from its pages; the syncopated, lively dialogue of the black people of the day is lush and gorgeous to read.
But please don't accept my effusive review as a recommendation. This book is not a generic crowd-pleaser and won't suit all tastes.
It is dialogue heavy and at times I felt I was reading a theatre script, rather than a novel.
I've seen that some readers weren't able to get to grips with the spoken vernacular, which surprises me no end. This white English/Irish guy had no problem whatsoever!
For me, the writing was irresistible. I do however think it wouldn't be for everyone.
We are taken back in time to when Janie was a child and I felt privileged to be able to hear of her Nanny (Grandma), giving a bit of history to what life was like for her and Janie’s mum. It shows the dark side of what life was like many years ago with the author describing how diverse things were back then.
In fact the author deals with many subjects within this story. Diversity, racism, domestic as well as mental abuse to name but a few. It makes for quite a sombre read but Janie is such a larger than life character and there is much to take in of her life over time and her relationships with three different men. Each one brings something different with it to the reader.
I can see why this book has been described as an American classic. It makes for a good solid read and I enjoyed the author’s laid back style of writing. Whilst it didn’t quite impact me in the way I had hoped, Their Eyes Were Watching God is still a novel that people should consider giving a go.
The main thing I found difficult about the book was that much of Janie’s story is rendered in vernacular. This does give it a fantastic sense of authenticity but, initially, I found it difficult to get to grips with and found myself having to re-read sentences to ensure I understood what was being said.
Janie is a young woman who instinctively wants more from life (although she doesn’t know quite what) and snatches the opportunities that arise although more often than not, sadly, they don’t work out. A recurring theme of the book is the silencing of women, in particular by men but more generally by society. When Janie finally meets someone who seems to want her to be herself and not be constrained, it ends in tragedy.
I did find it strange that at certain points in the book the author chooses to switch from Janie articulating her story directly to the third person. The Afterword included in my edition (an essay by Henry Louis Gates, Jr.) describes this as the author shifting ‘back and forth between her “literate” narrator’s voice and a highly idiomatic black voice found in wonderful passages of free indirect discourse’. In one section, the book even switches to the point of view of Janie’s second husband, Jody. And towards the end of the book, when Janie is on trial accused of a serious crime, the reader doesn’t get to hear her defence in her own words.
The author’s writing craft is demonstrated by some imaginative turns of phrase. For example, when Janie wakes up in time to see ‘the sun sending up spies ahead of him to mark out the road through the dark’ or, sitting on her porch one evening she watches the moon rise. ‘Soon its amber fluid was drenching the earth, and quenching the thirst of the day.’ And there is real drama created in the scenes set in the Everglades during which Janie, Tea Cake (her third husband) and others flee the flood water created by the passing hurricane. (It is during this section that the book’s title appears.)
Criticism: there’s a theme of domestic violence and it’s sometimes passed off as almost good and reasonable. I suspect it wouldn’t be nowadays, but the novel is a child of its time in that respect.





