Books with author Zora Neale Hurston

“Love is lak de sea. It’s uh movin’ thing, but still and all, it takes its shape from de shore it meets, and it’s different with every shore.”—Ch. 20.In the beginning, there was Nanny. Nanny knew what it meant to be a slave to men. And Nanny had a daughter. She saw what happened to her, how she chose to escape pain in oblivion. And Nanny was scared. She was so scared that she wanted to prevent the same thing from happening to her daughter’s daughter, even if it meant that she had to force her grandchild to be unhappy. As long as she was unhappy in a different, secure way, with an old and stable man by her side.That is the background of Janie Crawford’s story. She is in her early forties, and starts telling a friend her life story in beautiful, colloquial language. And what a life it is! So common and typical, and yet individually painful and loving.—Lisa @ Goodreads.com.

This Library of America volume, with its companion, brings together for the first time all of the best writing of Zora Neale Hurston, one of the most significant twentieth-century American writers, in one authoritative set.“Folklore is the arts of the people,” Hurston wrote, “before they find out that there is any such thing as art.” A pioneer of African-American ethnography who did graduate study in anthropology with the renowned Franz Boas, Hurston devoted herself to preserving the black folk heritage. In Mules and Men (1935), the first book of African-American folklore written by an African American, she returned to her native Florida and to New Orleans to record stories and sermons, blues and work songs, children’s games, courtship rituals, and formulas of voodoo doctors. This classic work is presented here with the original illustrations by the great Mexican artist Miguel Covarrubias.Tell My Horse (1938), part ethnography, part travel book, vividly recounts the survival of African religion in Jamaican obeah and Haitian voodoo in the 1930s. Keenly alert to political and intellectual currents, Hurston went beyond superficial exoticism to explore the role of these religious systems in their societies. The text is illustrated by twenty-six photographs, many of them taken by Hurston. Her extensive transcriptions of Creole songs are here accompanied by new translations.A special feature of this volume is Hurston’s controversial 1942 autobiography, Dust Tracks on a Road. With consultation by Henry Louis Gates, Jr., it is presented here for the first time as she intended, restoring passages omitted by the original because of political controversy, sexual candor, or fear of libel. Included in an appendix are four additional chapters, one never published, which represent earlier stages of Hurston’s conception of the book.Twenty-two essays, from “The Eatonville Anthology” (1926) to “Court Order Can’t Make Races Mix” (1955), demonstrate the range of Hurston’s concerns as they cover subjects from religion, music, and Harlem slang to Jim Crow and American democracy.The chronology of Hurston’s life prepared for this edition sheds fresh light on many aspects of her career. In addition, this volume contains detailed notes and a brief essay on the texts.LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

“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 SmithOne 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.

"I have been in Sorrow's kitchen and licked out all the pots. Then I have stood on the peaky mountain wrapped in rainbows with a harp and a sword in my hands." First published in 1942 at the crest of her popularity, this is Zora Neale Hurston's unrestrained account of her rise from childhood poverty in the rural South to prominence among the leading artists and intellectuals of the Harlem Renaissance. Full of wit and wisdom, and audaciously spirited, Dust Tracks on a Road offers a rare, poignant glimpse of the life -- public and private -- of a premier African-American writer, artist, anthropologist and champion of the black heritage.

New York's Harlem, U.S.A.'s largest Negro community, is a city within a city: an amazing place of beauty and squalor, heaped-up hopes and despairs. Out of Harlem comes a constant flow of legend, music and picturesque language which has deeply influenced American life. Miss Hurston has for many years studied the curious and colorful argot of Harlem which has enriched the American vocabulary. Here she offers a sketch of Harlem life couched in Harlemese, together with a glossary of this slang based on her research.--preface.

Love is lak de sea. It’s uh movin’ thing, but still and all, it takes its shape from de shore it meets, and it’s different with every shore.”—Ch. 20.In the beginning, there was Nanny. Nanny knew what it meant to be a slave to men. And Nanny had a daughter. She saw what happened to her, how she chose to escape pain in oblivion. And Nanny was scared. She was so scared that she wanted to prevent the same thing from happening to her daughter’s daughter, even if it meant that she had to force her grandchild to be unhappy. As long as she was unhappy in a different, secure way, with an old and stable man by her side.That is the background of Janie Crawford’s story. She is in her early forties, and starts telling a friend her life story in beautiful, colloquial language. And what a life it is! So common and typical, and yet individually painful and loving.—Lisa