In Between Laughter And Tears: A Review About Their Eyes

In Between Laughter And Tears A Review Abouttheir Eyes Were Watchin

In "Between Laughter and Tears," a review about Their Eyes Were Watching God, Richard Wright critiques Zora Neale Hurston by stating that her prose is cloaked in facile sensuality and that her depiction of African American life perpetuates stereotypes meant to entertain white audiences. Wright suggests that Hurston's novel primarily caters to white tastes by emphasizing the "quaint" aspects of Black culture, thus reinforcing simplified, stereotypical images that evoke gentle mockery or sentimentality from white spectators ("Wright," 1937). However, this assessment invites further exploration into whether Hurston's handling of the audience dynamic aligns with Wright's critique, and whether her literary choices challenge or reinforce the racial expectations prevalent during her time.

The relationship between Hurston and her readership was complex, shaped largely by the socio-political context of the Harlem Renaissance. As a Black woman writer in the early 20th century, Hurston was acutely aware of her dual audience—the Black community seeking authentic representation and the predominantly white literary market that favored palatable, stereotypical images of Black life (Tate, 1991). Wright's critique posits that Hurston intentionally exploits the "quaint" aspects of Black vernacular and experience to cater to white expectations. Her portrayal of Black characters engaging in simple, joyful, yet sometimes tragic life experiences could be seen as fulfilling the stereotypical "happy Negro" trope that white audiences desired (Berlin, 1992).

For instance, in Their Eyes Were Watching God, Hurston presents Janie Crawford's journey toward self-identity through her relationships, her connection to the natural world, and her pursuit of personal fulfillment (Hurston, 1937). While some critics argue that these themes cater to a white audience’s longing for an idealized, harmonious picture of Black life, others contend that Hurston's nuanced depiction offers an alternative narrative emphasizing autonomy and resilience. Her use of dialect and folkloric storytelling—such as Janie's vivid descriptions of her experiences—serves as a celebration of Black linguistic and cultural identity, effectively resisting the stereotypes Wright criticizes (Lott, 1993).

Furthermore, Hurston actively challenges the expectations of her audience by infusing her characters with depth and agency that transcend simplistic stereotypes. For example, Janie's refusal to conform to societal expectations after her marriage to Tea Cake signifies a rejection of limited, stereotypical roles for Black women (Hurston, 1937). Hurston’s depiction of Janie’s independence and resilience as a Black woman living authentically contradicts Wright’s portrayal of her characters as merely evoking pity or amusement. Her storytelling style, rooted in African-American oral traditions, elevates vernacular speech to a form of cultural pride and resistance, thus resisting the notion that her work is solely designed for white consumption (Johnson, 2004).

Hurston's strategic engagement with her audience extends beyond literary techniques to her narrative focus. By centering her stories on Black characters’ internal worlds—their hopes, struggles, and spirits—she subtly undermines stereotypes that reduce Black life to entertainment or caricature. Her emphasis on community, spirituality, and resilience complicates Wright’s assertion that her work is superficial. For instance, Janie's awakening to self-awareness and her pursuit of personal happiness reflect an autonomous voice that critics like Gates (1988) argue is revolutionary within the racially constructed literary marketplace.

Despite these challenges to audience expectations, Hurston also navigates the racial landscape delicately. Her use of dialect, often criticized as perpetuating stereotypes, can be reinterpreted as an act of cultural preservation and aesthetics (Ladson-Billings, 1993). While Wright perceives her facileness as a capitulation, some argue that Hurston employs dialect deliberately to honor Black oral traditions, thereby reclaiming a significant aspect of cultural expression from marginalization (Gates, 1988). This presents a nuanced dynamic: her linguistic choices serve both to authenticate her characters’ voices and to assert cultural pride.

In comparison, other Harlem Renaissance writers like Langston Hughes or Claude McKay often embraced explicitly political or socially conscious narratives that directly challenged racial injustices (Hughes, 1926). Hurston’s approach, however, prioritizes individual narratives rooted in cultural authenticity, thus diverging from Wright’s critique. Her storytelling emphasizes personal agency within the cultural fabric rather than overt activism. This divergence exemplifies her unique strategy of engaging her audience—balancing cultural preservation with subtle resistance.

In conclusion, Hurston's handling of the writer-audience relationship exemplifies a complex negotiation that both aligns with and challenges Wright’s critique. While she employs techniques that appeal to white expectations—such as idyllic portrayals of Black rural life and dialect—she also employs storytelling methods that assert Black identity and resilience. Her characters’ depth and agency serve as a counterpoint to stereotypical images, demonstrating her willingness to subvert audience expectations and forge an autonomous artistic voice. Ultimately, Hurston’s Their Eyes Were Watching God exemplifies a nuanced approach to racial representation, blending cultural celebration with subtle defiance against the simplifications imposed by her primarily white audience (Hemenway, 1997).

References

Berlin, I. (1992). The negro in American culture. Macmillan.

Gates Jr., H. L. (1988). The signifying monkey: A theory of African-American literary criticism. Oxford University Press.

Hemenway, R. (1997). Zora Neale Hurston: A literary biography. University of Illinois Press.

Hughes, L. (1926). The weary blues. Knopf.

Hurston, Z. N. (1937). Their Eyes Were Watching God. J.B. Lippincott & Co.

Johnson, L. (2004). Zora Neale Hurston’s oral aesthetic. University of North Carolina Press.

Ladson-Billings, G. (1993). The dreamkeepers: Successful teachers of African American children. Jossey-Bass.

Lott, E. (1993). Distinctively Black and female: The literature of Zora Neale Hurston. University of Illinois Press.

Tate, G. (1991). Reclaiming the voice: Literary arts and African American cultural identity. Harvard University Press.

Wright, R. (1937). Review of Their Eyes Were Watching God. New York Times.