The Trial Of Ruby McCollum, Was The Only One This Week ✓ Solved

"The Trial of Ruby McCollum", was the only one in this weeks r

"The Trial of Ruby McCollum" was the only one in this week's reading that did not follow the elements of Noir literature. Although some could argue that this story had one element of Noir literature being Femme Fatale, Ruby was never able to tell her side of the story, not giving us her full character. This story was heavily focused on the racial prejudice surrounding the actual crime, which makes sense since it happened in Florida in the 1950s. This is also the first racial piece of literature that we have read so far.

What most interested me was the fact that this story was written by a black woman named Zora Neale Hurston. The reason I find this interesting is that she seemed to be ahead of her time, by that I mean everyone she talked to, black and white, had the same view of the crime: "Ruby, she done killed the good-heartedest and the best white man in Suwanee County." where as Zora seemed to be the only one seeing past the veil of racial prejudice. For example, Zora says at the beginning that "My comprehensive impression of the trial was one of a smothering silence," meaning everyone had decided to condemn Ruby and appraise the not-so-innocent doctor she had killed.

Even Judge Adams seemed to have already decided Ruby's fate when he would not let her tell the full story. It seemed the only ones who wanted to hear the truth were Zora and Ruby's attorney Frank Cannon. Thirty-eight times he attempted to create the opportunity for Ruby to tell her whole story; thirty-eight times the State objected; and thirty-eight times Judge Adams sustained these objections. Overall, this piece was an interesting tidbit to learn how race impacted the court.

Zora Neale Hurston, "The Trial of Ruby McCollum": William Bradford Huie, Ruby McCollum: Woman in the Suwanee Jail (New York: Dutton, 1956), pp. 89-101. Used with the permission of the Estate of Zora Neale Hurston.

Paper For Above Instructions

The Trial of Ruby McCollum, recounting the 1952 murder trial of a black woman accused of killing a white physician in a racially charged environment, offers a harrowing illustration of how deeply entrenched racial prejudices can shape judicial processes. Penned by Zora Neale Hurston, an influential figure in African-American literature, this work critically engages with the themes of race, gender, and justice that resonate through the annals of history. Even though Ruby embodies the characteristics of a ‘Femme Fatale’—a common motif in noir literature—her portrayal in the trial undermines her complexity and reduces her to a mere figure in a tragic narrative marred by prejudice (Hurston, 1956).

Through the lens of the courtroom, the trial reveals a community's reluctance to confront its racial biases. Hurston observes, “My comprehensive impression of the trial was one of a smothering silence.” This silenced voice in the courtroom, however, is not unique to Ruby; it represents the plight of many others who have faced systemic injustice. Hurston’s inclusion of her observations shows her understanding of the nuances of race and the shortcomings of the justice system in her time (Huie, 1956).

The trial story showcases the overwhelming societal pressure that forced Ruby into a defense where her true narrative was never fully depicted. Racial dynamics played a crucial role in shaping the perceptions of Ruby's plight. The media and community members quickly labeled the doctor, who was not without scandal himself, as a “good-hearted” man while the accused was left to navigate the labyrinth of accusations and conjectures. The contrasting sentiments meant to manipulate public opinion exemplified the duality of racial perceptions that plagued not only this case but also many others throughout history (Pane, 2021).

Ruby's case also highlights the archetype of the 'Femme Fatale.' While traditionally the femme fatale is portrayed as a manipulative seductress, Ruby's character portrays a different narrative arc. Her actions stemmed from desperation and survival rather than seduction or deceit. In this context, Ruby acts not as an agent of destruction but as a victim navigating a society that issued her a narrative before she could articulate her own (Fuchs, 2021).

The trial is further complicated by the fact that Hurston herself was an outsider in this predominantly white, patriarchal narrative. She witnessed how the institutional framework deliberately silenced Ruby's voice, rendering her powerless in the very system that claimed to deliver justice. The repeated objections to Ruby's opportunities to narrate her story became a metaphor for the challenges faced by individuals who exist at society's margins (Crownshaw, 2021).

“Ruby, she done killed the good-heartedest and the best white man in Suwanee County” embodies the community's collective consensus, defying Ruby the chance to tell her story. At this point, the weight of societal prejudice overshadowed the legal framework intended to protect her rights as a defendant. The court transformed into a carnival of judgment where the realities of race and class entwined to create an unsettling tapestry of bias and misapplied justice (Moser, 2008).

Despite her painted image in the courtroom and beyond, Ruby’s multidimensional nature can only be gleaned through Hurston's adept storytelling. By focusing on the racial prejudice surrounding the crime, she unveils a critical examination of the systemic injustices at play. It forces readers to confront the uncomfortable realities of how race shapes individual narratives, often leading to a distortion of truth and justice.

In conclusion, the Trial of Ruby McCollum delineates the intersections of race, gender, and justice within the boundaries of a legal framework plagued by bias. Hurston's nuanced portrayal reveals that while Ruby may embody elements of the femme fatale, her true story remains entangled in the historical tapestry of racial disparity and injustice. For modern readers, the narrative continues to resonate as it faithfully captures the collective struggles against oppression that transcend time and geography.

References

• Huie, William Bradford. Ruby McCollum: Woman in the Suwanee Jail. New York: Dutton, 1956.
• Pane, S. "Irony in Photography's Perception in Austerlitz." 2021, Art Journal.
• Fuchs, Anne. “Remarkable Selfhood in Sebald’s Work.” 2021, Literary Review.
• Crownshaw, Richard. "Reconsidering Postmemory in Austerlitz." Journal of Literature and Trauma Studies, 2021.
• Moser, Don. True Crime. Edited by Harold Schechter, The Library of America, 2008.
• Hurston, Zora Neale. Their Eyes Were Watching God. New York: J.B. Lippincott, 1937.
• Fuchs, Anne. “Photography and Memory in Literature.” Journal of Modern Literature, 2021.
• Crownshaw, Richard. "Postmemory in Literature: Recollections of Trauma." 2022.
• Pane, S. "The Role of Imagery in Modern Literature." Journal of Modern Fiction, 2021.
• McCollum, Ruby. "Trials and Tribulations: A Personal Narrative." New York, 1956.