Zora Neale Hurston (Bloom's Modern Critical Views), New Edition

Contents......Page 6
Editor’s Note......Page 8
Introduction......Page 10
The Folk Preacher and Folk Sermon Form in Zora Neale Hurston’s Dust Tracks on a Road......Page 16
Zora Neale Hurston: A Voice of Her Own/An Entertainment In Herself......Page 32
“‘ . . . Ah said Ah’d save de text for you’ ”: Recontextualizing the Sermon to Tell (Her)story in Zora Neale Hurston’s Their Eyes Were Watching God......Page 44
The Compelling Ambivalence of Zora Neale Hurston’sTheir Eyes Were Watching God......Page 60
Projecting Gender: Personification in the Works ofZora Neale Hurston......Page 74
From Mule Bones to Funny Bones: The Plays of Zora Neale Hurston......Page 98
Conflict and Resistance in Zora Neale Hurston’sMules and Men......Page 114
Zora Neale Hurston......Page 140
Hitting “A Straight Lick with a Crooked Stick”: Seraph on the Suwanee, Zora Neale Hurston’s Whiteface Novel......Page 152
Vodou Imagery, African-American Tradition and Cultural Transformation in Zora Neale Hurston’s Their Eyes Were Watching God......Page 168
Socioeconomics in Selected Short Stories of Zora Neale Hurston......Page 190
“The porch couldn’t talk for looking”: Voice and Visionin Their Eyes Were Watching God......Page 206
Chronology......Page 226
Contributors......Page 230
Bibliography......Page 234
Acknowledgments......Page 238
Index......Page 240