Ellison, Wright, and Alain Locke disliked this novel, but it has become a classic at least in part because of its unique deployment of free indirect discourse in the story Janie tells Pheoby of her life in three parts. Janie famously moves “from object to subject” in the process, and the last line of the novel is “She called her sould to come and see” 193. Barbara Johnson claims it solves some narrative issues of Jakobson’s conflict between metaphor (universalizing totality) and metonymy (the repetition and renaming of the particular). I don’t have any recent notes on this novel, so I’m going to publish some information from Wikipedia…
The main character, an African-American woman in her early forties named Janie Crawford, tells the story of her life and journey via an extended flashback to her best friend, Pheoby, so that Pheoby can tell Janie’s story to the nosy community on her behalf. Her life has three major periods corresponding to her marriages to three very different men.
Nanny, Janie’s grandmother, was a slave who became pregnant by her owner and gave birth to a daughter, Leafy. Though Nanny tries to create a good life for her daughter, Leafy is raped by her school teacher and becomes pregnant with Janie. Shortly after Janie’s birth, Leafy begins to drink and stay out at night. Eventually she runs away, leaving Janie with Nanny. Nanny transfers all the hopes she had for Leafy to Janie. When Janie is sixteen, Nanny sees her kissing a neighborhood boy, Johnny Taylor, and fears that Janie will become a “mule” to some man. Nanny arranges for Janie to marry Logan Killicks, an older man and farmer who is looking for a wife to keep his home and help on the farm. Although Janie is not interested in marriage at that time, her grandmother wants her to have the kinds of things she never had the chance to have, and by marrying Logan Killicks Janie’s grandmother thinks it will give her the opportunity to make this possible. Janie has the idea that marriage must involve love, forged in a pivotal early scene where she sees bees pollinating a pear tree, and believes that marriage is the human equivalent to this natural process [think Beloved and the turtles!]. Logan Killicks, however, wants a domestic helper rather than a lover or partner and feels Janie does not do enough around the farm and she is ungrateful. Janie runs off with the glib Jody (Joe) Starks, who takes her to Eatonville.
Starks arrives in Eatonville to find the residents devoid of ambition, so he arranges to buy more land from the neighboring landowner, hires some local residents to build a general store for him to own and run, and the people of the town appoint him mayor. Janie soon realizes that Joe wants her as a trophy wife. He wants the image of his perfect wife to reinforce his powerful position in town, as he asks her to run the store but forbids her from participating in the substantial social life that occurs on the store’s front porch.
After Starks passes away, Janie finds herself financially independent and beset with suitors, some of whom are men of some means or have prestigious occupations, all of whom she turns down. She meets a young drifter and gambler named Vergible Woods who goes by the name of Tea Cake. She falls in love with Tea Cake after he plays the guitar for her. She sells the store and the two head to Jacksonville and get married, only to move to the Everglades egion (“the muck”) where they find work planting and harvesting beans. While their relationship has its ups and downs, including mutual bouts of jealousy, Janie realizes she now has the marriage with love that she had wanted.
The area is hit by the great hurricane. Tea Cake is bitten by a rabid dog while saving Janie from drowning. He contracts the disease himself. He ultimately tries to shoot Janie with his pistol, but she shoots him with a rifle in self-defense. She is charged with murder. At the trial, Tea Cake’s black, male friends show up to oppose her, while a group of local white women arrive to support her [think bell hooks!]. The all-white jury acquits Janie, and she gives Tea Cake a lavish funeral. Tea Cake’s friends forgive her, and they want her to remain in the Everglades. However, she decides to return to Eatonville. As she expected, the residents are gossiping about her.
- In Maria J. Johnson’s article “‘The World in a Jug and the Stopper in [Her] Hand’: Their Eyes Were Watching God as Blues Performance”, she states that Hurston’s novel takes a similar structure and aesthetic to blues culture [if jazz is masculine?]. Johnson also shows how the contrast of Hurston’s images, such as the pleasure and pain dynamic of the bee, can be seen in songs by singers like Bessie Smith.
- The article, “The Cognitive Construction of the Self in Hurston’s Their Eyes Were Watching God” by Patrick S. Bernard highlights the connection between the construction of self and cognition in Hurston’s novel. According to Bernard, cognition is the inner essence of an individual that embodies the idea of “thinking, seeing, speaking, and knowing,” but is often determined by one’s exterior environment. Janie, the protagonist, uses her cognitive skills in order to find her identity and throughout the novel develops her cognition further. While Janie is living in a sexist society she continues to rise above her opposition specifically that of her three husbands. Bernard demonstrates this,
In a conversation with Jody, Janie defends ‘womenfolk,’ disagreeing with the sexist claim that God made men “different” because they turn “out so smart” (70). When she states that men “don’t know half as much as you think you do,” Jody interrupts her saying, ‘you getting too moufy Janie … Go fetch me de checker-board and de checkers’ (70-71) so that he and the other men could play (Bernard 9).
- The comment from Jody, Janie’s second husband, attempts to suppress her voice and manipulate her thoughts. Rather than acting submissive to Jody, Janie for a brief moment contends with Jody by telling him how men misunderstand women. Jody fears that Janie’s thinking will lead to her gaining more knowledge and naturally to speaking her mind, eventually leading to Janie achieving the power of knowledge to recognize and change the mistreatment and unfairness she has been receiving. Bernard proposes the idea that Jody’s relationship with Janie represents society’s assumption that women are of limited cognition. This assumption positions women in subservient roles that limit their ways of thinking, speaking, and seeing.
- In addition to bringing up Janie’s relationship with Jody, Bernard emphasizes how her relationships with her other husbands influenced her cognition. He points out the fact that Logan Killicks, Janie’s first husband, mistreated her by severing any beginning form of self construction by treating her as an infant [think Friedan and de Beauvoir!]. Bernard also brings forth the idea that Janie’s construction of selfhood blossoms when Tea Cake, her third husband, allows her to participate in experiences unimaginable to her. While Logan Killicks gives her no opportunity of expressing herself, Jody overpowers her expressive voice; Tea Cake allows her construction of self to mature.link between self construction and cognition. Bernard’s main point therefore is that self-construction is influenced by cognition, that is, knowing, thinking, seeing and speaking are important to the construction of self in Zora Neale Hurston’s novel.
- In “The Hierarchy Itself: Hurston’s Their Eyes Were Watching God and the Sacrifice of Narrative Authority”, Ryan Simmons argues that Hurston made a statement against models of authority that supplant an oppressive system with other oppressive systems and offered an alternative. By models of authority, Simmons means the narrative voice of the author and Janie’s narrative voice. Hurston represented the different ideologies of Booker T. Washington and W. E. B. Du Bois through the characters of Logan Killicks and Joe (“Jody”) Starks. Like Washington, Logan models the path of “gradual progress” that wouldn’t threaten the white-dominated sphere of power and Hurston presents his practices as a tradeoff between liberty and modest prosperity. Joe models the path advocated by Du Bois, which is one of assertion of dignity and less compromise. But the issue shown by Joe’s eventual isolation from the community dialogue he helped establish and Janie’s overpowering of him through a usurpation of authority, Hurston shows that the weakness with Joe’s approach is that it mirrors that of white suppression. Instead, Hurston introduces a third way of achieving self-autonomy through Tea Cake. He represents an independence from reliance on communal validation, and instead serves as a mirror for Janie to discover her narrative power. In relation to the author’s narrative power, Tea Cake is the epitome of a good reader, one that is receptive to the transformative message of the text. Language is the understanding and sharpening of one’s identity while communication comes second. In Hurston’s innovative narrative, she is attempting to fulfill the “ideal narrative”, which is one that nurtures and changes both the reader and the author. [think of Banjo, dialectic, Adorno]