The writer had to leave for a while, but on her return in 1931, she continued meetings with Oluale for three months, and then wrote the story “Barracoon.” The ‘barracoon’ is a kind of enclosure, where the slaves were placed for selection. Olle told Hurston how he was captured when the slave trade had already been banned in the United States. There she met and interviewed Cudjo Lewis, formerly Oluale Kossola, born in a Yoruba family in West Africa. The writer worked on the story while traveling to Plateau, Alabama, in 1927 (Faktorovich, 2018). In this review, the author discusses a new non-fiction story by Zora Neale Hurston, “Barracoon.” The story is about a folk named Cudjo Lewis, who survived the Atlantic slave trade. “A Stunning New Release from the Timeless Zora Neale Hurston.” Pennsylvania Literary Journal, vol. Therefore, the author of the article summarizes that Caroline, who confronts her husband, has become a role model for black women of the south and north.įaktorovich, A. In the first two stories, the neighbors perceive the relationship of the main characters with interest and laughter, and here Mitchell’s friend feels “cold fear” when he sees Caroline walking down the street with an ax. However, these two alternative plots also differ in the general atmosphere and reaction of Harlem folks. She loudly scolds her husband for dishonesty while walking home with him down the street, and threatens to wrap Delphine’s clothes around her neck if she accidentally meets her. It is also noteworthy that in the stories “The Country in the Woman” and “She Rock,” the events unfold in New York City, and Caroline’s character is also a speaker. Therefore, Hurston demonstrates how the strength of the heroine’s character bursts out. However, this trait is characteristic, since, in this way, Hurston makes her character ‘speaking,’ in contrast to the first version, where Caroline carries out all her adventures in silence. The story ends with Caroline returning victoriously with Mitchell’s clothes hanging from an ax.Īccording to the author of the article, the plot of the first story differs from the second since, in the second version, Caroline says, “Good evening, gentlemen!” passing by neighbors. Passing villagers sitting on the steps by the store, she causes gossip: men place bets on who will win – husband or wife. She takes the ax and goes to the meeting place of Mitchell and Delphine, to give them a lesson. Caroline finds the package, and this becomes the last straw for her. The plot is based on the fact that Mitchell bought his “side gal,” a gift-wrapped shoebox. Further, in “The Eatonville Anthology,” the plot is distinguished by adding the narrator, who describes the villagers from a further distance. For example, in “Pants and Cal’line,” events unfold in a village in the south of the country, and Huston acts more like an anthropologist, describing familiar realities, introducing harsh rural humor and slang speech into the narrative canvas. The author of the article says that, despite minor plot variations, Caroline reflects the writer who copied this character from her aunt.įurther, the author of the article presents a detailed analysis of each story, highlighting the characteristic features. These stories depict the relationships between Caroline and her husband, who is cheating on her.
These are “Pants and Cal’line” (1926), “The Eatonville Anthology” (1926), “The Country in the Woman” (1927), and the “She Rock” (1933).
The following is an analysis of four novels by Zora Neale Hurston, featuring Caroline and her cheating husband Mitchell (or Oscar in the “She Rock”). In the introduction, the author of the article presents the story associated with the first visit to Zora Neale Hurston’s grave by Alice Walker.
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Alice Walker later admitted that she was overwhelmed by such a blatant lack of attention to her beloved writer and subsequently wrote a series of articles about her heritage. Therefore, Alice Walker added the following caption: “A Genius of the South, Novelist Folklorist, and Anthropologist” (Jones, 2016). Only the age and name were indicated on the tombstone – Zora Neale Hurston, 1901-1960 (Jones, 2016). However, in 1975, Alice Walker, another well-known feminist writer who considered Hurston to be her inspiration, stumbled upon her grave. 481-500.įor a long time, Zora Neale Hurston remained in the shadows, despite the highest quality of her prose. “Taking the Axe to Babylon: Zora Neale Hurston’s” Lost” Caroline Stories, Gender, Place, and Power.” The Mississippi Quarterly, vol.
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