[Here, in "Mules and Men,"] is the high color of Color as a racial element in the American scene. And it comes neither from Catfish Row nor from a Harlem with a jazz tempo affected by the rhythm of Broadway to which contribute so many exotic strains newer to that scene than the African. In this book … [Hurston] has invited the outside world to listen in while her own people are being as natural as they can never be when white folks are literally present. This in an environment in the deep South to which the Negro is as native as he can be anywhere on this Western Continent….
[Hurston] has gone back to her native Florida village—a Negro settlement—with her native racial quality entirely unspoiled by her Northern college education. She has plunged into the social pleasures of the black community and made a record of what is said and done when Negroes are having a good gregarious time, dancing, singing, fishing, and above all, and incessantly, talking.
This is a free excerpt of 169 words. There are 490 words (approx.
2 pages at 300 words per page) in the full critical essay.
Read the rest of this Criticism with our Hurston, Zora Neale 1901?–1960: Critical Essay by H. I. Brock Access Pass.
