Best Selling Books by Zora Neale Hurston

This anthology gathers remarkable short stories, personal essays, and poems by African American women who wrote during the Harlem Renaissance-offering candid, deeply felt reflections on identity, race, and womanhood. Through their own words, these writers explore what it meant to navigate the 1920s and 1930s as Black women, confronting stereotypes, asserting individuality, and finding community. Approachable yet profound, this collection is ideal for classrooms, reading groups, and anyone interested in literature that shaped-and continues to shape-discussions of race, gender, and belonging. No matter what combination of experiences a reader brings to each piece in this volume, they are bound to be, on some level, enlightened. Essays: How it Feels to be Colored Me by Zora Neale Hurston / On Being Young-a Woman-and Colored by Marita O. Bonner / Some Notes on Color by Jessie Redmon Fauset / Black by Nellie R. Bright / The Pink Hat by Caroline Bond Day / I- by Brenda Ray Moryck / Why? by Lena Williams / The Task of Negro Womanhood by Elise Johnson McDougald. Poems: To a Dark Girl by Gwendolyn Bennett / Sybil Warns Her Sister by Anne Spencer / Goal by Mae V. Cowdery / Revelation by Blanche Taylor Dickinson / The Heart of a Woman by Georgia Douglas Johnson / The Black Finger by Angelina Weld Grimké / My Race by Helene Johnson.

"One of the most acclaimed artists of the Harlem Renaissance, Zora Neale Hurston was a gifted novelist, playwright, and essayist. Drawn from three decades of her work, this anthology showcases her development as a writer, from her early pieces expounding on the beauty and precision of African American art to some of her final published works, covering the sensational trial of Ruby McCollum, a wealthy Black woman convicted in 1952 for killing a white doctor. Among the selections are Hurston''s well-known works such as "How It Feels to be Colored Me" and "My Most Humiliating Jim Crow Experience." The essays in this essential collection are grouped thematically and cover a panoply of topics, including politics, race and gender, and folkloric study from the height of the Harlem Renaissance to the early years of the Civil Rights movement. Demonstrating the breadth of this revered and influential writer''s work, You Don''t Know Us Negroes and Other Essays is an invaluable chronicle of a writer''s development and a window into her world and time"--

Created by Harvard students for students everywhere, SparkNotes books contain complete plot summaries and analyses, key facts about the featured work, analysis of the major characters, suggested essay topics, themes, motifs, and symbols, and explanations of important quotations.

In 1927, Zora Neale Hurston went to Plateau, Alabama, just outside Mobile, to interview eighty-six-year-old Cudjo Lewis. Of the millions of men, women, and children transported from Africa to America as slaves, Cudjo was then the only person alive to tell the story of this integral part of the nation''s history. Hurston was there to record Cudjo''s firsthand account of the raid that led to his capture and bondage fifty years after the Atlantic slave trade was outlawed in the United States. In 1931, Hurston returned to Plateau, the African-centric community three miles from Mobile founded by Cudjo and other former slaves from his ship. Spending more than three months there, she talked in depth with Cudjo about the details of his life. During those weeks, the young writer and the elderly formerly enslaved man ate peaches and watermelon that grew in the backyard and talked about Cudjo''s past--memories from his childhood in Africa, the horrors of being captured and held in a barracoon for selection by American slavers, the harrowing experience of the Middle Passage packed with more than 100 other souls aboard the Clotilda, and the years he spent in slavery until the end of the Civil War. Based on those interviews, featuring Cudjo''s unique vernacular, and written from Hurston''s perspective with the compassion and singular style that have made her one of the preeminent American authors of the twentieth-century, Barracoon masterfully illustrates the tragedy of slavery and of one life forever defined by it. Offering insight into the pernicious legacy that continues to haunt us all, black and white, this poignant and powerful work is an invaluable contribution to our shared history and culture.--Publisher''s website.

"Maybe, now, we used-to-be black African folks can be of some help to our brothers and sisters who have always been white. You will take another look at us and say that we are still black and, ethnologically speaking, you will be right. But nationally and culturally, we are as white as the next one. We have put our labor and our blood into the common causes for a long time. We have given the rest of the nation song and laughter. Maybe now, in this terrible struggle, we can give something else—the source and soul of our laughter and song. We offer you our hope-bringer, High John de Conquer." Zora Neale Hurston (1891-1960) was an influential author of African-American literature and anthropologist, who portrayed racial struggles in the early 20th century American South, and published research on Haitian voodoo. Of Hurston''s four novels and more than 50 published short stories, plays, and essays, her most popular is the 1937 novel Their Eyes Were Watching God. Originally published in The American Mercury (1943).

The acknowledgment and admiration of fiction by women of the Harlem Renaissance is growing rapidly. Their stories encompass unique premises and perceptions and, taken as a whole, they balance the historically male-dominated perspectives in Harlem Renaissance literature. Their captivating narratives reveal insights and perspectives unique to the women who experienced the Harlem Renaissance. Through their presence, perseverance, and talent, these women played a crucial role in the historical progress of Black women’s literature. This volume—a combination of two ''Short-Take'' anthologies, plus 8 bonus stories—presents the best short stories by distinguished women writers, from those who have earned more widespread attention to those who haven’t yet but are just as deserving. This informed and comprehensive collection is a combination of the stories by women most admired during the Harlem Renaissance and those most studied since then. - 25 short stories by 25 distinguished writers. - Includes a list of all the short stories by women recognized in national Harlem Renaissance literary contests. * VOLUME 1 "Sanctuary" by Nella Larsen "Mary Elizabeth" by Jessie Redmon Fauset "Wedding Day" by Gwendolyn Bennett "Hope Deferred" by Alice Dunbar-Nelson "Spunk" by Zora Neale Hurston "The Typewriter" by Dorothy West "Drab Rambles" by Marita O. Bonner “Three Dogs and a Rabbit” by Anita Scott Coleman VOLUME 2 “To a Wild Rose” by Ottie B. Graham “Days” by Brenda Ray Moryck “There Never Fell a Night So Dark” by Marie Loise French "Letters" by Idabelle Yeiser “Masks” by Eloise Bibb Thompson “Bethesda of Sinners Run” by Maude Irwin Owens “The Foolish and the Wise” by Leila Amos Pendleton “Mammy” by Adeline F. Ries “Door-stops” by May Miller MORE STORIES "Black" by Nellie Rathbone Bright "The Pink Hat" by Caroline Bond Day "In Houses of Glass" by Ethel R. Clark "Goldie" by Angelina Weld Grimke “Lai-li” by Mae V. Cowdery "The Corner" by Eunice Hunton Carter "Subversion" by Edythe Mae Gordon "Two Gentlemen of Boston" by Florida Ruffin Ridley

The Sanctified Church is a collection of Hurston''s ground-breaking essays on Afro-American folklore, legend, popular mythology, and, in particular, the unique spiritual character of the Southern Black Christian Church. Along with preserving the customs, music, speech, and humor of rural Black America, The Sanctified Church introduces us to such extraordinary figures as Mother Catherine, matriarchal founder of a highly personal Voodoo Christian sect; Uncle Monday, healer, conjurer, and powerful herb doctor; and High John de Conquer, the trickster/shaman figure of freedom and laughter still honored in parts of rural Black America today. A pioneering ethnographer and folklore scholar, the great Zora Neale Hurston captured the exuberance, vitality and genius of Black culture with a vividness and authority unmatched by any other writer. (Back cover).

Do you dare to cross paths with ... An enchantress who can slip in and out of her skin, A man more evil than the devil, A skull who talks back, A pair of creepy feet that can walk on their own? Spooky, chilling, and fantastical, this collection of six scary tales will send shivers up your spine! The stories in the skull talks back have been selected from Every Tongue Got To Confess, Zora Neale Hurston''s third volume of folklore. Through Joyce Carol Thomas''s carefully adapted text and Leonard Jenkins''s arresting illustrations, the soulful, fanciful imaginations of ordinary folk will reach readers of all ages.

Zora Neale Hurston’s tragic 1926 play Color Struck is a thought-provoking commentary on colorism within the Black community. Set in Florida in 1900, Colour Struck begins on a Jim Crow train carriage. Barely making the train, Emma and John''s journey commences with an argument. Emma saw John speaking to a lighter-skinned Black woman, Effie, and was immediately jealous, assuming he was flirting. Throughout the play Emma continues to display animosity towards those with lighter skin, which often results in calamity. Exploring themes of colorism, self-destruction, and hatred, Zora Neale Hurston’s 1926 tragedy comments on intra-racial racism and warns of the adverse effects of harbouring hatred. Color Struck was first published in Fire!! magazine and won second prize in the Opportunity magazine’s contest for best play. Now republished in a new edition, Hurston’s play is not one to be missed by those with an interest in Harlem Renaissance literature.

GOLD ANNIVERSARY EDITIONTheir Eyes Were Watching God is a 1937 novel and the best known work by African-American writer Zora Neale Hurston. The novel narrates main character Janie Crawford''s "ripening from a vibrant, but voiceless, teenage girl into a woman with her finger on the trigger of her own destiny." As a young woman, who is fair-skinned with long hair, she expects more out of life, but comes to realize that people must learn about life ''fuh theyselves'' (for themselves), just as people can only go to God for themselves. Set in central and southern Florida in the early 20th century, the novel was initially poorly received, but today, it has come to be regarded as a seminal work in both African-American literature and women''s literature. TIME included the novel in its 2005 list of the 100 best English-language novels published since 1923.

Mule Bone is the only collaboration between Zora Neale Hurston and Langston Hughes, two stars of the Harlem Renaissance, and it holds an unparalleled place in the annals of African-American theater. Set in Eatonville, Florida--Hurston''s hometown and the inspiration for much of her fiction--this energetic and often farcical play centers on Jim and Dave, a two-man song-and-dance team, and Daisy, the woman who comes between them. Overcome by jealousy, Jim hits Dave with a mule bone and hilarity follows chaos as the town splits into two factions: the Methodists, who want to pardon Jim; and the Baptists, who wish to banish him for his crime. Included in this edition is the fascinating account of the Mule Bone copyright dispute between Hurston and Hughes that ended their friendship and prevented the play from being performed until its debut production at the Lincoln Center Theater in New York City in 1991--sixty years after it was written. Also included is "The Bone of Contention," Hurston''s short story on which the play was based; personal and often heated correspondence between the authors; and critical essays that illuminate the play and the dazzling period that came to be known as the Harlem Renaissance.

"Jonah''s Gourd Vine," Zora Neale Hurston''s first novel, originally published in 1934, tells the story of John Buddy Pearson, "a living exultation" of a young man who loves too many women for his own good. Lucy, his long-suffering wife, is his true love, but there''s also Mehaley and Big ''Oman, as well as the scheming Hattie, who conjures hoodoo spells to ensure his attentions. Even after becoming the popular pastor of Zion Hope, where his sermons and prayers for cleansing rouse the congregation''s fervor, John has to confess that though he is a preacher on Sundays, he is a "natchel man" the rest of the week. And so in this sympathetic portrait of a man and his community, Zora Neale Hurston shows that faith, tolerance, and good intentions cannot resolve the tension between the spiritual and the physical. That she makes this age-old dilemma come so alive is a tribute to her understanding of the vagaries of human nature.