In her new study, Zora Neale Hurston: A Biography of the Spirit , Deborah Plant conjures up a new vision of Hurston, complementing existing biographies by offering a mapping of the writer's spiritual and artistic vision. Interbraiding known facts with new readings and a shrewd understanding of Hurston's philosophical, religious, and intellectual bricolage , Plant's eloquent and convincing study reminds us of the complexity, curiosity, and boundless energy of this protean writer, who now, more than ever occupies the vital center of African American, women's, Southern, and national literatures.
Plant relies on previous biographies as well as interviews and correspondence with Hurston's friends and colleagues, to offer a portrait of a woman with an eclectic and searching sense of the spiritual in everyday life. Plant also explores the religious images in Hurston's work, the characters based on her own father, a preacher, and Hurston's understanding of the Baptist Church as well as other beliefs, including the voodoo practices of the West Indies. Hurston's appreciations of the transcendent in common people, her curiosity, and her own self awareness blended into an appreciation of the soul source that guided her life and her work. This is a compelling look at another side of one of the most significant literary figures of the Harlem Renaissance and American literature.
In this compelling literary biography, Deborah Plant offers new insight into that powerful foremother of modern black women writers, Zora Neale Hurston. Drawing on and synthesizing the work of previous chroniclers of Hurston's life, Plant delineates Hurston's spiritual resistance to and triumphs over the material and social obstacles that have often defeated less heroic individuals. Plant focuses Hurston's life and work through the lens of her spirituality. The result is an original and nuanced study of the many facets of Hurston's life and career-fiction writer, anthropologist, political analyst-which will delight readers and become a mainstay of future Hurston scholarship.
Dr. Plant continues to exhibit her profound and thorough understanding of the complete Zora Neale Hurston and with this, her most recent publication, has established herself as the national foremost Hurston scholar.
A biography of writer Zora Neale Hurston, this volume focuses on her spirituality as a driving force and how it was reflected in her academic career, fiction and nonfiction, sociopolitical activity, and professional career. Plant (Africana studies, U. of South Florida) also discusses her spiritual legacy in institutions, works, curricula, performances, and festivals created in Hurston's honor. She considers her spiritual views and beliefs and her life and career in this context, drawing on Akasha Gloria Hull's concept of spirituality as containing the following aspects as a means for taking part in struggle: political and social awareness, eclectic spiritual consciousness, and enhanced creativity. The volume is for both general readers and scholars.
Reference and Research Book News
[This work] concentrates more on Hurston's art and less on her life than does Valerie Boyd's Wrapped in Rainbows: The Life of Zora Neale Hurston (2003). Plant's approach, which is accessible without being simplistic, complements that of Carla Kaplan in her eponymous edited collection of Hurston's letters (2003). Plant vaults between levels of formality, but this ingenious method bears fascinating fruit in her bravura account of the plot of Their Eyes Were Watching God , told, as in the novel, from Janie Crawford's point of view. Plant takes particular note of Hurston's unpublished work on Herod the Great , long neglected by Hurston scholars. Though her treatment of that work is a bit diffuse, Plant convincingly demonstrates the Herod project's pertinence, particularly in any revision of Hurston's later years. Plant's explanation of Hurston's alleged improvidence—that she believed money was to be spent to gain experience—gives insight into Hurston's creative soul. Also valuable are Plant's interviews of readers and advocates of Hurston's work, material that shows the reader why Hurston still resonates in the 21st century. Recommended. Lower-division undergraduates and general readers.
[This work] concentrates more on Hurston's art and less on her life than does Valerie Boyd's Wrapped in Rainbows: The Life of Zora Neale Hurston (2003). Plant's approach, which is accessible without being simplistic, complements that of Carla Kaplan in her eponymous edited collection of Hurston's letters (2003). Plant vaults between levels of formality, but this ingenious method bears fascinating fruit in her bravura account of the plot of Their Eyes Were Watching God, told, as in the novel, from Janie Crawford's point of view. Plant takes particular note of Hurston's unpublished work on Herod the Great, long neglected by Hurston scholars. Though her treatment of that work is a bit diffuse, Plant convincingly demonstrates the Herod project's pertinence, particularly in any revision of Hurston's later years. Plant's explanation of Hurston's alleged improvidence—that she believed money was to be spent to gain experience—gives insight into Hurston's creative soul. Also valuable are Plant's interviews of readers and advocates of Hurston's work, material that shows the reader why Hurston still resonates in the 21st century. Recommended. Lower-division undergraduates and general readers.
[This work] concentrates more on Hurston's art and less on her life than does Valerie Boyd's Wrapped in Rainbows: The Life of Zora Neale Hurston (2003). Plant's approach, which is accessible without being simplistic, complements that of Carla Kaplan in her eponymous edited collection of Hurston's letters (2003). Plant vaults between levels of formality, but this ingenious method bears fascinating fruit in her bravura account of the plot of Their Eyes Were Watching God, told, as in the novel, from Janie Crawford's point of view. Plant takes particular note of Hurston's unpublished work on Herod the Great, long neglected by Hurston scholars. Though her treatment of that work is a bit diffuse, Plant convincingly demonstrates the Herod project's pertinence, particularly in any revision of Hurston's later years. Plant's explanation of Hurston's alleged improvidence—that she believed money was to be spent to gain experience—gives insight into Hurston's creative soul. Also valuable are Plant's interviews of readers and advocates of Hurston's work, material that shows the reader why Hurston still resonates in the 21st century. Recommended. Lower-division undergraduates and general readers.
Plant relies on previous biographies as well as interviews and correspondence with Hurston's friends and colleagues, to offer a portrait of a woman with an eclectic and searching sense of the spiritual in everyday life. Plant also explores the religious images in Hurston's work, the characters based on her own father, a preacher, and Hurston's understanding of the Baptist Church as well as other beliefs, including the voodoo practices of the West Indies. Hurston's appreciations of the transcendent in common people, her curiosity, and her own self awareness blended into an appreciation of the soul source that guided her life and her work. This is a compelling look at another side of one of the most significant literary figures of the Harlem Renaissance and American literature.
Radiant light, sun, and ancestral light are the central metaphors shining through this latest biography of Zora Neale Hurston, author of Their Eyes Were Watching God (1937). Plant (Africana studies, Univ. of South Florida; Every Tub Must Sit on Its Own Bottom: The Philosophy and Politics of Zora Neale Hurston ) adds new dimension to the body of biographical literature already published, earnestly portraying Hurston's vitality and spirituality, characteristics that enabled her to achieve innumerable accomplishments after a life at odds growing up in the Jim Crow South. The tenacious Hurston suffered familial abandonment, successive homelessness, intractable poverty, public humiliation, and eventual isolation. Yet she was a furnace of self-empowerment and forged alliances with such fellow notable writers as Fanny Hurst and Langston Hughes. Plant's well-documented portrayal of Hurston the woman, the anthropologist, the folklorist, the dramatist, the novelist, and the bona fide Voodoo Queen draws from and builds on established Hurston studies, the writer's 1942 autobiography, Dust Tracks on a Road ; and newly discovered material. Among the extras are statements from college students on Hurston's ongoing influence and extensive notes. An inspiring read recommended for all libraries.
Part reference book, part intellectual biography, part passionate defense, this release in the Women Writers of Color series concentrates more on Hurston's art and less on her life than does Valerie Boyd's Wrapped in Rainbows: The Life of Zora Neale Hurston (2003). Plant's approach, which is accessible without being simplistic, complements that of Carla Kaplan in her eponymous edited collection of Hurston's letters (2003). Plant vaults between levels of formality, but this ingenious method bears fascinating fruit in her bravura account of the plot of Their Eyes Were Watching God, told, as in the novel, from Janie Crawford's point of view. Plant takes particular note of Hurston's unpublished work on Herod the Great , long neglected by Hurston scholars. Though her treatment of that work is a bit diffuse, Plant convincingly demonstrates the Herod project's pertinence, particularly in any revision of Hurston's later years. Plant's explanation of Hurston's alleged improvidence—that she believed money was to be spent to gain experience—gives insight into Hurston's creative soul. Also valuable are Plant's interviews of readers and advocates of Hurston's work, material that shows the reader why Hurston still resonates in the 21st century. Recommended. Lower-division undergraduates and general readers.” —Choice Library Jourbanal Booklist Reference & Research Book News
