Introduction to Racial Feminism in Zora Neal Hurston and Alice Walker
Although both writers, Zora Neal Hurston and Alice Walker, happen to be in different circumstances and contrasting times, there is a natural connection and relation in their writing in that both are African American women living in the United States where racial discrimination was very high until the Civil Rights Movement. Therefore, it is natural that both, Zora Neal Hurston and Alice Walker, should have written about the situation of women. As Zora Neal Hurston happens to have lived in earlier times than Alice Walker, the stream of the evolution of racial/African American feminism runs through both of them to get rid of the irresponsible African American men to total independence in Alice Walker. In her phenomenal work, Leith Mullings states, “Both [Zora Neal Hurston and Alice Walker] within … African American women continue to be defined in ways that deny their humanity” (Mullings). This is clear in Zora Neal Hurston’s story “Sweat” where she has presented the character of Delia Jones that refers to this “beyond it” (Mullings) situation. It is because the person who tortures her is not a white man or someone from another race, but her very husband from her African-American community, Sykes. Referring to Alice Walker and Patricia Hill Collins, she is of the view that it not only pervades society but also domestic affairs — the reason that b–k feminism started making headway in national politics and literature (Mullings). From Zora’s Delia Jones to Alice Walker’s mom, b–k feminism leaped fast from a simple desire for independence from male domination of the same race to complete independence. Whereas Zora presents a feministic point of getting rid of a patriarchal society, Alice Walker presents complete independence to supporting siblings.
“Sweat” and Zohra Neal Hurston
Delia Jones is Hurston’s protagonist in her story “Sweat” where she is working as a washerwoman, washing clothes for white people and earning her livelihood, because her husband Sykes is irresponsible to the point of sitting idle at home and torturing her for doing the labor. She used to collect “the soiled clothes” and “returned the clean things” (Hurston 568) until she has enough to make both ends meet. However, her husband is there only to make fun of her fear of snakes and uses his whip to this end. When Sykes is ready to pick up a fight with her, she is calm and silent and is not ready to pick up a fight. It is because she knows she has still a lot to do. He not only wants her to leave this but also wants her to serve him as if he is her master. She shows her feminist nature telling him that he has gone too far, but he again rebuffs and insults her. However, she has become stubborn. She blurts out strongly, “Mah sweat is done paid for this house” (571). She faces brutal thrashing but ultimately she stands up against him and he stops. This is an expression of feminism that she is bringing toward independence. The limit of her patience is crossed when he brings home a rattlesnake ostensibly with the purpose to kill her. However, it bites him instead of her, while she stands and sees him dying. This is a symbol of her getting independence. Commenting on the story, Marion C. Burk says, “Hurston makes subtle arguments to forward the cause of feminism — [by showing her that] protagonist Delia is a strong, independent woman who finds herself at the receiving end of a patriarchal society that strongly privileges men and denigrates women” (Burke) where Sykes has every right to beat her. Burke says Hurston is promoting b—k feminism in “Sweat.” However, this independence and b—k feminism in Alice Walker has reached its peak that both, Zora Neal Hurston and Alice Walker, seem projecting it.
Feminism in both, Zora Neal Hurston and Alice Walker
Mom in Alice Walker is clearly independent. She has made her best to educate her elder daughter Dee by sending her to a boarding school with the help of the local church. This “big boned woman with rough, man-working hands” (Walker 452) sharply contrasts with Delia Jones of Hurston who is weak to the point of only “humming a song in a mournful key” (Hurston 570). However, the mother of Maggie and Dee is strong as Sykes — the reason that she does not need a male figure like Sykes to torture here. She has responsibilities to fulfill and that she is fulfilling with great courage, stamina, and strength equal to men. According to Mullings, this is not the culture of resistance against male dominance, but the culture of identity where mom has made great efforts for her Dee to make a name so that she should have a clear identity (Mullings). Men are there in “Everyday Use” but their role is limited to only the past relics that they remember like Grandpa Jarrell and Grandpa Ezra and their shirts and uniforms (456). Her feminism does not allow her to truly exclude males from the female company. The males are very much there in the shape of Jimmy T and Assalamalakim but their role has been marginalized to the point of non-existence which started in Hurston in the shape of meekly seen the dying Sykes. The move that Hurston made through her character Delia Jones of getting rid of the patriarchal dominance completes in Alice Walker where male characters are left outside of the realm of the female struggle. Dee has full dominance over Hakim-e-Barbar, but at the same time, she has also changed because she knows that she would not find any other person better. The education brings awareness of the rights that the mother is confident to have given to Dee. Hence, she supports Maggie because she needs him, and not Dee who can take care of herself (459). She knows that she is independent and has to take care of her siblings. This show how both, Zora Neal Hurston and Alice Walker, project it in their respective stories.
Feminist Characters in Zora Neal Hurston and Alice Walker
However, here comes the disfigurement that Maggie has suffered from a fire that is a symbol of incidents. It could occur to women and how they can manage them. She knows that Maggie is totally dependent on her. However, she also knows that Dee has got Hakim-e-Barbar who can take care of not only herself but also her man. Therefore, she does not need any heritage that is after all the same — African-American though it comprises only quilts and pillows. The mother is aware that Maggie needs these things more than Dee. Therefore, she says at the end of the story that “I asked Maggie to bring me a dip of snuff” (491), and then she sits with her which is a collaboration. It is not only b—k feminism and women’s independence but it is also an indictment of the patriarchal society where men have no role while women have asserted themselves in every way in the household, taking care of the past as well as the future. In her essay, Marta Mazurek says “Walker turns to African American women’s everyday practices such as church singing, storytelling and taking care of gardens to trace expressions of their spirituality and art” which is clear from the role of the mother that she plays at home by doing everything (Mazurek).
Conclusion
Concluding the essay, it could be stated the evolution of African American feminism that started from Zora Neal Hurston in the shape of just avoiding male dominance to avoid torture reaches the point of total independence in the shape of the mother in Alice Walker. This then leads to the independence of the next generation like Dee, but at the same time, it has not ended as the mother has to take care of Maggie or those who cannot support themselves. This is the support of a woman for another woman with the intention that she should not face the same neglect with the race and cruelty outside of it. Therefore, this racial theme is very much clear and interrelated in both Zora Neal Hurston and Alice Walker.
Works Cited
- Burke, Marion C. “Zora Neale Hurston’s Sweat and the B—k Female Voice: The Perspective of the African-American Woman.” Women Studies. 4(5). 2012. pp. 1-2.
- Hurston, Zora Neal. “Sweat” Charters, Anne. The Story and Its Writer. New York: Bedford /St. Martins, 2014. 570-579.
- Mullings, Leith. “African American Women Making Themselves.” Columbia. Columbia. 2000. Web. 06 Aug. 2015.
- Mazurek, Marta. “African American Women and Feminism: Alice Walker’s Womanism as a Proposition of a Dialogic Encounter.” Lingua Mundi. Lingua Mundi. n. d. Web. 06 Aug. 2015.
- Walker, Alice. “Everday Use” Charters, Anne. The Story and Its Writer. New York: Bedford /St. Martins, 2014. 452-461
Relevant Questions about Zora Neale Hurston’s and Alice Walker’s Racial Feminism
- How did Zora Neale Hurston’s and Alice Walker’s respective works contribute to the evolution of racial feminism in the 20th century?
- In what ways did Zora Neale Hurston and Alice Walker address intersectionality within their writings, exploring both race and gender through their unique perspectives on racial feminism?
- Could you elaborate on the key differences in the racial feminist ideologies advocated by Zora Neale Hurston and Alice Walker, shedding light on their distinct literary and philosophical contributions to the movement?