front cover of Zora Neale Hurston
Zora Neale Hurston
Collected Plays
Jean Lee Cole and Charles Mitchell
Rutgers University Press, 2008

Though she died penniless and forgotten, Zora Neale Hurston is now recognized as a major figure in African American literature. Best known for her 1937 novel Their Eyes Were Watching God, she also published numerous short stories and essays, three other novels, and two books on black folklore.

            Even avid readers of Hurston’s prose, however, may be surprised to know that she was also a serious and ambitious playwright throughout her career. Although several of her plays were produced during her lifetime—and some to public acclaim—they have languished in obscurity for years. Even now, most critics and historians gloss over these texts, treating them as supplementary material for understanding her novels. Yet, Hurston’s dramatic works stand on their own merits and independently of her fiction.

            Now, eleven of these forgotten dramatic writings are being published together for the first time in this carefully edited and annotated volume. Filled with lively characters, vibrant images of rural and city life, biblical and folk tales, voodoo, and, most importantly, the blues, readers will discover a “real Negro theater” that embraces all the richness of black life.

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front cover of Zora Neale Hurston, Haiti, and Their Eyes Were Watching God
Zora Neale Hurston, Haiti, and Their Eyes Were Watching God
La Vinia Delois Jennings
Northwestern University Press, 2013

Zora Neale Hurston wrote her most famous novel, Their Eyes Were Watching God, while in Haiti on a trip funded by a Guggenheim fellowship to research the region’s transatlantic folk and religious culture; this work grounded what would become her ethnography Tell My Horse: Voodoo and Life in Haiti and Jamaica. The essays in Zora Neale Hurston, Haiti, and “Their Eyes Were Watching God” persuasively demonstrate that Hurston’s study of Haitian Voudoun informed the characterization, plotting, symbolism, and theme of her novel. Much in the way that Voudoun and its North American derivative Voodoo are syncretic religions, Hurston’s fiction enacts a syncretic, performative practice of reference, freely drawing upon Greco-Roman, Judeo-Christian, and Haitian Voudoun mythologies for its political, aesthetic, and philosophical underpinnings. Zora Neale Hurston, Haiti, and “Their Eyes Were Watching God” connects Hurston’s work more firmly to the cultural and religious flows of the African diaspora and to the literary practice by twentieth-century American writers of subscripting in their fictional texts symbols and beliefs drawn from West and Central African religions.

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