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I had a dream. I got everything I wanted. But when I wake up, I see. You with me. [Chorus] And you say, "As long as I'm here, no one can hurt you. Don't wanna lie here, but you can learn to. If I. Contained between the covers of books. Their family had more money, more horses, more slaves than any one else in the County, but the boys had less grammar than most of their poor Cracker neighbors. It was for this precise reason that Stuart and Brent were idling on the porch of Tara this April afternoon. They had just been.
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The song is Billie Eilish’s first single released after her debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?. The song was announced on November 11, 2019 via Twitter and Instagram stories. It had also been previously teased via Twitter on November 5th, 2019. On November 12, 2019, one day before its release, Eilish teased a 12-second snippet of the track via Instagram. A year before the track’s release, an eight second instrumental clip of “everything i wanted” could be heard in the background of one of Eilish’s Instagram stories. Pretty much that whole song is about me and Finneas’ relationship as siblings. We started writing it because I literally had a dream that I killed myself and nobody cared and all of my best friends and people that I worked with basically came out in public and said, like, “Oh, we never liked her.” In the dream, the fans didn’t care. The internet shit on me for killing myself, all this stuff, and it really did mess me up.
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Check Pages 1-50 of Their Eyes Were Watching God in the flip PDF version. Their Eyes Were Watching God was published by Benjamin Rochford on 2019-02-20. Find more similar flip PDFs like Their Eyes Were Watching God. Download Their Eyes Were Watching God PDF for free. Think about it, if you told him you had a sexual dream about him last night…cue sexting from his side. You tell him a meal was sexual…it’s not really an opening for something crude, but still a great way to change up the plutonic language to show a different dimension of yourself. 6. This jacket would look hot on you. Download I Too Had a Love Story by Ravinder Singh PDF Novel Free. I Too Had a Love Story is the fiction, thriller, romantic, literature, suspense, grief and loss novel which describes the story of a person who lost his love.
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'Fences' (Rose): "I been standing with you!" – Daily Actor.
Amul became a famous brand too. The book tells readers how Dr. Kurien developed the agri business with his keen vision, uplifted poor farmers and empowered women in villages. Read about a revolution in milk production and distribution like no other in the world, in this book. I Too Had A Dream was published by Rolibooks in 2005. I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self‐evident, that all men are created equal." I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners. Download Free PDF. Rick warren the purpose driven life. Family Yutuc. Download Download PDF. Full PDF Package Download Full PDF Package. This Paper. A short summary of this paper. 3 Full PDFs related to this paper. Read Paper. Download Download PDF. Download Full PDF Package.
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There are 60,000 free eBooks offered on Project Gutenberg, you can download most of them in PDF format without sign up. It allows searching and browsing books by spotlight search, bookshelf, frequently download, recently added, offline catalogs. Besides PDF format, these books are saved in a wide variety of formats, like HTML, ePub, Kindle, Plain Text, etc., you can export the eBooks and read on different devices. Moreover, users can send these books to Dropbox, Google Drive and OneDrive directly. The beauty of the black man is not just the outward appearance. It is the quality of his character. To Hughes and black Americans, the only difference between the white man and the black man was the color of the skin—not his intelligence, his personality, his character, or anything else. If given the same freedom and equality, the black man would rise above his circumstances just as the white man has.
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AFP via Getty Images. Monday marks the birthday of Martin Luther King Jr. Below is a transcript of his celebrated "I Have a Dream" speech, delivered on Aug. 28, 1963, on the steps of the Lincoln. Like I'm not just somebody's daughter. Could've been a nightmare. But it felt like they were right there. And it feels like yesterday was a year ago. But I don't wanna let anybody know. 'Cause everybody wants something from me now. And I don't wanna let 'em down. I had a dream. I got everything I wanted. A recording of "I Have a Dream" has been added to the United States National Recording Registry, and a line from the speech—"Out of a mountain of despair, a stone of hope"—is the inscription on the Martin Luther King, Jr. Memorial in Washington D.C. King opens by stating he is happy to join the audience in a demonstration of freedom.
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Langston Hughes wrote the poem " I, Too ," forty-five years before Dr. Martin Luther King spoke the words: "I have a dream that my four children will one day live in a nation where they will. I have a dream, a song to sing. To help me cope with anything. If you see the wonder of a fairy tale. You can take the future even if you fail. I believe in angels. Something good in everything I see. I believe in angels. When I know the time is right for me. I'll cross the stream – I have a dream. Uttering all through the farm buildings. Word had gone round during the day that old Major, the prize Middle White boar, had had a strange dream on the previous night and wished to communicate it to the other animals. It had been agreed that they should all meet in the big barn as soon as Mr. Jones was safely out of the way.
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The setting of the poem is “everywhere America” that believed that black men were not Americans or equal to the white men as human beings. Using your mobile phone camera, scan the code below and download the Kindle app.
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SUBSCRIBE!NOTICE: January 2013: SME (Sony Music Entertainment" has filed. Invisibility, I live rent-free in a building rented strictly to whites, in a section of the basement that was shut off and forgotten during the nineteenth century, which I discovered when I was trying to escape in the night from Ras the Destroyer. But that's getting too far ahead of the story, almost to the.
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16 Questions Show answers. Q. Other than "I have a dream", what other phrase does he repeat? Q. The main focus of Dr. King’s speech is. Q. “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character” (104-107).
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Report this resourceto let us know if it violates our terms and conditions. Our customer service team will review your report and will be in touch. “everything i wanted” sees Billie recalling a nightmare she experienced where she committed suicide and saw all her friends and fans turn their backs on her. The lyrics showcase Billie’s strong relationship with her brother FINNEAS, as he’s the one she goes to for support when dealing with these types of problems. Langston Hughes wrote the poem “I, Too,” forty-five years before Dr. Martin Luther King spoke the words: “I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.”.
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It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident, that all men are created equal." I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will.
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Hughes refers to the black man metaphorically as “the darker brother.” All Americans have something in common: their heritage. Unfortunately in the time that Hughes was writing, the black man was not considered an equal in any respect. He was not allowed to use the same restrooms, water fountains, or eat at the fountain bar in the drug store. In the home where he worked as a servant, handy man, or chauffeur, he was expected to eat in the kitchen with the rest of the help. I mean, the message behind the song is like […] my brother is my best friend, and I have these dreams and these things happen, and no matter what happens, he’s gonna always be there for me, and it’s the same the other way around. The narration is first person with the poet as the narrator. Hughes was considered the foremost of the Harlem Renaissance poets. When he wrote or spoke, the black man listened because what Hughes said was exactly what the black man felt. The poem is told in the present tense.
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I Too Had A Dream. In these memoirs, Dr Verghese Kurien, popularly known as the ‘father of the white revolution’, recounts, with customary candour, the story of his life and how he shaped the. 3. &. 4. &. Abba, I have a dream. Tabbed by: Petal Gahlot "I have a dream"–Abba "Capo 1st Intro:- G G | F F | C C | C F I have a dream C a song to sing F To help me cope C with anything G If you see the wonder C of a fairy tale G you can take the future C even if you fail G7 CHORUS: I believe in angels something good in F C everything I see G7.
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Check Pages 1-50 of The Alchemist by Paulo Coelho in the flip PDF version. The Alchemist by Paulo Coelho was published by on 2015-12-27. Find more similar flip PDFs like The Alchemist by Paulo Coelho. Download The Alchemist by Paulo Coelho PDF for free. Josephine Baker is remembered by most people as the flamboyant African American entertainer who earned fame and fortune in Paris in the 1920s. Yet through much of her later life, Baker became a vocal opponent of segregation and discrimination, often initiating one-woman protests against racial Read More(1963) Josephine Baker, "Speech at the March on Washington".
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Afterword, Selected Bibliography, and Chronology copyright © 1990 by Henry Louis Gates, Jr. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quota- tions embodied in critical articles and reviews. For information address HarperCollins Publishers, Inc., 10 East 53rd Street, New York, N.Y. 10022. First PERENNIAL LIBRARY edition published 1990. First Perennial Classics edition published 1998. Perennial Classics are published by HatperPerennial, a division of HarperCollins Publishers, Inc. Library of Congress Cataloging-in-Publication Data Hurston, Zora Neale. Their eyes were watching God a novel / Zora Neale Hurston ; with a foreword by Mary Helen Washington and an afterword by Henry Louis Gates, Jr.—lst Perennial Classics ed. p. cm. ISBN 0-06-093141-8 Includes bibliographical references. 1. Afro-American women—psychology—Fiction. 2. Self-realization- Fiction. 3. Psychological fiction. I. Title. PS3515.U789T5 1999 813'.52-dc21 98-45543 98 99 00 01 02 +/RRD-H 10 9 8 7 6 5 4 3 2 1To Henry Allen MoeTable of Contents FOREWORD BY MARY HELEN WASHINGTON ix THEIR EYES WERE WATCHING GOD AFTERWORD BY HENRY LOUIS GATES, JR. 1 SELECTED BIBLIOGRAPHY CHRONOLOGY 195 207 211Foreword In 1987, the fiftieth anniversary of the first publication of Their Eyes Were Watching God, the University of Illinois Press inserted a banner in the lower right-hand corner of the cover of their anniversary reprint edition: \"1987/50th Anniversary—STILL A BESTSELLER!\" The back cover, using a quote from the Satur- day Review by Doris Grumbach, proclaimed Their Eyes, \"the finest black novel of its time\" and \"one of the finest of all time.\" Zora Neale Hurston would have been shocked and pleased, I believe, at this stunning reversal in the reception of her second novel, which for nearly thirty years after its first publication was out of print, largely unknown and unread, and dismissed by the male literary establishment in subtle and not so subtle ways. One white reviewer in 1937 praised the novel in the Saturday Review as a \"rich and racy love story, if somewhat awkward,\" but had difficulty believing that such a town as Eatonville, \"inhabited and governed entirely by Negroes,\" could be real. Black male critics were much harsher in their assessments of the novel. From the beginning of her career, Hurston was severely criticized for not writing fiction in the protest tradition. Sterling Brown said in 1936 of her earlier book Mules and Men that it was not bitter enough, that it did not depict the harsher side of black life in the South, that Hurston made black southernx dap Foreword life appear easygoing and carefree. Alain Locke, dean of black scholars and critics during the Harlem Renaissance, wrote in his yearly review of the literature for Opportunity magazine that Hurston's Their Eyes was simply out of step with the more serious trends of the times. When, he asks, will Hurston stop creating \"these pseudo-primitives whom the reading public still loves to laugh with, weep over, and envy,\" and \"come to grips with the motive fiction and social document fiction?\" The most damaging critique of all came from the most well-known and influential black writer of the day, Richard Wright. Writing for the leftist magazine New Masses, Wright excoriated Their Eyes as a novel that did for literature what the minstrel shows did for theater, that is, make white folks laugh. The novel, he said, \"carries no theme, no message, no thought,\" but exploited those \"quaint\" aspects of Negro life that satisfied the tastes of a white audience. By the end of the forties, a decade dominated by Wright and by the stormy fiction of social realism, the quieter voice of a woman searching for self-realization could not, or would not, be heard. Like most of my friends and colleagues who were teaching in the newly formed Black Studies departments in the late six- ties, I can still recall quite vividly my own discovery of Their Eyes. Somewhere around 1968, in one of the many thriving black bookstores in the country—this one, Vaughn's Book Store, was in Detroit—I came across the slender little paperback (bought for 750) with a stylized portrait of Janie Crawford and Jody Starks on the cover—she pumping water at the well, her long hair cascading down her back, her head turned just slightly in his direction with a look of longing and expectancy; he, standing at a distance in his fancy silk shirt and purple suspenders, his coat over one arm, his head cocked to one side, with the look that speaks to Janie of far horizons. What I loved immediately about this novel besides its highForeword WO, xi poetry and its female hero was its investment in black folk tradi- tions. Here, finally, was a woman on a quest for her own identity and, unlike so many other questing figures in black literature, her journey would take her, not away from, but deeper and deeper into blackness, the descent into the Everglades with its rich black soil, wild cane, and communal life representing immersion into black traditions. But for most black women readers discovering Their Eyes for the first time, what was most compelling was the figure of Janie Crawford—powerful, articulate, self-reliant, and radically different from any woman character they had ever before encountered in literature. Andrea Rushing, then an instructor in the Afro-American Studies Department at Harvard, remembers reading Their Eyes in a women's study group with Nellie McKay, Barbara Smith, and Gail Pemberton. \"I loved the language of this book,\" Rushing says, \"but mostly I loved it because it was about a woman who wasn't pathetic, wasn't a tragic mulatto, who defied everything that was expected of her, who went off with a man without bothering to divorce the one she left and wasn't broken, crushed, and run down.\" The reaction of women all across the country who found themselves so powerfully represented in a literary text was often direct and personal. Janie and Tea Cake were talked about as though they were people the readers knew intimately. Sherley Anne Williams remembers going down to a conference in Los Angeles in 1969 where the main speaker, Toni Cade Bambara, asked the women in the audience, \"Are the sisters here ready for Tea Cake?\" And Williams, remembering that even Tea Cake had his flaws, responded, \"Are the Tea Cakes of the world ready for us?\" Williams taught Their Eyes for the first time at Cal State Fresno, in a migrant farming area where the students, like the char- acters in Their Eyes, were used to making their living from the land. \"For the first time,\" Williams says, \"they saw themselves in thesexii.6. Foreword characters and they saw their lives portrayed with joy.\" Rushing's comment on the female as hero and Williams's story about the joy- ful portrayal of a culture together epitomize what critics would later see as the novel's unique contribution to black literature: it affirms black cultural traditions while revising them to empower black women. By 1971, Their Eyes was an underground phenomenon, sur- facing here and there, wherever there was a growing interest in African-American studies—and a black woman literature teacher. Alice Walker was teaching the novel at Wellesley in the 1971-72 school year when she discovered that Hurston was only a footnote in the scholarship. Reading in an essay by a white folklorist that Hurston was buried in an unmarked grave, Walker decided that such a fate was an insult to Hurston and began her search for the grave to put a marker on it. In a personal essay, \"In Search of Zora Neale Hurston,\" written for Ms. magazine, Walker describes going to Florida and searching through waist-high weeds to find what she thought was Hurston's grave and laying on it a marker inscribed \"Zora Neale Hurston/`A Genius of the South'/Novelist/ Folldorist/Anthropologist/1901-1960.\" With that inscription and that essay, Walker ushered in a new era in the scholarship on Their Eyes Were Watching God. By 1975, Their Eyes, again out of print, was in such demand that a petition was circulated at the December 1975 convention of the Modern Language Association (MLA) to get the novel back into print. In that same year at a conference on minority literature held at Yale and directed by Michael Cooke, the few copies of Their Eyes that were available were circulated for two hours at a time to conference participants, many of whom were reading the novel for the first time. In March of 1977, when the MLA Commission on Minority Groups and the Study of Language and Literature pub- lished its first list of out of print books most in demand at a nationalForeword II& xiii level, the program coordinator, Dexter Fisher, wrote: \"Their Eyes Were Watching God is unanimously at the top of the list.\" Between 1977 and 1979 the Zora Neale Hurston renais- sance was in full bloom. Robert Hemenway's biography, Zora Neale Hurston: A Literary Biography, published in 1977, was a runaway bestseller at the December 1977 MLA convention. The new University of Illinois Press edition of Their Eyes, pub- lished a year after the Hemenway biography in March of 1978, made the novel available on a steady and dependable basis for the next ten years. I Love Myself When I Am Laughing… And Then Again When I Am Looking Mean and Impressive: A Zora Neale Hurston Reader, edited by Alice Walker, was published by the Feminist Press in 1979. Probably more than anything else, these three literary events made it possible for serious Hurston scholarship to emerge. But the event that for me truly marked the beginning of the third wave of critical attention to Their Eyes took place in December 1979 at the MLA convention in San Francisco in a session aptly titled \"Traditions and Their Transformations in Afro-American Letters,\" chaired by Robert Stepto of Yale with John Callahan of Lewis and Clark College and myself (then at the University of Detroit) as the two panelists. Despite the fact that the session was scheduled on Sunday morning, the last session of the entire con- vention, the room was packed and the audience unusually attentive. In his comments at the end of the session, Stepto raised the issue that has become one of the most highly controversial and hotly con- tested aspects of the novel: whether or not Janie is able to achieve her voice in Their Eyes. What concerned Stepto was the courtroom scene in which Janie is called on not only to preserve her own life and liberty but also to make the jury, as well as all of us who hear her tale, understand the meaning of her life with Tea Cake. Stepto found Janie curiously silent in this scene, with Hurston telling thexiv 4 Foreword story in omniscient third person so that we do not hear Janie speak—at least not in her own first-person voice. Stepto was quite convinced (and convincing) that the frame story in which Janie speaks to Pheoby creates only the illusion that Janie has found her voice, that Hurston's insistence on telling Janie's story in the third person undercuts her power as speaker. While the rest of us in the room struggled to find our voices, Alice Walker rose and claimed hers, insisting passionately that women did not have to speak when men thought they should, that they would choose when and where they wish to speak because while many women had found their own voices, they also knew when it was better not to use it. What was most remarkable about the energetic and at times heated discussion that followed Stepto's and Walker's remarks was the assumption of everyone in that room that Their Eyes was a shared text, that a novel that just ten years earlier was unknown and unavailable had entered into critical acceptance as perhaps the most widely known and the most privileged text in the African-American literary canon. That MLA session was important for another reason. Walker's defense of Janie's choice (actually Hurston's choice) to be silent in the crucial places in the novel turned out to be the earliest feminist reading of voice in Their Eyes, a reading that was later supported by many other Hurston scholars. In a recent essay on Their Eyes, and the question of voice, Michael Awkward argues that Janie's voice at the end of the novel is a communal one, that when she tells Pheoby to tell her story (\"You can tell 'em what Ah say if you wants to. Dat's just de same as me 'cause mah tongue is in mah friend's mout\") she is choosing a collective rather than an individual voice, demonstrat- ing her closeness to the collective spirit of the African-American oral tradition. Thad Davis agrees with this reading of voice, adding that while Janie is the teller of the tale, Pheoby is the bearer of the tale. Davis says that Janie's experimental life may not allow her to effect changes beyond what she causes in Pheoby's life; but Pheoby,Foreword le, xv standing within the traditional role of women, is the one most suited to take the message back to the community. Although, like Stepto, I too am uncomfortable with the absence of Janie's voice in the courtroom scene, I think that silence reflects Hurston's discomfort with the model of the male hero who asserts himself through his powerful voice. When Hurston chose a female hero for the story she faced an interesting dilemma: the female presence was inherently a critique of the male-dominated folk culture and therefore could not be its heroic representative. When Janie says at the end of her story that \"talkin' don't amount to much\" if it's divorced from experience, she is testifying to the limitations of voice and critiquing the culture that celebrates orality to the exclusion of inner growth. Her final speech to Pheoby at the end of Their Eyes actually casts doubt on the relevance of oral speech and supports Alice Walker's claim that women's silence can be intentional and useful: 'Course, talkin' don't amount tuh uh hill uh beans when yuh can't do nothin' else… Pheoby, you got tuh go there tuh know there. Yo papa and yo mama and nobody else can't tell yuh and show yuh. Two things everybody's got tuh do fuh theyselves. They got tuh go tuh God, and they got tuh find out about livin' fuh theyselves. The language of the men in Their Eyes is almost always divorced from any kind of interiority, and the men are rarely shown in the process of growth. Their talking is either a game or a method of exerting power. Janie's life is about the experience of relationships, and while Jody and Tea Cake and all the other talk- ing men are essentially static characters, Janie and Pheoby pay closer attention to their own inner life—to experience—because it is the site for 4 Foreword If there is anything the outpouring of scholarship on Their Eyes teaches us, it is that this is a rich and complicated text and that each generation of readers will bring something new to our under- standing of it. If we were protective of this text and unwilling to subject it to literary analysis during the first years of its rebirth, that was because it was a beloved text for those of us who discovered in it something of our own experiences, our own language, our own history. In 1989, I find myself asking new questions about Their Eyes—questions about Hurston's ambivalence toward her female protagonist, about its uncritical depiction of violence toward women, about the ways in which Janie's voice is dominated by men even in passages that are about her own inner growth. In Their Eyes, Hurston has not given us an unambiguously heroic female character. She puts Janie on the track of autonomy, self- realization, and independence, but she also places Janie in the posi- tion of romantic heroine as the object of Tea Cake's quest, at times so subordinate to the magnificent presence of Tea Cake that even her interior life reveals more about him than about her. What Their Eyes shows us is a woman writer struggling with the problem of the questing hero as woman and the difficulties in 1937 of giving a woman character such power and such daring. Because Their Eyes has been in print continuously since 1978, it has become available each year to thousands of new readers. It is taught in colleges all over the country, and its availability and pop- ularity have generated two decades of the highest level of scholar- ship. But I want to remember the history that nurtured this text into rebirth, especially the collective spirit of the sixties and seven- ties that galvanized us into political action to retrieve the lost works of black women writers. There is a lovely symmetry between text and context in the case of Their Eyes: as Their Eyes affirms and cel- ebrates black culture it reflects that same affirmation of black cul- ture that rekindled interest in the text; Janie telling her story to aForeword lig& xvii listening woman friend, Pheoby, suggests to me all those women readers who discovered their own tale in Janie's story and passed it on from one to another; and certainly, as the novel represents a woman redefining and revising a male-dominated canon, these readers have, like Janie, made their voices heard in the world of let- ters, revising the canon while asserting their proper place in it. MARY HELEN WASHINGTON1 Ships at a distance have every man's wish on board. For some they come in with the tide. For others they sail forever on the horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men. Now, women forget all those things they don't want to remember, and remember everything they don't want to forget. The dream is the truth. Then they act and do things accordingly. So the beginning of this was a woman and she had come back from burying the dead. Not the dead of sick and ailing with friends at the pillow and the feet. She had come back from the sodden and the bloated; the sudden dead, their eyes flung wide open in judgment. The people all saw her come because it was sundown. The sun was gone, but he had left his footprints in the sky. It was the time for sitting on porches beside the road. It was the time to hear things and talk. These sitters had been tongueless, earless, eyeless conveniences all day long. Mules and other brutes had occupied their skins. But now, the sun and the bossman were gone, so the skins felt powerful and human. They became lords of sounds and lesser things. They passed nations through their mouths. They sat in judgment.2 412p Zora Neale Hurston Seeing the woman as she was made them remember the envy they had stored up from other times. So they chewed up the back parts of their minds and swallowed with relish. They made burning statements with questions, and killing tools out of laughs. It was mass cruelty. A mood come alive. Words walking without masters; walking altogether like harmony in a song. \"What she doin coming back here in dem overhalls? Can't she find no dress to put on? Where's dat blue satin dress she left here in? Where all dat money her husband took and died and left her?—What dat ole forty year ole 'oman doin' wid her hair swingin' down her back lak some young gal?—Where she left dat young lad of a boy she went off here wid?—Thought she was going to marry?—Where he left her ?—What he done wid all her money?—Betcha he off wid some gal so young she ain't even got no hairs—why she don't stay in her class?—\" When she got to where they were she turned her face on the bander log and spoke. They scrambled a noisy \"good evenin' \" and left their mouths setting open and their ears full of hope. Her speech was pleasant enough, but she kept walking straight on to her gate. The porch couldn't talk for looking. The men noticed her firm buttocks like she had grape fruits in her hip pockets; the great rope of black hair swinging to her waist and unraveling in the wind like a plume; then her pugna- cious breasts trying to bore holes in her shirt. They, the men, were saving with the mind what they lost with the eye. The women took the faded shirt and muddy overalls and laid them away for remembrance. It was a weapon against her strength and if it turned out of no significance, still it was a hope that she might fall to their level some day. But nobody moved, nobody spoke, nobody even thought to swallow spit until after her gate slammed behind her. Pearl Stone opened her mouth and laughed real hard because sheTheir Eyes Were Watching God 41€ 3 didn't know what else to do. She fell all over Mrs. Sumpkins while she laughed. Mrs. Sumpkins snorted violently and sucked her teeth. \"Humph! Y'all let her worry yuh. You ain't like me. Ah ain't got her to study 'bout. If she ain't got manners enough to stop and let folks know how she been makin' out, let her g'wan!\" \"She ain't even worth talkin' after,\" Lulu Moss drawled through her nose. \"She sits high, but she looks low. Dat's what Ah say 'bout dese ole women runnin' after young boys.\" Pheoby Watson hitched her rocking chair forward before she spoke. \"Well, nobody don't know if it's anything to tell or not. Me, Ah'm her best friend, and Ah don't know.\" \"Maybe us don't know into things lak you do, but we all know how she went 'way from here and us sho seen her come back. 'Tain't no use in your tryin' to cloak no ole woman lak Janie Starks, Pheoby, friend or no friend.\" \"At dat she ain't so ole as some of y'all dat's talking.\" \"She's way past forty to my knowledge, Pheoby.\" \"No more'n forty at de outside.\" \"She's 'way too old for a boy like Tea Cake.\" \"Tea Cake ain't been no boy for some time. He's round thirty his ownself.\" \"Don't keer what it was, she could stop and say a few words with us. She act like we done done something to her,\" Pearl Stone complained. \"She de one been doin' wrong.\" \"You mean, you mad 'cause she didn't stop and tell us all her business. Anyhow, what you ever know her to do so bad as y'all make out? The worst thing Ah ever knowed her to do was taking a few years offa her age and dat ain't never harmed nobody. Y'all makes me tired. De way you talkin' you'd think de folks in dis town didn't do nothin' in de bed 'cept praise de Lawd. You have to 'scuse me, 'cause Ah'm bound to go take her some supper.\" Pheoby stood up sharply.4 4110 Zora Neale Hurston \"Don't mind us,\" Lulu smiled, \"just go right ahead, us can mind yo' house for you till you git back. Mah supper is done. You bettah go see how she feel. You kin let de rest of us know.\" \"Lawd,\" Pearl agreed, \"Ah done scorched-up dat lil meat and bread too long to talk about. Ah kin stay 'way from home long as Ah please. Mah husband ain't fussy.\" \"Oh, er, Pheoby, if youse ready to go, Ah could walk over dere wid you,\" Mrs. Sumpkins volunteered. \"It's sort of duskin' down dark. De booger man might ketch yuh. 5) \"Now, Ah thank yuh. Nothin' couldn't ketch me dese few steps Ah'm goin'. Anyhow mah husband tell me say no first class booger would have me. If she got anything to tell yuh, you'll hear it.\" Pheoby hurried on off with a covered bowl in her hands. She left the porch pelting her back with unasked questions. They hoped the answers were cruel and strange. When she arrived at the place, Pheoby Watson didn't go in by the front gate and down the palm walk to the front door. She walked around the fence corner and went in the intimate gate with her heaping plate of mulatto rice. Janie must be round that side. She found her sitting on the steps of the back porch with the lamps all filled and the chimneys cleaned. \"Hello, Janie, how you comin'?\" \"Aw, pretty good, Ah'm tryin' to soak some uh de tiredness and de dirt outa mah feet.\" She laughed a little. \"Ah see you is. Gal, you sho looks good. You looks like youse yo' own daughter.\" They both laughed. \"Even wid dem overhalls on, you shows yo' womanhood,\" \"G'wan! G'wan! You must think Ah brought yuh somethin'. When Ah ain't brought home a thing but mahself.\" \"Dat's a gracious plenty. Yo' friends wouldn't want nothin' better.\" \"Ah takes dat flattery offa you, Pheoby, 'cause Ah know it'sTheir Eyes Were Watching God ais 5 from de heart.\" Janie extended her hand. \"Good Lawd, Pheoby! ain't you never goin' tuh gimme dat lil rations you brought me? Ah ain't had a thing on mah stomach today exceptin' mah hand.\" They both laughed easily. \"Give it here and have a seat.\" \"Ah knowed you'd be hongry. No time to be huntin' stove wood after dark. Mah mulatto rice ain't so good dis time. Not enough bacon grease, but Ah reckon it'll kill hongry.\" \"Ah'll tell you in a minute,\" Janie said, lifting the cover. \"Gal, it's too good! you switches a mean fanny round in a kitchen.\" \"Aw, dat ain't much to eat, Janie. But Ah'm liable to have something sho nuff good tomorrow, 'cause you done come.\" Janie ate heartily and said nothing. The varicolored cloud dust that the sun had stirred up in the sky was settling by slow degrees. \"Here, Pheoby, take yo' ole plate. Ah ain't got a bit of use for a empty dish. Dat grub sho come in handy.\" Pheoby laughed at her friend's rough joke. \"Youse just as crazy as you ever was.\" \"Hand me dat wash-rag on dat chair by you, honey. Lemme scrub mah feet.\" She took the cloth and rubbed vigorously. Laughter came to her from the big road. \"Well, Ah see Mouth-Almighty is still sittin' in de same place. And Ah reckon they got me up in they mouth now.\" \"Yes indeed. You know if you pass some people and don't speak tuh suit 'em dey got tuh go way back in yo' life and see whut you ever done. They know mo\"bout yuh than you do yo' self. An envious heart makes a treacherous ear. They done 'heard' 'bout you just what they hope done happened.\" \"If God don't think no mo\"bout 'em then Ah do, they's a lost ball in de high grass.\" \"Ah hears what they say 'cause they just will collect round mah porch 'cause it's on de big road. Mah husband git so sick of 'em sometime he makes 'em all git for home.\"6 Aits Zora Neale Hurston \"Sam is right too. They just wearin' out yo' sittin' chairs.\" \"Yeah, Sam say most of 'em goes to church so they'll be sure to rise in Judgment. Dat's de day dat every secret is s'posed to be made known. They wants to be there and hear it all.\" \"Sam is too crazy! You can't stop laughin' when youse round him.\" \"Uuh hunh. He says he aims to be there hisself so he can find out who stole his corn-cob pipe.\" \"Pheoby, dat Sam of your'n just won't quit! Crazy thing!\" \"Most of dese zigaboos is so het up over yo' business till they liable to hurry theyself to Judgment to find out about you if they don't soon know. You better make haste and tell 'em 'bout you and Tea Cake gittin' married, and if he taken all yo' money and went off wid some young gal, and where at he is now and where at is all yo' clothes dat you got to come back here in overhalls.\" \"Ah don't mean to bother wid tellin\"em nothin', Pheoby. 'Tain't worth de trouble. You can tell 'em what Ah say if you wants to. Dat's just de same as me 'cause mah tongue is in mah friend's mouf.\" \"If you so desire Ah'll tell 'em what you tell me to tell 'em.\" \"To start off wid, people like dem wastes up too much time puttin' they mouf on things they don't know nothin' about. Now they got to look into me loving Tea Cake and see whether it was done right or not! They don't know if life is a mess of corn-meal dumplings, and if love is a bed-quilt!\" \"So long as they get a name to gnaw on they don't care whose it is, and what about, 'specially if they can make it sound like evil.\" \"If they wants to see and know, why they don't come kiss and be kissed? Ah could then sit down and tell 'em things. Ah been a delegate to de big 'ssociation of life. Yessuh! De Grand Lodge, de big convention of livin' is just where Ah been dis year and a half y'all ain't seen me.\"Their Eyes Were Watching God 41, 7 They sat there in the fresh young darkness close together. Pheoby eager to feel and do through Janie, but hating to show her zest for fear it might be thought mere curiosity. Janie full of that oldest human longing—self revelation. Pheoby held her tongue for a long time, but she couldn't help moving her feet. So Janie spoke. \"They don't need to worry about me and my overhalls long as Ah still got nine hundred dollars in de bank. Tea Cake got me into wearing 'em—following behind him. Tea Cake ain't wasted up no money of mine, and he ain't left me for no young gal, nei- ther. He give me every consolation in de world. He'd tell 'em so too, if he was here. If he wasn't gone.\" Pheoby dilated all over with eagerness, \"Tea Cake gone?\" \"Yeah, Pheoby, Tea Cake is gone. And dat's de only reason you see me back here—cause Ah ain't got nothing to make me happy no more where Ah was at. Down in the Everglades there, down on the muck.\" \"It's hard for me to understand what you mean, de way you tell it. And then again Ah'm hard of understandin' at times.\" \"Now, 'tain't nothin' lak you might think. So 'tain't no use in me telling you somethin' unless Ah give you de understandin' to go 'long wid it. Unless you see de fur, a mink skin ain't no differ- ent from a coon hide. Looka heah, Pheoby, is Sam waitin' on you for his supper?\" \"It's all ready and waitin'. If he ain't got sense enough to eat it, dat's his hard luck.\" \"Well then, we can set right where we is and talk. Ah got the house all opened up to let dis breeze get a little catchin'. \"Pheoby, we been kissin'-friends for twenty years, so Ah depend on you for a good thought. And Ah'm talking to you from dat standpoint.\" Time makes everything old so the kissing, young darkness became a monstropolous old thing while Janie talked.2 Janie saw her life like a great tree in leaf with the things suffered, things enjoyed, things done and undone. Dawn and doom was in the branches. \"Ah know exactly what Ah got to tell yuh, but it's hard to know where to start at. \"Ah ain't never seen mah papa. And Ah didn't know 'im if Ah did. Mah mama neither. She was gone from round dere long before Ah wuz big enough tuh know. Mah grandma raised me. Mah grandma and de white folks she worked wid. She had a house out in de back-yard and dat's where Ah wuz born. They was quality white folks up dere in West Florida. Named Wash- burn. She had four gran'chillun on de place and all of us played together and dat's how come Ah never called mah Grandma nothin' but Nanny, 'cause dat's what everybody on de place called her. Nanny used to ketch us in our devilment and lick every youngun on de place and Mis' Washburn did de same. Ah reckon dey never hit us ah lick amiss 'cause dem three boys and us two girls wuz pretty aggravatin', Ah speck. \"Ah was wid dem white chillun so much till Ah didn't know Ah wuzn't white till Ah was round six years old. Wouldn't have found it out then, but a man come long takin' pictures and with-Their Eyes Were Watching God 42 € 9 out askin' anybody, Shelby, dat was de oldest boy, he told him to take us. Round a week later de man brought de picture for Mis' Washburn to see and pay him which she did, then give us all a good lickin'. \"So when we looked at de picture and everybody got pointed out there wasn't nobody left except a real dark little girl with long hair standing by Eleanor. Dat's where Ah wuz s'posed to be, but Ah couldn't recognize dat dark chile as me. So Ah ast, 'where is me? Ah don't see me.' \"Everybody laughed, even Mr. Washburn. Miss Nellie, de Mama of de chillun who come back home after her husband dead, she pointed to de dark one and said, `Dat's you, Alphabet, don't you know yo' ownself?' \"Dey all useter call me Alphabet 'cause so many people had done named me different names. Ah looked at de picture a long time and seen it was mah dress and mah hair so Ah said: \"`Aw, aw! Ah'm colored!' \"Den dey all laughed real hard. But before Ah seen de pic- ture Ah thought Ah wuz just like de rest. \"Us lived dere havin' fun till de chillun at school got to teasin' me 'bout livin' in de white folks' back-yard. Dere wuz uh knotty head gal name Mayrella dat useter git mad every time she look at me. Mis' Washburn useter dress me up in all de clothes her gran'chillun didn't need no mo' which still wuz better'n whut de rest uh de colored chillun had. And then she useter put hair ribbon on mah head fuh me tuh wear. Dat useter rile Mayrella uh lot. So she would pick at me all de time and put some others up tuh do de same. They'd push me 'way from de ring plays and make out they couldn't play wid nobody dat lived on premises. Den they'd tell me not to be takin' on over mah looks 'cause they mama told 'em 'bout de hound dawgs huntin' mah papa all night long. 'Bout Mr. Washburn and de sheriff puttin' de10 AN Zora Neale Hurston bloodhounds on de trail tuh ketch mah papa for whut he done tuh mah mama. Dey didn't tell about how he wuz seen tryin' tuh git in touch wid mah mama later on so he could marry her. Naw, dey didn't talk dat part of it atall. Dey made it sound real bad so as tuh crumple mah feathers. None of 'em didn't even remember whut his name wuz, but dey all knowed de bloodhound part by heart. Nanny didn't love tuh see me wid mah head hung down, so she figgered it would be mo' better fuh me if us had uh house. She got de land and everything and then Mis' Washburn helped out uh whole heap wid things.\" Pheoby's hungry listening helped Janie to tell her story. So she went on thinking back to her young years and explaining them to her friend in soft, easy phrases while all around the house, the night time put on flesh and blackness. She thought awhile and decided that her conscious life had commenced at Nanny's gate. On a late afternoon Nanny had called her to come inside the house because she had spied Janie letting Johnny Taylor kiss her over the gatepost. It was a spring afternoon in West Florida. Janie had spent most of the day under a blossoming pear tree in the back-yard. She had been spending every minute that she could steal from her chores under that tree for the last three days. That was to say, ever since the first tiny bloom had opened. It had called her to come and gaze on a mystery. From barren brown stems to glistening leaf-buds; from the leaf-buds to snowy virginity of bloom. It stirred her tremendously. How? Why? It was like a flute song forgotten in another existence and remembered again. What? How? Why? This singing she heard that had noth- ing to do with her ears. The rose of the world was breathing out smell. It followed her through all her waking moments and caressed her in her sleep. It connected itself with other vaguely felt matters that had struck her outside observation and buriedTheir Eyes Were Watching God Alip 11 themselves in her flesh. Now they emerged and quested about her consciousness. She was stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the pant- ing breath of the breeze when the inaudible voice of it all came to her. She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was a marriage! She had been summoned to behold a revelation. Then Janie felt a pain remorseless sweet that left her limp and languid. After a while she got up from where she was and went over the little garden field entire. She was seeking confirmation of the voice and vision, and everywhere she found and acknowledged answers. A personal answer for all other creations except herself. She felt an answer seeking her, but where? When? How? She found herself at the kitchen door and stumbled inside. In the air of the room were flies tumbling and singing, marrying and giving in marriage. When she reached the narrow hallway she was reminded that her grand- mother was home with a sick headache. She was lying across the bed asleep so Janie tipped on out of the front door.'Oh to be a pear tree—any tree in bloom! With kissing bees singing of the begin- ning of the world! She was sixteen. She had glossy leaves and bursting buds and she wanted to struggle with life but it seemed to elude her. Where were the singing bees for her? Nothing on the place nor in her grandma's house answered her. She searched as much of the world as she could from the top of the front steps and then went on down to the front gate and leaned over to gaze up and down the road. Looking, waiting, breathing short with impa- tience. Waiting for the world to be made. Through pollinated air she saw a glorious being coming up the road. In her former blindness she had known him as shiftless12.6s. Zora Neale Hurston Johnny Taylor, tall and lean. That was before the golden dust of pollen had beglamored his rags and her eyes. In the last stages of Nanny's sleep, she dreamed of voices. Voices far-off but persistent, and gradually coming nearer. Janie's voice. Janie talking in whispery snatches with a male voice she couldn't quite place. That brought her wide awake. She bolted upright and peered out of the window and saw Johnny Taylor lacerating her Janie with a kiss. \"Janie!\" The old woman's voice was so lacking in command and reproof, so full of crumbling dissolution,—that Janie half believed that Nanny had not seen her. So she extended herself outside of her dream and went inside of the house. That was the end of her childhood. Nanny's head and face looked like the standing roots of some old tree that had been torn away by storm. Foundation of ancient power that no longer mattered. The cooling palma christi leaves that Janie had bound about her grandma's head with a white rag had wilted down and become part and parcel of the woman. Her eyes didn't bore and pierce. They diffused and melted Janie, the room and the world into one comprehension. \"Janie, youse uh 'oman, now, so—\" \"Naw, Nanny, naw Ah ain't no real 'oman yet.\" The thought was too new and heavy for Janie. She fought it away. Nanny closed her eyes and nodded a slow, weary affirmation many times before she gave it voice. \"Yeah, Janie, youse got yo' womanhood on yuh. So Ah mout ez well tell yuh whut Ah been savin' up for uh spell. Ah wants to see you married right away.\" \"Me, married? Naw, Nanny, no ma'am! Whut Ah know 'bout uh husband?\"Their Eyes Were Watching God ap 13 \"Whut Ah seen just now is plenty for me, honey, Ah don't want no trashy nigger, no breath-and-britches, lak Johnny Taylor usin' yo' body to wipe his foots on.\" Nanny's words made Janie's kiss across the gatepost seem like a manure pile after a rain. \"Look at me, Janie. Don't set dere wid yo' head hung down. Look at yo' ole grandma!\" Her voice began snagging on the prongs of her feelings. \"Ah don't want to be talkin' to you lak dis. Fact is Ah done been on mah knees to mah Maker many's de time askin' please—for Him not to make de burden too heavy for me to bear.\" \"Nanny, Ah just—Ah didn't mean nothin' bad.\" \"Dat's what makes me skeered. You don't mean no harm. You don't even know where harm is at. Ah'm ole now. Ah can't be always guidin' yo' feet from harm and danger. Ah wants to see you married right away.\" \"Who Ah'm goin' tuh marry off-hand lak dat? Ah don't know nobody.\" \"De Lawd will provide. He know Ah done bore de burden in de heat uh de day. Somebody done spoke to me 'bout you long time ago. Ah ain't said nothin' 'cause dat wasn't de way Ah placed you. Ah wanted yuh to school out and pick from a higher bush and a sweeter berry. But dat ain't yo' idea, Ah see.\" \"Nanny, who—who dat been askin' you for me?\" \"Brother Logan Killicks. He's a good man, too.\" \"Naw, Nanny, no ma'am! Is dat whut he been hangin' round here for? He look like some ole skullhead in de grave yard.\" The older woman sat bolt upright and put her feet to the floor, and thrust back the leaves from her face. \"So you don't want to marry off decent like, do yuh? You just wants to hug and kiss and feel around with first one man and then another, huh? You wants to make me suck de same sorrow yo'14 42P Zora Neale Hurston mama did, eh? Mah ole head ain't gray enough. Mali back ain't bowed enough to suit yuh!\" The vision of Logan Killicks was desecrating the pear tree, but Janie didn't know how to tell Nanny that. She merely hunched over and pouted at the floor. \"Janie.\" \"Yes, ma'am.\" \"You answer me when Ah speak. Don't you set dere poutin' wid me after all Ah done went through for you!\" She slapped the girl's face violently, and forced her head back so that their eyes met in struggle. With her hand uplifted for the second blow she saw the huge tear that welled up from Janie's heart and stood in each eye. She saw the terrible agony and the lips tightened down to hold back the cry and desisted. Instead she brushed back the heavy hair from Janie's face and stood there suffering and loving and weeping internally for both of them. \"Come to yo' Grandma, honey. Set in her lap lak yo' use tuh. Yo' Nanny wouldn't harm a hair uh yo' head. She don't want nobody else to do it neither if she kin help it. Honey, de white man is de ruler of everything as fur as Ah been able tuh find out. Maybe it's some place way off in de ocean where de black man is in power, but we don't know nothin' but what we see. So de white man throw down de load and tell de nigger man tuh pick it up. He pick it up because he have to, but he don't tote it. He hand it to his womenfolks. De nigger woman is de mule uh de world so fur as Ah can see. Ah been prayin' fah it tuh be different wid you. Lawd, Lawd, Lawd!\" For a long time she sat rocking with the girl held tightly to her sunken breast. Janie's long legs dangled over one arm of the chair and the long braids of her hair swung low on the other side. Nanny half sung, half sobbed a running chantprayer over the head of the weeping girl.Their Eyes Were Watching God 4. 15 \"Lawd have mercy! It was a long time on de way but Ah reckon it had to come. Oh Jesus! Do, Jesus! All done de best Ah could.\" Finally, they both grew calm. \"Janie, how long you been 'lowin' Johnny Taylor to kiss you?\" \"Only dis one time, Nanny. Ah don't love him at all. Whut made me do it is—oh, Ah don't know.\" \"Thank yuh, Massa Jesus.\" \"Ah ain't gointuh do it no mo', Nanny. Please don't make me marry Mr. Killicks.\" \"'Tain't Logan Killicks Ah wants you to have, baby, it's pro- tection. Ah ain't gittin' ole, honey. Ah'm done ole. One mornin' soon, now, de angel wid de sword is gointuh stop by here. De day and de hour is hid from me, but it won't be long. Ah ast de Lawd when you was uh infant in mah arms to let me stay here till you got grown. He done spared me to see de day. Mah daily prayer now is tuh let dese golden moments rolls on a few days longer till Ah see you safe in life.\" \"Lemme wait, Nanny, please, jus' a lil bit mo'.\" \"Don't think Ah don't feel wid you, Janie, 'cause Ah do. Ah couldn't love yuh no more if Ah had uh felt yo' birth pains mah- self. Fact uh de matter, Ah loves yuh a whole heap more'n Ah do yo' mama, de one Ah did birth. But you got to take in considera- tion you ain't no everyday chile like most of 'em. You ain't got no papa, you might jus' as well say no mama, for de good she do yuh. You ain't got nobody but me. And mah head is ole and tilted towards de grave. Neither can you stand alone by yo'self. De thought uh you bein' kicked around from pillar tuh post is uh hurtin' thing. Every tear you drop squeezes a cup uh blood outa mah heart. Ah got tuh try and do for you befo' mah head is cold.\" A sobbing sigh burst out of Janie. The old woman answered her with little soothing pats of the hand.16 Aitas Zora Neale Hurston \"You know, honey, us colored folks is branches without roots and that makes things come round in queer ways. You in particu- lar. Ah was born back due in slavery so it wasn't for me to fulfill my dreams of whut a woman oughta be and to do. Dat's one of de hold-backs of slavery. But nothing can't stop you from wishin'. You can't beat nobody down so low till you can rob 'em of they will. Ah didn't want to be used for a work-ox and a brood-sow and Ah didn't want mah daughter used dat way neither. It sho wasn't mah will for things to happen lak they did. All even hated de way you was born. But, all de same Ah said thank God, Ah got another chance. Ah wanted to preach a great sermon about colored women sittin' on high, but they wasn't no pulpit for me. Freedom found me wid a baby daughter in mah arms, so Ah said Ah'd take a broom and a cook-pot and throw up a highway through de wilderness for her. She would expound what Ah felt. But somehow she got lost offa de highway and next thing Ah knowed here you was in de world. So whilst Ah was tendin' you of nights Ah said Ah'd save de text for you. Ah been waitin' a long time, Janie, but nothin' Ah been through ain't too much if you just take a stand on high ground lak Ah dreamed.\" Old Nanny sat there rocking Janie like an infant and thinking back and back. Mind-pictures brought feelings, and feelings dragged out dramas from the hollows of her heart. \"Dat mornin' on de big plantation close to Savannah, a rider come in a gallop tellin\"bout Sherman takin' Atlanta. Marse Robert's son had done been kilt at Chickamauga. So he grabbed his gun and straddled his best horse and went off wid de rest of de gray-headed men and young boys to drive de Yankees back into Tennessee. \"They was all cheerin' and cryin' and shoutin' for de men dat was ridin' off. Ah couldn't see nothin' cause yo' mama wasn't but a week old, and Ah was flat uh mah back. But pretty soon he letTheir Eyes Were Watching God as 17 on he forgot somethin' and run into mah cabin and made me let down mah hair for de last time. He sorta wropped his hand in it, pulled mah big toe, lak he always done, and was gone after de rest lak lightnin'. Ah heard 'em give one last whoop for him. Then de big house and de quarters got sober and silent. \"It was de cool of de evenin' when Mistis come walkin' in mah door. She throwed de door wide open and stood dere lookin' at me outa her eyes and her face. Look lak she been livin' through uh hundred years in January without one day of spring. She come stood over me in de bed. \"Nanny, Ah come to see that baby uh yourn.' \"Ah tried not to feel de breeze off her face, but it got so cold in dere dat Ah was freezin' to death under the Ewers. So Ah couldn't move right away lak Ah aimed to. But Ah knowed Ah had to make haste and do it. \"'You better git dat kivver offa dat youngun and dat quick!' she clashed at me. 'Look lak you don't know who is Mistis on dis plantation, Madam. But Ah aims to show you.' \"By dat time I had done managed tuh unkivver mah baby enough for her to see de head and face. \"'Nigger, whut's yo' baby doin' wid gray eyes and yaller hair?' She begin tuh slap mah jaws ever which a'way. Ah never felt the fust ones 'cause Ah wuz too busy gittin' de kivver back over mah chile. But dem last lick burnt me lak fire. Ah had too many feelin's tuh tell which one tuh follow so Ah didn't cry and Ah didn't do nothin' else. But then she kept on astin me how come mah baby look white. She asted me dat maybe twenty-five or thirty times, lak she got tuh sayin' dat and couldn't help herself. So Ah told her, `Ah don't know nothin' but what Ah'm told tuh do, 'cause Ah ain't nothin' but uh nigger and uh slave.' \"Instead of pacifyin' her lak Ah thought, look lak she got madder. But Ah reckon she was tired and wore out 'cause she18 40 Zora Neale Hurston didn't hit me no more. She went to de foot of de bed and wiped her hands on her handksher. `Ah wouldn't dirty mah hands on yuh. But first thing in de mornin' de overseer will take you to de whippin' post and tie you down on yo' knees and cut de hide offa yo' yaller back. One hundred lashes wid a raw-hide on yo' bare back. Ah'll have you whipped till de blood run down to yo' heels! Ah mean to count de licks mahself. And if it kills you Ah'll stand de loss. Anyhow, as soon as dat brat is a month old Ah'm going to sell it offa dis place.' \"She flounced on off and let her wintertime wid me. Ah knowed mah body wasn't healed, but Ah couldn't consider dat. In de black dark Ah wrapped mah baby de best Ah knowed how and made it to de swamp by de river. Ah knowed de place was full uh moccasins and other bitin' snakes, but Ah was more skeered uh whut was behind me. Ah hide in dere day and night and suck- led de baby every time she start to cry, for fear somebody might hear her and Ah'd git found. Ah ain't sayin' uh friend or two didn't feel mah care. And den de Good Lawd seen to it dat Ah wasn't taken. Ah don't see how come mah milk didn't kill mah chile, wid me so skeered and worried all de time. De noise uh de owls skeered me; de limbs of dem cypress trees took to crawlin' and movin' round after dark, and two three times Ah heered panthers prowlin' round. But nothin' never hurt me 'cause de Lawd knowed how it was. \"Den, one night Ah heard de big guns boomin' lak thunder. It kept up all night long. And de next mornin' Ah could see uh big ship at a distance and a great stirrin' round. So Ah wrapped Leafy up in moss and fixed her good in a tree and picked mah way on down to de landin'. The men was all in blue, and Ah heard people say Sherman was comin' to meet de boats in Savannah, and all of us slaves was free. So Ah run got mah baby and got in quotation wid people and found a place Ah could stay.Their Eyes Were Watching God 40 19 \"But it was a long time after dat befo' de Big Surrender at Richmond. Den de big bell ring in Atlanta and all de men in gray uniforms had to go to Moultrie, and bury their swords in de ground to show they was never to fight about slavery no mo'. So den we knowed we was free. \"Ah wouldn't marry nobody, though Ah could have uh heap uh times, cause Ah didn't want nobody mistreating mah baby. So Ah got with some good white people and come down here in West Florida to work and make de sun shine on both sides of de street for Leafy. \"Mah Madam help me wid her just lak she been doin' wid you. Ah put her in school when it got so it was a school to put her in. Ah was 'spectin' to make a school teacher outa her. \"But one day she didn't come home at de usual time and Ah waited and waited, but she never come all dat night. Ah took a lantern and went round askin' everybody but nobody ain't seen her. De next mornin' she come crawlin' in on her hands and knees. A sight to see. Dat school teacher had done hid her in de woods all night long, and he had done raped mah baby and run on off just before day. \"She was only seventeen, and somethin' lak dat to happen! Lawd a'mussy! Look lak Ah kin see it all over again. It was a long time before she was well, and by dat time we knowed you was on de way. And after you was born she took to drinkin' likker and stayin' out nights. Couldn't git her to stay here and nowhere else. Lawd knows where she is right now. She ain't dead, 'cause Ah'd know it by mah feelings, but sometimes Ah wish she was at rest. \"And, Janie, maybe it wasn't much, but Ah done de best Ah kin by you. Ah raked and scraped and bought dis lil piece uh land so you wouldn't have to stay in de white folks' yard and tuck yo' head befo' other chillun at school. Dat was all right when you was little. But when you got big enough to understand things, Ah20 42P Zora Neale Hurston wanted you to look upon yo'self. Ah don't want yo' feathers always crumpled by folks throwin' up things in yo' face. And Ah can't die easy thinkin' maybe de menfolks white or black is makin' a spit cup outa you: Have some sympathy fuh me. Put me down easy, Janie, Ah'm a cracked plate.\"3 There are years that ask questions and years that answer. Janie had had no chance to know things, so she had to ask. Did marriage end the cosmic loneliness of the unmated? Did marriage compel love like the sun the day? In the few days to live before she went to Logan Killicks and his often-mentioned sixty acres, Janie asked inside of herself and out. She was back and forth to the pear tree continuously wonder- ing and thinking. Finally out of Nanny's talk and her own conjec- tures she made a sort of comfort for herself. Yes, she would love Logan after they were married. She could see no way for it to come about, but Nanny and the old folks had said it, so it must be so. Husbands and wives always loved each other, and that was what marriage meant. It was just so. Janie felt glad of the thought, for then it wouldn't seem so destructive and mouldy. She wouldn't be lonely anymore. Janie and Logan got married in Nanny's parlor of a Saturday evening with three cakes and big platters of fried rabbit and chicken. Everything to eat in abundance. Nanny and Mrs. Wash- burn had seen to that. But nobody put anything on the seat of Logan's wagon to make it ride glorious on the way to his house. It was a lonesome place like a stump in the middle of the woods22 Aija€ Zora Neale Hurston where nobody had ever been. The house was absent of flavor, too. But anyhow Janie went on inside to wait for love to begin. The new moon had been up and down three times before she got worried in mind. Then she went to see Nanny in Mrs. Wash- burn's kitchen on the day for beaten biscuits. Nanny beamed all out with gladness and made her come up to the bread board so she could kiss her. \"Lawd a'mussy, honey, Ah sho is glad tuh see mah chile! G'wan inside and let Mis' Washburn know youse heah. Umph! Umph! Umph! How is dat husband uh yourn?\" Janie didn't go in where Mrs. Washburn was. She didn't say anything to match up with Nanny's gladness either. She just fell on a chair with her hips and sat there. Between the biscuits and her beaming pride Nanny didn't notice for a minute. But after a while she found the conversation getting lonesome so she looked up at Janie. \"VVhut's de matter, sugar? You ain't none too spry dis mornin'.\" \"Oh, nothin' much, Ah reckon. Ah come to get a lil informa- tion from you.\" The old woman looked amazed, then gave a big clatter of laughter. \"Don't tell me you done got knocked up already, less see—dis Saturday it's two month and two weeks.\" \"No'm, Ah don't think so anyhow.\" Janie blushed a little. \"You ain't got nothin' to be shamed of, honey, youse uh married 'oman. You got yo' lawful husband same as Mis' Wash- burn or anybody else!\" \"Ah'm all right dat way. Ah know 'tain't nothin' dere.\" \"You and Logan been fussin'? Lawd, Ah know dat grassgut, liver-lipted nigger ain't done took and beat mah baby already! Ah'll take a stick and salivate 'im!\" \"No'm, he ain't even talked 'bout hittin' me. He says he never mean to lay de weight uh his hand on me in malice. HeTheir Eyes Were Watching God 40 23 chops all de wood he think Ah wants and den he totes it inside de kitchen for me. Keeps both water buckets full.\" \"Humph! don't 'spect all dat tuh keep up. He ain't kissin' yo' mouf when he carry on over yuh lak dat. He's kissin' yo' foot and 'tain't in uh man tuh kiss foot long. Mouf kissin' is on uh equal and dat's natural but when dey got to bow down tuh love, dey soon straightens up.\" \"Yes'm.\" \"Well, if he do all dat whut you come in heah wid uh face long as mah arm for?\" \"'Cause you told me Ah mus gointer love him, and, and Ah don't. Maybe if somebody was to tell me how, Ah could do it.\" \"You come heah wid yo' mouf full uh foolishness on uh busy day. Heah you got uh prop tuh lean on all yo' bawn days, and big protection, and everybody got tuh tip dey hat tuh you and call you Mis' Killicks, and you come worryin' me 'bout love.\" \"But Nanny, Ah wants to want him sometimes. Ah don't want him to do all de wantin'.\" \"If you don't want him, you sho oughta. Heah you is wid de onliest organ in town, amongst colored folks, in yo' parlor. Got a house bought and paid for and sixty acres uh land right on de big road and… Lawd have mussy! Dat's de very prong all us black women gits hung on. Dis love! Dat's just whut's got us uh pullin' and uh haulin' and sweatin' and doin' from can't see in de mornin' till can't see at night. Dat's how come de ole folks say dat bein' uh fool don't kill nobody. It jus' makes you sweat. Ah betcha you wants some dressed up dude dat got to look at de sole of his shoe everytime he cross de street tuh see whether he got enough leather dere tuh make it across. You can buy and sell such as dem wid what you got. In fact you can buy 'em and give 'em away.\" \"Ah ain't studyin\"bout none of 'em. At de same time Ah ain't takin' dat ole land tuh heart neither. Ah could throw ten acres of it24 4 Zora Neale Hurston over de fence every day and never look back to see where it fell. Ah feel de same way 'bout Mr. Killicks too. Some folks never was meant to be loved and he's one of 'em.\" \"How come?\" \"'Cause Ah hates de way his head is so long one way and so flat on de sides and dat pone uh fat back uh his neck.\" \"He never made his own head. You talk so silly.\" \"Ah don't keer who made it, Ah don't like de job. His belly is too big too, now, and his toe-nails look lak mule foots. And 'tain't nothin' in de way of him washin' his feet every evenin' before he comes tuh bed. 'Tain't nothin' tuh hinder him 'cause Ah places de water for him. Ah'd ruther be shot wid tacks than tuh turn over in de bed and stir up de air whilst he is in dere. He don't even never mention nothin' pretty.\" She began to cry. \"Ah wants things sweet wid mah marriage lak when you sit under a pear tree and think. Ah… \" \"'Tain't no use in you cryin', Janie. Grandma done been long uh few roads herself. But folks is meant to cry 'bout somethin' or other. Better leave things de way dey is. Youse young yet. No tellin' whut mout happen befo' you die. Wait awhile, baby. Yo' mind will change.\" Nanny sent Janie along with a stern mien, but she dwindled all the rest of the day as she worked. And when she gained the privacy of her own little shack she stayed on her knees so long she forgot she was there herself. There is a basin in the mind where words float around on thought and thought on sound and sight. Then there is a depth of thought untouched by words, and deeper still a gulf of formless feelings untouched by thought. Nanny entered this infinity of conscious pain again on her old knees. Towards morning she muttered, \"Lawd, you know mah heart. Ah done de best Ah could do. De rest is left to you.\" She scuffled up from her knees and fell heavily across the bed. A month later she was dead.asTheir Eyes Were Watching God 25 So Janie waited a bloom time, and a green time and an orange time. But when the pollen again gilded the sun and sifted down on the world she began to stand around the gate and expect things. What things? She didn't know exactly. Her breath was gusty and short. She knew things that nobody had ever told her. For instance, the words of the trees and the wind. She often spoke to falling seeds and said, \"Ah hope you fall on soft ground,\" because she had heard seeds saying that to each other as they passed. She knew the world was a stallion rolling in the blue pasture of ether. She knew that God tore down the old world every evening and built a new one by sun-up. It was won- derful to see it take form with the sun and emerge from the gray dust of its making. The familiar people and things had failed her so she hung over the gate and looked up the road towards way off. She knew now that marriage did not make love. Janie's first dream was dead, so she became a woman.4 ci• Long before the year was up, Janie noticed that her husband had stopped talking in rhymes to her. He had ceased to won- der at her long black hair and finger it. Six months back he had told her, \"If Ah kin haul de wood heah and chop it fuh yuh, look lak you oughta be able tuh tote it inside. Mah fast wife never bothered me 'bout choppin' no wood nohow. She'd grab dat ax and sling chips lak uh man. You done been spoilt rotten.\" So Janie had told him, \"Ah'm just as stiff as you is stout. If you can stand not to chop and tote wood Ah reckon you can stand not to git no dinner. 'Scuse mah freezolity, Mist' Killicks, but Ah don't mean to chop de first chip.\" \"Aw you know Ah'm gwine chop de wood fuh yuh. Even ifyou is stingy as you can be wid me. Yo' Grandma and me myself done spoilt yuh now, and Ah reckon Ah have tuh keep on wid it.\" One morning soon he called her out of the kitchen to the barn. He had the mule all saddled at the gate. \"Looka heah, LilBit, help me out some. Cut up dese seed taters fuh me. Ah got tuh go step off a piece.\" \"Where you goin'?\" \"Over tuh Lake City tuh see uh man about uh mule.\"Their Eyes Were Watching God 40 27 \"Whut you need two mules fuh? Lessen you aims to swap off dis one.\" \"Naw, Ah needs two mules dis yeah. Taters is goin' tuh be taters in de fall. Bringin' big prices. Ah aims tuh run two plows, and dis man Ah'm talkin\"bout is got uh mule all gentled up so even uh woman kin handle 'im.\" Logan held his wad of tobacco real still in his jaw like a ther- mometer of his feelings while he studied Janie's face and waited for her to say something. \"So Ah thought Ah mout as well go see.\" He tagged on and swallowed to kill time but Janie said nothing except, \"Ah'll cut de p'taters fuh yuh. When yuh comin' back?\" \"Don't know exactly. Round dust dark Ah reckon. It's uh sorta long trip—specially if Ah hafter lead one on de way back.\" When Janie had finished indoors she sat down in the barn with the potatoes. But springtime reached her in there so she moved everything to a place in the yard where she could see the road. The noon sun filtered through the leaves of the fine oak tree where she sat and made lacy patterns on the ground. She had been there a long time when she heard whistling coming down the road. It was a cityfied, stylish dressed man with his hat set at an angle that didn't belong in these parts. His coat was over his arm, but he didn't need it to represent his clothes. The shirt with the silk sleeveholders was dazzling enough for the world. He whistled, mopped his face and walked like he knew where he was going. He was a seal-brown color but he acted like Mr. Washburn or some- body like that to Janie. Where would such a man be coming from and where was he going? He didn't look her way nor no other way except straight ahead, so Janie ran to the pump and jerked the han- dle hard while she pumped. It made a loud noise and also made her heavy hair fall down. So he stopped and looked hard, and then he asked her for a cool drink of water.28 AP Zora Neale Hurston Janie pumped it off until she got a good look at the man. He talked friendly while he drank. Joe Starks was the name, yeah Joe Starks from in and through Georgy. Been workin' for white folks all his life. Saved up some money—round three hundred dollars, yes indeed, right here in his pocket. Kept hearin\"bout them buildin' a new state down heah in Floridy and sort of wanted to come. But he was makin' money where he was. But when he heard all about 'em makin' a town all outa colored folks, he knowed dat was de place he wanted to be. He had always wanted to be a big voice, but de white folks had all de sayso where he come from and everywhere else, exceptin' dis place dat colored folks was buildin' theirselves. Dat was right too. De man dat built things oughta boss it. Let colored folks build things too if dey wants to crow over somethin'. He was glad he had his money all saved up. He meant to git dere whilst de town wuz yet a baby. He meant to buy in big. It had always been his Wish and desire to be a big voice and he had to live nearly thirty years to find a chance. Where was Janie's papa and mama? \"Dey dead, Ah reckon. Ah wouldn't know 'bout 'em 'cause mah Grandma raised me. She dead too.\" \"She dead too! Well, who's lookin' after a lil girl-chile lak you?\" \"Ah'm married.\" \"You married? You ain't hardly old enough to be weaned. Ah betcha you still craves sugar-fits, doncher?\" \"Yeah, and Ah makes and sucks 'em when de notion strikes me. Drinks sweeten' water too.\" \"Ah loves dat mahself. Never specks to get too old to enjoy syrup sweeten' water when it's cools and nice.\" \"Us got plenty syrup in de barn. Ribbon-cane syrup. If you so desires—\" \"Where yo' husband at, Mis' er-er.\"Their Eyes Were Watching God 40 29 \"Mah name is Janie Mae Killicks since Ah got married. Useter be name Janie Mae Crawford. Mah husband is gone tuh buy a mule fuh me tuh plow. He left me cuttin' up seed p'taters.\" \"You behind a plow! You ain't got no mo' business wid uh plow than uh hog is got wid uh holiday! You ain't got no busi- ness cuttin' up no seed p'taters neither. A pretty doll-baby lak you is made to sit on de front porch and rock and fan yo'self and eat p'taters dat other folks plant just special for you.\" Janie laughed and drew two quarts of syrup from the barrel and Joe Starks pumped the water bucket full of cool water. They sat under the tree and talked. He was going on down to the new part of Florida, but no harm to stop and chat. He later decided he needed a rest anyway. It would do him good to rest a week or two. Every day after that they managed to meet in the scrub oaks across the road and talk about when he would be a big ruler of things with her reaping the benefits. Janie pulled back a long time because he did not represent sun-up and pollen and bloom- ing trees, but he spoke for far horizon. He spoke for change and chance. Still she hung back. The memory of Nanny was still pow- erful and strong. \"Janie, if you think Ah aims to tole you off and make a dog outa you, youse wrong. Ah wants to make a wife outa you.\" \"You mean dat, Joe?\" \"De day you puts yo' hand in mine, Ah wouldn't let de sun go down on us single. Ah'm uh man wid principles. You ain't never knowed what it was to be treated lak a lady and Ah wants to be de one tuh show yuh. Call me Jody lak you do sometime.\" \"Jody,\" she smiled up at him, \"but s'posin'—\" \"Leave de s'posin' and everything else to me. Ah'll be down dis road uh little after sunup tomorrow mornin' to wait for you. You come go wid me. Den all de rest of yo' natural life you kin live30 OP Zora Neale Hurston lak you oughta. Kiss me and shake yo' head. When you do dat, yo' plentiful hair breaks lak day.\" Janie debated the matter that night in bed. \"Logan, you 'sleep?\" \"If Ah wuz, you'd be done woke me up callin' me.\" \"Ah wuz thinkin' real hard about us; about you and me.\" \"It's about time. Youse powerful independent around here sometime considerin'.\" \"Considerin' whut for instance?\" \"Considerin' youse born in a carriage 'thout no top to it, and yo' mama and you bein' born and raised in de white folks back-yard.\" \"You didn't say all dat when you wuz begging Nanny for me to marry you.\" \"Ah thought you would 'preciate good treatment. Thought Ah'd take and make somethin' outa yuh. You think youse white folks by de way you act.\" \"S'posin' Ah wuz to run off and leave yuh sometime.\" There! Janie had put words in his held-in fears. She might run off sure enough. The thought put a terrible ache in Logan's body, but he thought it best to put on scorn. \"Ah'm gettin' sleepy, Janie. Let's don't talk no mo'. 'Tain't too many mens would trust yuh, knowin' yo' folks lak dey do.\" \"Ah might take and find somebody dat did trust me and leave yuh.\", \"Shucks! 'Tain't no mo' fools lak me. A whole lot of mens will grin in yo' face, but dey ain't gwine tuh work and feed yuh. You won't git far and you won't be long, when dat big gut reach over and grab dat little one, you'll be too glad to come back here.\" \"You don't take nothin' to count but sow-belly and corn- bread.\" \"Ah'm sleepy. Ah don't aim to worry mah gut into a fiddle-Their Eyes Were Watching God 4 31 string wid no s'posin'.\" He flopped over resentful in his agony and pretended sleep. He hoped that he had hurt her as she had hurt him. Janie got up with him the next morning and had the breakfast halfway done when he bellowed from the barn. \"Janie!\" Logan called harshly. \"Come help me move dis manure pile befo' de sun gits hot. You don't take a bit of interest in dis place. 'Tain't no use in foolin' round in dat kitchen all day long.\" Janie walked to the door with the pan in her hand still stirring the cornmeal dough and looked towards the barn. The sun from ambush was threatening the world with red daggers, but the shadows were gray and solid-looking around the barn. Logan with his shovel looked like a black bear doing some clumsy dance on his hind legs. \"You don't need mah help out dere, Logan. Youse in yo' place and Ah'm in mine.\" \"You ain't got no particular place. It's wherever Ah need yuh. Git uh move on yuh, and dat quick.\" \"Mah mamma didn't tell me Ah wuz born in no hurry. So whut business Ah got rushin' now? Anyhow dat ain't whut youse mad about. Youse mad 'cause Ah don't fall down and wash-up dese sixty acres uh ground yuh got. You ain't done me no favor by marryin' me. And if dat's what you call yo'self doin', Ah don't thank yuh for it. Youse mad 'cause Ah'm tellin' yuh whut you already knowed.\" Logan dropped his shovel and made two or three clumsy steps towards the house, then stopped abruptly. \"Don't you change too many words wid me dis mawnin', Janie, do Ah'll take and change ends wid yuh! Heah, Ah just as good as take you out de white folks' kitchen and set you down on yo' royal diasticutis and you take and low-rate me! Ah'll take holt uh dat ax and come in dere and kill yuh! You better32 410 Zora Neale Hurston dry up in dere! Ah'm too honest and hard-workin' for anybody in yo' family, dat's de reason you don't want me!\" The last sentence was half a sob and half a cry. \"Ah guess some low-lifed nigger is grinnin' in yo' face and lyin' tuh yuh. God damn yo' hide!\" Janie turned from the door without answering, and stood still in the middle of the floor without knowing it. She turned wrongside out just standing there and feeling. When the throb- bing calmed a little she gave Logan's speech a hard thought and placed it beside other things she had seen and heard. When she had finished with that she dumped the dough on the skillet and smoothed it over with her hand. She wasn't even angry. Logan was accusing her of her mamma, her grandmama and her feel- ings, and she couldn't do a thing about any of it. The sow-belly in the pan needed turning. She flipped it over and shoved it back. A little cold water in the coffee pot to settle it. Turned the hoe- cake with a plate and then made a little laugh. What was she los- ing so much time for? A feeling of sudden newness and change came over her. Janie hurried out of the front gate and turned south. Even if Joe was not there waiting for her, the change was bound to do her good. The morning road air was like a new dress. That made her feel the apron tied around her waist. She untied it and flung it on a low bush beside the road and walked on, picking flowers and making a bouquet. After that she came to where Joe Starks was waiting for her with a hired rig. He was very solemn and helped her to the seat beside him. With him on it, it sat like some high, ruling chair. From now on until death she was going to have flower dust and springtime sprinkled over everything. A bee for her bloom. Her old thoughts were going to come in handy now, but new words would have to be made and said to fit them.Their Eyes Were Watching God a. 33 \"Green Cove Springs,\" he told the driver. So they were mar- ried there before sundown, just like Joe had said. With new clothes of silk and wool. They sat on the boarding house porch and saw the sun plunge into the same crack in the earth from which the night emerged.5 On. the train the next day, Joe didn't make many speeches with rhymes to her, but he bought her the best things the butcher had, like apples and a glass lantern full of candies. Mostly he talked about plans for the town when he got there. They were bound to need somebody like him. Janie took a lot of looks at him and she was proud of what she saw. Kind of portly like rich white folks. Strange trains, and people and places didn't scare him neither. Where they got off the train at Maitland he found a buggy to carry them over to the colored town right away. It was early in the afternoon when they got there, so Joe said they must walk over the place and look around. They locked arms and strolled from end to end of the town. Joe noted the scant dozen of shame-faced houses scattered in the sand and palmetto roots and said, \"God, they call this a town? Why, 'tain't nothing but a raw place in de woods.\" \"It is a whole heap littler than Ah thought.\" Janie admitted her disappointment. \"Just like Ah thought,\" Joe said. \"A whole heap uh talk and nobody doin' nothin'. I god, where's de Mayor?\" he asked some- body. \"Ah want tuh speak wid de Mayor.\" Two men who were sitting on their shoulderblades under aTheir Eyes Were Watching God 4171 35 huge live oak tree almost sat upright at the tone of his voice. They stared at Joe's face, his clothes and his wife. \"Where y'all come from in sich uh big haste?\" Lee Coker asked. \"Middle Georgy,\" Starks answered briskly. \"Joe Starks is mah name, from in and through Georgy.\" \"You and yo' daughter goin' tuh join wid us in fellowship?\" the other reclining figure asked. \"Mighty glad tuh have yuh. Hicks is the name. Guv'nor Amos Hicks from Buford, South Carolina. Free, single, disengaged.\" \"I god, Ah ain't nowhere near old enough to have no grown daughter. This here is mah wife.\" Hicks sank back and lost interest at once. \"Where is de Mayor?\" Starks persisted. \"Ah wants tuh talk wid him.\" \"Youse uh mite too previous for dat,\" Coker told him. \"Us ain't got none yit.\" \"Ain't got no Mayor! Well, who tells y'all what to do?\" \"Nobody. Everybody's grown. And then agin, Ah reckon us just ain't thought about it. Ah know Ah ain't.\" \"Ah did think about it one day,\" Hicks said dreamily, \"but then Ah forgot it and ain't thought about it since then.\" \"No wonder things ain't no better,\" Joe commented. \"Ah'm buyin' in here, and buyin' in big. Soon's we find some place to sleep tonight us menfolks got to call people together and form a committee. Then we can get things movin' round here.\" \"Ah kin point yuh where yuh kin sleep,\" Hicks offered. \"Man got his house done built and his wife ain't come yet.\" Starks and Janie moved on off in the direction indicated with Hicks and Coker boring into their backs with looks. \"Dat man talks like a section foreman,\" Coker commented. \"He's mighty compellment.\" \"Shucks!\" said Hicks. \"Mah britches is just as long as his. But36 Alp Zora Neale Hurston dat wife uh hisn! Ah'm uh son of uh Combunction if Ah don't go tuh Georgy and git me one just like her.\" \"Whut wid?\" \"Wid mah talk, man.\" \"It takes money tuh feed pretty women. Dey gits uh lavish uh talk.\" \"Not lak mine. Dey loves to hear me talk because dey can't understand it. Mah co-talkin' is too deep. Too much co to it.\" \"Umph!\" \"You don't believe me, do yuh? You don't know de women Ah kin git to mah command.\" \"Umph!\" \"You ain't never seen me when Ah'm out pleasurin' and givin' pleasure.\" \"Umph!\" \"It's uh good thing he married her befo' she seen me. Ah kin be some trouble when Ah take uh notion.\" \"Umph!\" \"Ah'm uh bitch's baby round lady people.\" \"Ah's much ruther see all dat than to hear 'bout it. Come on less go see whut he gointuh do 'bout dis town.\" They got up and sauntered over to where Starks was living for the present. Already the town had found the strangers. Joe was on the porch talking to a small group of men. Janie could be seen through the bedroom window getting settled. Joe had rented the house for a month. The men were all around him, and he was talking to them by asking questions. \"Whut is de real name of de place?\" \"Some say West Maitland and some say Eatonville. Dat's 'cause Cap'n Eaton give us some land along wid Mr. Laurence. But Cap'n Eaton give de first piece.\" \"How much did they give?\"Their Eyes Were Watching God 40 37 \"Oh 'bout fifty acres.\" \"How much is y'all got now?\" \"Oh 'bout de same.\" \"Dat ain't near enough. Who owns de land joining on to whut yuh got?\" \"Cap'n Eaton.\" \"Where is dis Cap'n Eaton?\" \"Over dere in Maitland, 'ceptin' when he go visitin' or somethin'.\" \"Lemme speak to mah wife a minute and Ah'm goin' see de man. You cannot have no town without some land to build it on. Y'all ain't got enough here to cuss a cat on without gittin' yo' mouf full of hair.\" \"He ain't got no mo' land tuh give away. Yuh needs plenty money if yuh wants any mo'.\" \"Ah specks to pay him.\" The idea was funny to them and they wanted to laugh. They tried hard to hold it in, but enough incredulous laughter burst out of their eyes and leaked from the corners of their mouths to inform anyone of their thoughts. So Joe walked off abruptly. Most of them went along to show him the way and to be there when his bluff was called. Hicks didn't go far. He turned back to the house as soon as he felt he wouldn't be missed from the crowd and mounted the porch. \"Evenin', Miz Starks.\" \"Good evenin'.\" \"You reckon you gointuh like round here?\" \"Ah reckon so.\" \"Anything Ah kin do tuh help out, why you kin call on me.\" \"Much obliged.\" There was a long dead pause. Janie was not jumping at her. I know people have made quite a few TikToks with the second verse but I think the initial exposure we owe largely to our already loyal audience — Billie’s, specifically. I can’t speak to why other people like it, but I think the sounds — piano, percussion, bass, Billie’s voice — just fit together so beautifully on this one. The message will always be important to me, about loving someone when they aren’t able to love themselves.
I Too Had A Dream- Dr. Verghese Kurien [1d472j00zjn2].
Within his brain some curious dream from which he feared he might awake. 'It is your best work, Basil, the best thing you have ever done,' said Lord Henry, languidly. 'You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. The Grosvenor is the only place.'. I had to do something, so I called a friend of Mom's and left a message. It was our system of staying in touch. It always took Mom a few days to get back to me, but when I heard from her, she sounded, as always, cheerful and casual, as though we'd had lunch the day before. I told. Copy URL. Copy a URL from the website you want to download MP3, and paste it to the search bar. Step 2. Choose format. Click on the download button, and select a format for the audio you try to download. Quick Tips: To get mp3 music download 3X faster, try to search by song, album, artist, band, and lyrics with AnyMusic Downloader.
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I Too Had A Dream- Dr. Verghese Kurien [1d472j00zjn2].
The black man goes on, laughs, eats his dinner, and grows stronger. This statement implies that the “Negroes” were biding their time. Living their lives and growing tough as an ethnic group led the way to the civil rights movement in the 1950s and 1960s.
"I Have a Dream" | Literature Quiz – Quizizz.
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"I Have a Dream" | Literature Quiz – Quizizz.
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