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Abstract
Though one of the most prolific and distinguished Black writers in the twenties and the thirties, Hurston was disregarded and misunderstood by her contemporaries, and her work was overlooked by most of the critical studies dealing with the Harlem Renaissance.
Nevertheless, due to the modern Black women writers’ tendency to establish their literary tradition upon their grandmothers’ aesthetic norms, and thanks to modern scrupulous critics, Hurston has been established as one of the most distinguished Black writers in the twenties and thirties. Her distinction as a Black woman writer is in her capacity to preserve Black folk tradition in her fiction and non-fiction writings.
She developed literary aesthetic criteria derived from Black folk tradition.
In her works she celebrated the African American folk heritage and narrative strategies. She contributed to the demise of the notion of a monolithic literature as traditionally conceived and constructed.
She had her works of fiction mainly constructed around the aesthetics of the community using folk ethos.
Born in the all-black town of Eatonville in the Deep South, and well adept in her community’s folk tradition with an outstanding talent for storytelling, Hurston developed an authentic experience of Black folk heritage.
The profound impact of her folk legacy and her great pride in its treasure come at the essence of her three novels: Jonah’s Gourd Vine (1934), Their Eyes Were Watching God (1937), and Moses Man on the Mountain (1939).
Even in her last novel Seraph on the Suwanee (1948) - a novel about white people - Hurston could not escape traits of her deep cherished Black culture and her strong belief in its superiority.
A student of anthropology, Hurston wrote Mules and Men (1935) and Tell My Horse (1938), two books based on her anthropological journeys to study Black folklore.
She dedicated her life to prove the wealth and superiority of Black culture and folk tradition.