Their Eyes Were Watching God

years.

In class at Barnard, we gladly raised structural questions about Their Eyes Were Watching God. Was it a love story or an adventure story? We decided it could be both, as many other complex novels are. Besides, don’t adventures often include romance? And aren’t all exciting romances adventures?

We brought up issues that concerned us as young feminists and womanists. Was Janie Crawford a good female role model or was she solely defined by the men in her life? Many of us argued that Janie did not have to be a role model at all. She simply had to be a fully realized and complex character, which she was. She certainly manifested a will of her own in spite of the efforts of her grandmother and her two first husbands to dominate her, leaving her first husband when life with him grew unbearable, and taking off with Tea Cake against public opinion after the second husband died.

Why did Janie allow Tea Cake to beat her? Some of us thought that Hurston tried to envision characters who are neither too holy nor too evil. Her men and women are extremely nuanced, reflecting human strengths as well as frailties. If Tea Cake were too cruel, then Janie would not love him at all. If he were too uniformly pious, then rather than being her equal, as he was at work in the fields, he would be worshipped by her, and “all gods who receive homage are cruel. All gods dispense suffering without reasons…half gods are worshipped in wine and flowers. Real gods require blood.” In the end, Janie receives from Tea Cake the equivalent of all three—wine, flowers, and blood—and she becomes like a treasured relative whose love affair we could never wholeheartedly condone, but the source of which we could certainly understand. Tea Cake gives his life for Janie, and this, if nothing else, serves as some atonement for many of his sins.

In spite of Janie’s choices concerning Tea Cake, or perhaps because of them, she experiences more freedom than most women (certainly most poor women) of her time. And as much as she loves Tea Cake, she ultimately chooses to live and not to die with him, and her final act is not to follow him to the grave, but to bury him and return alone to a community that will not embrace and welcome her without first being given an explanation as to where she has been and what she has been through. III

For many decades and, hopefully, centuries to come, Their Eyes Were Watching God will probably be at the center of Zora Neale Hurston’s legacy as a novelist. Perhaps because it was written in such a short and, reportedly, emotionally charged period, this is a novel with an overpowering sense of exigency and urgency in its layered plot, swift pace, intricate narration, and in the raw anguish evoked by the conflicting paths laid out for Janie Crawford as she attempts to survive her grandmother’s restricted vision of a black woman’s life and realize her own self-conceived liberation. Like all individual thinkers, Janie Crawford pays the price of exclusion for nonconformity, much like Hurston herself, who was accused of stereotyping the people she loved when she perhaps simply listened to them much more closely than others, and sought to reclaim and reclassify their voices.

The novel not only offers a penetrating view of Janie’s evolving thinking process, but we are also given plenty of insight into the mindsets of those who would wish to condemn her. Janie, however, is never overly critical of her neighbors’ faultfinding reactions to her. She either ignores them entirely or pities them for never having left the safety of their town and never having lived and loved as deeply as she has.

Having survived all she has, Janie now has a deeper understanding of her own actions as well as a greater comprehension of human behavior in general.

“It’s uh known fact, Pheoby, you got tuh go there tuh know there,” she explains to her friend. “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.”

Along with the classic conflict between an individual’s wishes and a community’s censure, there are many contemporary motifs in this novel, events that could have been easily plucked out of early-twenty-first-century headlines: loveless marriages; verbal and physical abuse; mercy killing, or a killing in self-defense, depending on how you interpret it; forbidden love; a public and passionate affair between a younger man and an older woman from different stations in life. Many of the minor characters in the novel are vibrantly multicultural, from African Americans to Native Americans to the Caribbeans who live and work in the Everglades. (To this day, migrant labor and hurricanes remain very concrete elements of life in Florida.)

The influence of Zora’s work, particularly Their Eyes Were Watching God, will continue to be felt for years in the works of many generations of writers. For example, Janie Crawford shares a literary kinship with Celie of Alice Walker’s The Color Purple, whose eyes not only watch God, but whose words and letters, whose voice, speak directly to God.

Part of the reason Janie’s grandmother Nanny pushes her into a loveless marriage to Logan Killicks, her first husband, is that Nanny was born in slavery and had little choice over her own destiny. Nanny has craved small comforts, like sitting idly on a porch, and wants her granddaughter to have them, along with money and status, no matter what the emotional cost. What Nanny may not have considered is that Janie would have her own ideas of freedom. However, Nanny is also pained by a deferred dream of her own.

Nanny confesses to young Janie, “Ah wanted to preach a great sermon about colored women sittin’ on high, but they wasn’t no pulpit for me.”

In Toni Morrison’s Beloved, Beloved’s grandmother Baby Suggs preaches the sermon Nanny never got to preach. Baby Suggs “became an unchurched preacher, one who visited pulpits.” However, her most-used pulpit was one that Baby Suggs created for herself, outdoors, in a clearing: “After situating herself on a huge flat-sided rock, Baby Suggs bowed her head and prayed silently…. Finally she called the women to her. ‘Cry,’ she told them. ‘For the living and for the dead. Just cry.’ And without covering their eyes the women let loose.”

What a difference it might have made to young Janie to have heard her grandmother preach that sermon, to have heard her Nanny say, as Baby Suggs did, “More than your life-holding womb and your life-giving private parts…love your heart. For this is the prize.” IV

In the circular narration of Their Eyes Were Watching God, at the end of the book, a whole new life lies ahead, uncharted for a still relatively young Janie Crawford. She has told her story and has satisfied “that oldest human longing—self-revelation.” And now she must go on.

We know that Janie will never forget Tea Cake. Not only did she love him very deeply, but her life and travels with him have opened up her world and her heart in irreversible ways. However, we get hints that Janie will continue to live on her own uncompromising terms, for even as she has lost her beloved, she has also discovered many deeper layers of herself.

“Now, dat’s how everything wuz, Pheoby, jus’ lak Ah told yuh,” she says to her friend as she prepares to wrap up her story. “So Ah’m back home agin and Ah’m satisfied tuh be heah. Ah done been to de horizon and back and now Ah kin set heah in mah house and live by comparisons.”