It seems fitting to do my first blog post on a blogspot centered around environmental fiction on environment. I am going to address the interesting connection between the land and Janie.
In Their Eyes Were Watching God, Janie seems to grow with each man who comes into her life. After the reader is confronted with Janie’s desire “to be a pear a tree—any tree in bloom,” she sees a boy walking down the road and kisses him (11). In kissing the boy on the sunny day, Janie grows in much the same fashion the tree she aspires to be does in kissing the sun.
The next man in Janie’s life is focused almost entirely on the environment. Every fiber of Logan’s being is put into bettering life through farming, and he is determined to have Janie join him in plowing fields. Metaphorically and literally, in helping farm, Janie would have been establishing roots, but she has not grown enough emotionally with Logan to root herself to his land.
After Logan, “a cityfied, stylish dressed man” comes along to sweep Janie off her feet and to a different area of Florida (27). At first glance of Joe, it should become apparent Janie will be unable to root her to Joe and his plans for success because a city is the opposite of environment and land. During 20 years of marriage to Jody, Janie never grows like the tree of imagination because Joe forbids her from being of the town and even makes her cover her hair—a symbolic blocking of the sun.
When Joe passes and is returned to the earth, Janie begins the grow as a person in her own right by uncovering her head and socializing as she sees fit, but not until Janie meets Tea Cake does she truly blossom as a woman. Throughout the novel, Janie has been opposed to working the land, but she is more than willing to plant beans in the muck with Tea Cake. Personally, I find it interesting Janie is able to grow as a woman in the area where there is “ground so rich that everything went wild” (129).
Janie’s growth seems to correlate with her ability to be one with the land and establish roots, and the demise of her love comes by way of the environment, as well. The hurricane forces Tea Cake and Janie to leave their roots and home in a rush causing them to abandon caution which allows Tea Cake to be bitten. Janie’s love is lost to the wild the muck seems to foster.
Sunday, September 13, 2009
Watching....God?
The title of the novel, “Their Eyes were watching God,” suggests that God has a large role in the book. Other than one small reference in chapter 12 though, religion never shows up in the novel. Instead of thinking of God as a higher being above, Janie is spiritually inclined to think of God as a natural force on earth. It is as if the natural world is filled with that divinity which loves, teaches, and is feared.
If we look, for instance, at the pear tree scene, Janie is filled with erotic, passionate energy and feelings when she sees that perfect moment in nature. It fills her with love, yet also teaches her that she needs to achieve a harmony with nature to be truly happy. It isn’t until Janie moves to the Everglades with Tea Cake that Janie really starts to flourish and become happy. It is the muck, the nature, the raw divinity of the natural world that covers and consumes her when she feels as though she has made it to the harmony she seeks after that moment with the pear tree.
Another example is of course the hurricane. The hurricane demonstrates the fearful and godlike power of nature, and that what happy and wonderful feelings nature can give can also be taken away by the same divine power of nature. It is the opposite of the pear tree, it does not teach Janie how to be happy, but makes Janie rethink her place in life and reminds her of what kind of world she lives in. The world around her, the divine forces or God, creates happiness, yet also fills the world with chaos and pain.
Through these natural forces, God is a huge part of this novel. Through Janie’s eyes she has seen, by the end of the book, much of what God (nature) can do, and though she may not understand God’s reasons behind it, she is content, and happy. She is one with herself and has found a harmony with nature.
~A.K.P.
If we look, for instance, at the pear tree scene, Janie is filled with erotic, passionate energy and feelings when she sees that perfect moment in nature. It fills her with love, yet also teaches her that she needs to achieve a harmony with nature to be truly happy. It isn’t until Janie moves to the Everglades with Tea Cake that Janie really starts to flourish and become happy. It is the muck, the nature, the raw divinity of the natural world that covers and consumes her when she feels as though she has made it to the harmony she seeks after that moment with the pear tree.
Another example is of course the hurricane. The hurricane demonstrates the fearful and godlike power of nature, and that what happy and wonderful feelings nature can give can also be taken away by the same divine power of nature. It is the opposite of the pear tree, it does not teach Janie how to be happy, but makes Janie rethink her place in life and reminds her of what kind of world she lives in. The world around her, the divine forces or God, creates happiness, yet also fills the world with chaos and pain.
Through these natural forces, God is a huge part of this novel. Through Janie’s eyes she has seen, by the end of the book, much of what God (nature) can do, and though she may not understand God’s reasons behind it, she is content, and happy. She is one with herself and has found a harmony with nature.
~A.K.P.
Janie's Love in Their Eyes Were Watching God
In “Their Eyes Were Watching God,” Tea Cake’s adapted animalistic qualities and ultimate violence toward Janie seem particularly disturbing since this is the first glimpse of true abuse the reader sees from Tea Cake. Tea Cake dies from the repercussions of a dog bite that gives him rabies, and Tea Cake actually begins to act dog-like, walking with a “queer loping gait, swinging his head from side to side and his jaws clenched in a funny way” (183). Despite what would be considered by most to be a humiliating appearance, Janie continues to take care of and love him. She is not embarrassed in the slightest, but instead decides that she will do anything for his well-being, telling the doctor, “Anything it cost, doctah, Ah don’t keer…” (177). Even after Tea Cake pulls out the gun and prepares to shoot Janie, she still exercises understanding and love, recognizing that the “fiend in him must kill and Janie was the only living thing he saw” (185).
All of the mean qualities that become a part of Tea Cake during the final days of his life are not truly a part of him, but rather a result of his sickness. The “ferocious look in his eyes” (184), his “urge…to kill” (183), and the “great fear” that had “took hold of him” (178) were not a part of Tea Cake’s character. As Janie herself put it as she saw a “changing look come in his face,” and “Tea Cake was gone” (181).
Jody acts on similar qualities as he lies on his deathbed, but it is a stark contrast to the death of Tea Cake, since Jody’s comments and actions are predictable, and consistent with the way he has treated Janie throughout their marriage. When Janie goes in to talk with Jody as he is dying, he gives her “a ferocious look. A look with all the unthinkable coldness of outer space” (84). And even though Janie still feels sympathy for Jody in his helpless state, she nonetheless firmly tells him what she thinks of him. She insists that Jody “have yo’ way all yo’ life, trample and mash down and then die ruther than tuh let yo’self heah ‘bout it” (86). She debases their marriage completely by telling Jody, “you ain’t de Jody ah run off de road wid. You’se whut’s left after he died” (86).
Janie realizes she has sacrificed her dreams all of these years by staying with Jody, and her immediate action after his death is to tear off “the kerchief from her head and let down her plentiful hair” (87). This is a stark juxtaposition to Janie’s relationship with Tea Cake, and the way she responds to his death. After he is dead, she “wept and thanked him wordlessly for giving her the chance for loving service” (184). The final moments of Tea Cake and Jody are remarkably similar (they both verbally abuse Janie and act hatefully towards her) but I think it’s important to note Janie’s reaction to each of their lives in the aftermath, and whether she reacts in honor (Tea Cake) or protest (Jody). I think this is the most significant telling of her love (or lack thereof) for each.
Janie: The Unknowing Man-Eater
In Hurston's Their Eyes Were Watching God there is a sense of constant renewal. As Janie grows as a woman her ability to control her own station in life grows as well. Through her varying relationships-- namely those involving Johnny Taylor and Teacake, the reader can see that Janie not only begins to gain control of her life, she also becomes the arbiter of her own fate. Each relationship helps Janie along the path of self-empowerment and ultimately leaves her standing alone, the ultimate Man-Eater. This short essay will help define Janie's role as a Man-Eater and shed light on the viability of her status as such.
Although Janie's relationship with Johnny Taylor was a short one, hardly lasting longer than a minute, it helps enamor Janie's position as a woman capable of getting what she wants. "She was sixteen. She had glossy leaves and bursting buds and she wanted to struggle with life but it seemed to elude 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 impatience. Waiting for the world to be made" (Hurston 11). With this sense of unrest Janie stumbles upon Johnny Taylor. Although Janie could only view the world from her Nanny's enclosed gate Janie is still able to get what she wants. Her desire to "struggle with life" leads her into her first sexual encounter- a kiss from Johnny Taylor. However, it is not about Johnny at all, he just happened to be there and was able to fulfill the role Janie prescribed for him.
Teacake's death is the most powerful example of the way in which Janie, intentionally or unintentionally, eats the men in her life. Although Janie feels a "self-crushing love" towards Teacake she is unable to keep him alive and ultimately must kill him to save herself (Hurston 128). There is an eerie foreboding in Hurston's writing when Teacake begins to teach Janie how to use a gun. Hurston cites Janie's ability to "Shoot his head off. She got to be a better shot than Teacake" (Hurston 131). Janie's own growth as a woman seems to create a die-off in those around her. Janie and Teacake's symbiotic relationship, one taking care of the other, becomes unbalanced during the hurricane. Before the flood Teacake worked out in the field and Janie cooked his meals, balancing the work in their relationship. One can hypothesize that when this harmony between the two is broken down (when Teacake tries to save Janie from the dog and is bitten) their relationship is no longer viable.
Janie's journey back to Eatonville, alone and worn, is emblematic of her ability to survive when others would perish. Although this essay only looked at two of Janie's relationships, in many ways, each one in the novel showcases her consumption of those around her. Hurston creates a protagonist that not only refused to be oppressed, she is able to create a character that refused to be tamed. Furthermore Hurston does this without ostracizing Janie from the reader. Although Janie can be viewed as a man-eater, her naivety and her constant renewal keeps the reader on her side and behind her throughout the novel's entirety.
Saturday, September 12, 2009
Fighting as Foreplay
They say hell hath no fury like a woman scorned. And Janie is no exception.
Suspicious of the relationship between her husband Tea Cake, and their “little chunky” coworker Nunkie, Janie Starks violently chastises Tea Cake after he and Nunkie disappear from the fields – though it can be reasonably assumed that their interaction during the absence was entirely non-sexual.
In fact, when faced with allegations of impropriety, Tea Cake asserts that he’s guilty of “No sich uh thing” (137). But Janie remains incredulous.
So she fights.
After he returns from the fields, Janie physically confronts her husband, attempting to beat him, chasing Tea Cake “from one room to the other” (137). The pounding of fists and the thrashing of bodies soon turns sexual. As Tea Cake holds Janie’s wrists, refusing to let go, their antagonistic struggle turns to a passionate romp. The couple continue to wrestle, “until their clothes are torn away […] doing things with their body to express the inexpressible” (137).
Their fighting, it would seem, serves as foreplay.
This is echoed later in the novel, as Tea Cake beats Janie to assert his possession of her as his wife. Though he gave, “no brutal beating,” the narrator is clear that he “slapped her around” to “show he was boss” (147).
Tea Cake’s violence, however, is quickly followed by “petting and pampering” – his rage quickly melting to loving tenderness (147).
The narrator is quick to note that the other women on the muck look upon this kindly and optimistically, seeing “visions” (147). Alluding to the opening passage of the novel, in which it is asserted that, for women, “the dream is the truth,” it would seem, then, that being an object of violence is not something to be feared or lamented, but rather something to be embraced and anticipated (1).
Perhaps these mini-illustrations of physical violence within the context of the most loving and fulfilling relationship in the novel suggest a framework for interpretation for the novel as a whole.
Namely, that struggle precedes reward.
It would seem that fierce violence is needed, and indeed should be welcomed, in order for one to experience the greatest pleasure.
This is further buttressed as the narrator reveals that Janie faked her suspicions of Tea Cake’s infidelity with Nunkie in order to reassure herself of the strength of their relationship. It is only after the couple’s pained, passionate physical conflict, that Tea Cake tells Janie that she is “something tuh make a man forgit tuh get old” (138).
Reconciliation can only take place after a rift.
A slap in the face could be what every lover needs.
Suspicious of the relationship between her husband Tea Cake, and their “little chunky” coworker Nunkie, Janie Starks violently chastises Tea Cake after he and Nunkie disappear from the fields – though it can be reasonably assumed that their interaction during the absence was entirely non-sexual.
In fact, when faced with allegations of impropriety, Tea Cake asserts that he’s guilty of “No sich uh thing” (137). But Janie remains incredulous.
So she fights.
After he returns from the fields, Janie physically confronts her husband, attempting to beat him, chasing Tea Cake “from one room to the other” (137). The pounding of fists and the thrashing of bodies soon turns sexual. As Tea Cake holds Janie’s wrists, refusing to let go, their antagonistic struggle turns to a passionate romp. The couple continue to wrestle, “until their clothes are torn away […] doing things with their body to express the inexpressible” (137).
Their fighting, it would seem, serves as foreplay.
This is echoed later in the novel, as Tea Cake beats Janie to assert his possession of her as his wife. Though he gave, “no brutal beating,” the narrator is clear that he “slapped her around” to “show he was boss” (147).
Tea Cake’s violence, however, is quickly followed by “petting and pampering” – his rage quickly melting to loving tenderness (147).
The narrator is quick to note that the other women on the muck look upon this kindly and optimistically, seeing “visions” (147). Alluding to the opening passage of the novel, in which it is asserted that, for women, “the dream is the truth,” it would seem, then, that being an object of violence is not something to be feared or lamented, but rather something to be embraced and anticipated (1).
Perhaps these mini-illustrations of physical violence within the context of the most loving and fulfilling relationship in the novel suggest a framework for interpretation for the novel as a whole.
Namely, that struggle precedes reward.
It would seem that fierce violence is needed, and indeed should be welcomed, in order for one to experience the greatest pleasure.
This is further buttressed as the narrator reveals that Janie faked her suspicions of Tea Cake’s infidelity with Nunkie in order to reassure herself of the strength of their relationship. It is only after the couple’s pained, passionate physical conflict, that Tea Cake tells Janie that she is “something tuh make a man forgit tuh get old” (138).
Reconciliation can only take place after a rift.
A slap in the face could be what every lover needs.
Tea Cake, Janie, and Gambling
September 13, 2009
I wanted to talk about gambling in Their Eyes Were Watching God. Gambling wasn’t really part of the discussion in class, and it seems key to the relationship Janie cultivates with Tea Cake. Gambling is an important part of Janie’s relationship decision making. Gambling is also ultimately the reason behind why Janie and Tea Cake are able to build such a strong relationship. Also importantly, gambling is shown as a strong bonding force within the communities that Janie and Tea Cake frequent once they are married.
As Janie grows older, she continually makes bolder and bolder gambles with her relationships. Her first relationship with Logan is a gamble to get away from her Nanny and the constraints that have been placed on her; however, this first relationship is mostly arranged and, therefore, less of a gamble than it is happenstance. Then, before Janie is with Jody, she is faced with the choice to stay with her current husband or to leave and travel with Jody to places and lifestyle unbeknownst to her. This is a gamble because it means she has to leave the only lifestyle she has known prior; however, because Jody comes across as an upstanding gent, it is less of a gamble than her relationship with Tea Cake turns out to be.
Janie’s relationship with Tea Cake is a gamble from the beginning. She has to defend her decision to be with Tea Cake to the men and women of Eatonville, and even to her best friend, Phoeby (Hurston 112). Zora Neal Hurston capably shows the possible ramifications of this gamble after Janie marries Tea Cake and they head to Jacksonville. Here, Janie has real doubts about her relationship with Tea Cake when he lifts her savings and leaves her at the hotel for an entire day. Janie is so worried the text even implicitly states, “Her heart all but smothered her” (Hurston, 120). Later, gambling becomes both the stabilizing force and the impish demon of their relationship. Gambling is behind Janie and Tea Cake’s ability to build friendships with their fellow workers, causing them to feel at ease in their home, to come over and casually gamble…and thus liquor, and music, and dancing follow. Janie and Tea Cake are constantly pushing the boundaries of their relationship, taking chances on friendships and money, but the gambling seems to only reinforce the attraction and love that occurred at the start of the relationship—this is shown most capably with the silly affair between Nunkie and Tea Cake and the apologetic love scene that follows the tiff.
Tea Cake is a gambler. In many ways, Janie is too. Sometimes it seems that playing it safe could be the better call, for instance, when they take a gamble before the hurricane, staunchly refusing to leave. Yet, they need the gambling; they are discontent without it. Janie could not handle being told how to live or wear her hair; she could not handle the humdrum of the store. She needs stability from Tea Cake, but with an element of chance somewhere on the horizon.
-J. Grabert
"Real gods require blood"
Near the end of the Mrs. Turner narrative, the narrator breaks off into an extended analysis which compares Mrs. Turner's views of race to religious fanaticism. Hurston includes a passage which discusses gods in very general terms--a style reminiscent of the opening lines of the novel. The shift from talking about the specific to the general occurs in the sentence "It was inevitable that she [Mrs. Turner] should accept any inconsistency and cruelty from her deity as all good worshippers do from theirs." The rest of the paragraph makes wide claims such as "All gods who receive homage are cruel," and "Half gods are worshipped in wine and flowers. Real gods require blood." The striking change from a straightforward narrative mode to an anthropological style leads one to ask: What is this section doing here? Hurton seemingly provides a gratis interpretation of Mrs. Turner as someone stuck in a pagan mindset, but we know our narrator too well to accept such sweeping statements at face value.
At least for Mrs. Turner, interpreting her racism as caused by worshipping ivory idols seems appealing. Her rigid hierarchy of race fits with a model which places her in a middling position between gods (those whiter than her) and devils (those blacker than her). Her willingness to be snubbed and humiliated by Janie also fits with a similar religious desire to grovel before the gods and propitiate them with one's own suffering.
However, one way of interpreting the hurricane would be to see the lake-monster as a pagan god who provides the fertility of the muck, but also "dispenses suffering without reason." But where are the sacrifices to the muck-god? Where is the fear and trembling that Hurston insists accompanies "real gods" and is the "most divine emotion"? Do we see a "first fruits" ceremony where a portion of the beans is ritually thrown back to the muck to placate the muck-god and pray for continued fertility and no hurricanes this year? Instead, the muck-dwellers seem to simply commune with the blackness, and accept the hurricane as a fact of life, not a divine punishment. As is the case with other broad generalities put forth by the narrator in Their Eyes Were Watching God, the passage about gods and sacrifices is challenged by other events in the novel. Perhaps we should read such "truths" served up by the narrator as conditional and local--applicable only to the situation at hand and not all cases.
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