Abrahams, Roger D. Afro-American Folktales: Stories from Black Traditions in the New World. New York: Pantheon Books, 1985.
A quality collection of Afro-American folktales presented in a well organized division of major themes. Each division contains a general introduction to the respective theme, making it simpler to identify the most significant characteristics, influences, and 'echoes' of each. A great source for examples of the significant themes and patterns of Afro-American folklore.
Abrahams, Roger D. Talking Black. Rowley: Newbury House Publishers, Inc. 1976.
A collection of essays from Abrahams' "fotkiorist's approach to sociolinguistics" (p.ix). A well organized, insightful look at "the systems that operate within and between various social segments of Afro-American communities in the United States" (p.ix). Provides a great deal of information about the significance of "black talk" and the larger Afro-American issues it expresses and represents. Provides examples and significant observations of how, what, and why "black talk" has remained such a valuable and significant aspect of Afro-American culture.
Bascom, William. African Folktales in the New World. Bloomington & Indianapolis: Indiana University Press, 1992.
A serious, intensely researched collection of African folktales. Focuses on common themes expressed by folktales from different cultures; how they are evidenced and what they signify: "The 'same' folktale or proverb is to be found in some variant form in adjacent cultures and perhaps even in cultures far distant in time and space" (p.vii).Each tale is presented in full with annotated notes on the author's (Bascom) insightful observations, Relevant information, but somewhat "heavy" reading,
Bone, Robert. Down Home: Origins of the Afro-American Short Story. New York: Columbia University Press, 1975.
Many parallels are drawn between Hurston's own life and the characters in her fiction. The author says that since her imagination is tied to the lake region of Florida, in which she grew up, it represents all the strengths and limitations of her writing. He also comments that her continued use of rural settings represents her mistrust and dislike of the urban experience.
Brigham, Cathy. "The Talking Frame of ZNH's Talking Book: Storytelling as Dialect in TEWWG." CLA Journal 37.4 (1994): 402-419.
There are five categories that signify the oral tradition: myth, legend, song, tale, and oratory. All of these have helped in the evolution of the African-American novel. When Tea Cake and Janie are in the muck, she begins to find her identity in "a rich and boisterous story-telling, guitar-picking, signifying orality" that nurtures her (413). The community in which Janie finds herself in at the end of the novel finds its voice through the use of oral forms.
Carby, Hazel V. "The Politics of Fiction. Anthropology, and the Folk: Zora Neale Hurston." Ed. Michael Awkward. New Essays on TEWWG. Cambridge, Mass: Cambridge University Press, 1990. Page 71.
This essay focuses on rural black folk as a group ZNH used in TEWWG and her defense of it against her critics opinions of the group. While most black authors were focusing on the social conscious of black in the 1920's and 1930's, ZNH was trying to preserve primitive aspect of the Afro-American culture from whence all present culture derived. Critics complained of the dialect as degrading to the present black population and enhancing stereotypes yet ZNH noted that one of the proponents of the black culture is its oral language.
Carr, Glynis. "Storytelling as Bildung in ZNH's TEWWG." CLA Journal 31.2 (1987): 189-200.
The act of storytelling is an essential part of a culture in order for it to survive; "stories serve as social cement" (193). The role of the mule gives occasion for the community to tell stories and also identifies the values of the individual who speaks and the community as a whole. Janie's self-affirmation is relized when she is able to participate in the community's process of storytelling.Lowe, John. Jump at the Sun: Zora Neale Hurston's Cosmic Comedy. Urbana and Chicago: University of Illinois Press, 1994. Focuses on the theme of humor in Hurston's work, this theme is directly related to black folklore. The book provides valuable insight into the deeper themes that intimately link Hurston's work with the realm of black folklore. Includes a chapter devoted solely to TEWWG (P. 1 5 6),
Cataliotti, Robert. The Music In African American Fiction. Garland Publishers. New York. 1995.
Cataliotti feels that more "black speak" enters Janie's speech after she meets Tea Cake. He believes that this is an indication that Janie accepts her identity, and because of this is more self aware and happier.
Harris, Trudier. The Power of the Porch. University of Georgia Press. Athens. 1996.
Harris writes that Tiurston grew up in an all black community like the one she describes in her novel (Eatonville really did exist). He stresses the importance of language in folklore story telling and the handing down of myths and legends. Both of these are very important to the community in There Eyes Were Watching God and to the nature of Janie as a person.
Kubitschek, Missy Dehn. "`Save De Text' History, Storytelling, and the Female Quest in TEWWG." Claiming the Heritage: African-American Women's Novels and History. Kubitschek, Missy Dehn. Jackson, Miss: University Press of Mississippi, 1991. Page 52.
TEWWG is compared to Kindred, by Octavia Butler, in that how oral storytelling and written works are both similar and different. The exchange of stories within a community makes room for individual growth. Participation is necessary of the sharing of knowledge which, in turn, preserves the history and continues the growth of the community.Maultsby, Portia K. "West African Influences and Retentions in U.S. Black Music: A Sociocultural Study." Jackson, Irene V. More Than Dancing: Essays on Afro-American Music and Musicians. Westport, Conn.: Greenwood Press, 1985. Page 25.
This gives two definitions of culture: the congregation of thoughts of a particular group of people and the results of acting on a new situation because of the past and present. Music reflects its culture in that it carries the history of the culture to the present and into the future. The black (blues) performer was not only the main entertainer, but, like a preacher, was a historian and spokesman of the black community and its mores and values.
Ogren, Kathy J. "Controversial Sounds: Jazz Performance as Theme and Language in the Harlem Renaissance." Singh, Amritjit, Shiver, William, Brodwin, Stanley, eds. The Harlem Renaissance: Revaluations. New York: Garland, 1989. Page 159.
Authors, like ZNH, have used performance of jazz and blues as a way of establishing the roots of music in black culture to show the culture's indigenous facts. ZNH had a first hand account of the rural traditions of black culture which confirmed her work. `Jooks' are described as being the gathering place for southern blacks who wanted to relax and be entertained amongst music and dancing, and from where jazz is based.
Paredes, Americo and Bauman, Richard. Toward New Perspectives in Folklore. Austin and London: The University of Texas Press, 1972.
A serious collection of works which focuses on the major themes and developments in the vast realm of folklore. Attention is given, as the title suggests, to more appreciative and well-informed perspectives and approaches to folklore in general, by providing a variety of high quality essays on specific perspectives that promote the development and enrichment of folklore and the study thereof. A vast amount of information concerning the significance and impact of all aspects of folklore. Includes much information on oral tradition and linguistics. also focuses on the significance of folklore to greater social/political/world issues.
Prahlad, Sw. Anand. African-American Proverbs in Context. Jackson: University Press of Mississippi, 1996.
Prahlad relates how he "learned the beauty of language and metaphor, the grace of the spoken word, aesthetics of poetic and philosophical meaning, and the ways in which all of these can be intricately linked to nature, as well as to private, community, and cultural experiences" (p.ix). It is with this intimate regard for his subject that the author attempts to develop a model of proverbial speech "that will account for the aesthetic, linguistic, cultural, and personal components of proverbial speech events that I have witnessed throughout my life" (p.xi). The work is a treasure of information about African-American proverbs acquired through the author's intense study and personal experience of folklore. Offers a slightly different perspective on the significance and power of black folklore.
Stewart, James B. "Relationships Between Black Males and Females in Rhythm and Blues Music of the 1960s and 1970s." Jackson, Irene V. More Than Dancing: Essays on Afro-American Music and Musicians. Westport, Conn.: Greenwood Press, 1985.
The use of an artistic outlet, like music, helps to keep a person unconscious of their troubles. The most expressive form (music) will be the best representation of what that member of the (black) culture is at that particular time in history. Music, besides representing the culture, is very likely a basis in the development of that culture.
Talley, Thomas W. The Negro Tradtions. Knoxville: The University Of Tennessee Press, 1993.
A collection of African-American folklore that focuses on and exemplifies the more traditional aspects of this subject. The author's personal familiarity with his subject is reflected in the great attention he pays to the "traditional" details of the collected works; emphasizing (what he observes to be) the truly significant themes, While allowing less significant details to be altered for an overall enrichment of the story. Provides excellent examples of "traditional" themes in Afriean-American folklore by "one of the earliest black scholars to investigate African-American traditional culture" (P.vii).
Thompson, Rose. Hush Child! Can't You Hear the Music? Athens: The University of Georgia Press, 1982.
A collection of black folklore focusing more on its instructional and inspirational values and themes. Incredibly interesting and entertaining stories that reflect the struggles and accomplishments of the black community. Introduces and expresses a number of characters and themes that pervade black folklore and can be evidenced in other works. Reading is easy and entertaining. Provides good examples and evidence of recurring themes in black folklore.
Wainwright, Mary K. "The Aesthetics of Community: The Insular Black Community as Theme and Focus in Hurston's TEWWG." Singh, Amritjit, Shiver, William, Brodwin, Stanley, eds. The Harlem Renaissance: Revaluations. New York: Garland, 1989. Page 233.
The production of Janie's self is explained through the lens of an anthropologist, as ZNH was. The self is not autonomous, but is created, in part, by the community in which is lives in and, conversely, the community is created by the individual persons and what they bring to the community's development. The time of TEWWG's publishing, blacks were producing art in a way that the black community in a framework that was different from ZNH's way, which is why she has been ill-received by her fellow black artists.