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Dust Tracks On A Road Analysis

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Hurston’s autobiography, Dust Tracks on a Road marks the popularity of her career as a writer in the Harlem Renaissance. It is an autobiography intertwined with reality, mystery, imagination, creation, humor and wisdom, celebrating Hurston’s struggle from an isolated southern child to a recognized black female writer. It is an autobiography contains a controversial work evoking both recognition and discrete criticism. Starting with the history of Eatonville, the founding of the pure Negro town, Hurston in Dust Tracks locates herself as a carefree black girl in a harmless place immune from threats of the racial segregation, then delineates her life as a wander after her mother’s death. Aside from her journey in life, the alienation of the narrator …show more content…

The skin color is no longer the target of discrimination. In Eatonville, the adequate supplies of food and space and Hurston’s father rank place Hurston in an upper class, where Hurston’s awareness to her black self has not yet awaken. Under the culture constrains, in her self-representation, Hurston has transcended the boundaries and somewhat inevitably become a white. The following paragraph shows Hurston’s father’s alerting of her being black. Hurston has depicted herself as a girl who likes to discover everything and enjoys being different from others: “I was always asking and making myself a crow in a pigeon’s nest. It was hard on my family and surroundings, and they in turn were hard on me” (Huston 25). Therefore, when her longing for a journey to the end of the world makes her daring to ask her father for a horse not’ a doll for her Christmas gift, she receives a scornful comment from her father: “A saddle horse!” Papa’ exploded. “It’s a sin and a shame! Lemme tell you something right now, my young lady; you ain’t white.” Riding horse!! Always trying to wear de big hat! I don’t know’ you got in this family nohow. You ain’t like none of de’ rest of my young’uns.” (Huston 29). The development of Huston’s awareness of her black self as she moves from one community to another. From community to community, Hurston not merely comes to know her black self, but learns

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Hurston’s metaphors help the reader to understand the great deal of oppression that the handkerchief symbolizes. The author’s metaphors such as “girl was gone”, “woman had taken her place”, and “the glory was there” emphasize that Janie is able to reveal her true beauty in overcoming her struggles. The author implies that by Janie uncovering her hair, she is revealing the constant shadow that has prevented her from her self-examination and in finding her true identity. The author’s metaphors are used to help the reader understand that the moment for an individual to overcome a struggle is profoundly beautiful and

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In Zora Neale Hurston’s short story “Sweat” and her essay “How It Feels to Be Colored Me” the African American social group is being represented in many ways. The texts have similar ways that African Americans are represented for the time period. The African Americans or “colored people” are represented in an aspect that comes from the author's point of view. The African Americans are represented as being unbothered, growing up in a closed community, playing the game with whites, and optimistic.

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Zora Hurston uses vivid imagery, natural diction, and several literary tools in her essay “How It Feels to Be Colored Me”. Hurston’s use of imagery, diction, and literary tools in “How It Feels to Be Colored Me” contributes to, and also compliments, the essay’s theme which is her view on life as a “colored” person. Throughout “How It Feels to Be Colored Me” Hurston carefully incorporates aspects of her African American culture in an effort to recapture her ancestral past. Hurston’s use of imagery, diction, and use of literary tools shape her essay into a piece of Harlem Renaissance work. Imagery in “How It Feels to Be Colored Me” is quite abundant.

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The story represents the culmination of Wright’s passionate desire to observe and reflect upon the racist world around him. Racism is so insidious that it prevents Richard from interacting normally, even with the whites who do treat him with a semblance of respect or with fellow blacks. For Richard, the true problem of racism is not simply that it exists, but that its roots in American culture are so deep it is doubtful whether these roots can be destroyed without destroying the culture itself. “It might have been that my tardiness in learning to sense white people as "white" people came from the fact that many of my relatives were "white"-looking people. My grandmother, who was white as any "white" person, had never looked "white" to me” (Wright 23).

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