Every Tongue Got to Confess

ZORA NEALE HURSTON Every Tongue Got to Confess Negro Folk-tales from the Gulf States Foreword by John Edgar Wideman Edited and with an Introduction by Carla Kaplan Contents E-Book Extra The Oral Tradition: A Reading Group Guide Every Tongue Got to Confess Foreword by John Edgar Wideman Introduction by Carla Kaplan A Note to the Reader Negro Folk-tales from the Gulf States Appendix 1 Appendix 2 Appendix 3 “Stories Kossula Told Me” Acknowledgments About the Author Praise By Zora Neale Hurston Credits Copyright About the Publisher Acknowledgments The estate of Zora Neale Hurston is deeply grateful for the contributions of John Edgar Wideman and Dr. Carla Kaplan to this publishing event. We also thank our editor Julia Serebrinsky, our publisher Cathy Hemming, our agent Victoria Sanders, and our attorney Robert Youdelman who all work daily to support the literary legacy of Zora Neale Hurston. Lastly, we thank those whose efforts past and present have been a part of Zora Neale Hurston’s resurgence. Among them are: Robert Hemenway, Alice Walker, the folks at the MLA, Virginia Stanley, Jennifer Hart, Diane Burrowes and Susan Weinberg at HarperCollins Publishers, special friends of the estate Imani Wilson and Kristy Anderson, and all the teachers and librarians everywhere who introduce new readers to Zora every day. Foreword With the example of her vibrant, poetic style Zora Neale Hurston reminded me, instructed me that the language of fiction must never become inert, that the writer at his or her desk, page by page, line by line, word by word should animate the text, attempt to make it speak as the best storytellers speak. In her fiction, and collections of African-American narratives, Hurston provides models of good old-time tale-telling sessions. With the resources of written language, she seeks to recover, uncover, discover the techniques oral bards employed to enchant and teach their audiences. Like African-American instrumental jazz, Hurston’s writing imitates the human voice. At the bottom in the gut of jazz if you listen closely you can hear—no matter how complexly, obliquely, mysteriously stylized—somebody talking, crying, growling, singing, farting, praying, stomping, voicing in all those modes through which our bodies communicate some tale about how it feels to be here on earth or leaving, or about the sweet pain of hanging on between the coming and going. In the spring of 1968 a group of African-American students arrived at my University of Pennsylvania Department of English office and asked if I would offer a class in Black Literature. I responded in a predictable fashion, given my education, social conditioning, and status as the only tenure-track assistant professor of color in the entire College of Arts and Sciences. No, thank you, I said, citing various reasons for declining—my already crowded academic schedule, my need to keep time free for fiction writing, family obligations, and the clincher—African-American literature was not my “field.” The exchange lasted only five or ten minutes and I remember being vaguely satisfied with myself for smoothly, quickly marshaling reasonable arguments for refusing the students’ request, but before the office door closed behind them, I also sensed something awful had occurred. Something much more significant than wriggling out fairly gracefully from one more demand on my already stressed time, something slightly incriminating, perhaps even shameful. I’d watched the students’ eyes watching me during my brisk, precise dismissal of their proposal. I’d seen the cloud, the almost instantaneous dulling and turning away and shrinking inward of the students’ eyes speaking a painful truth: I had not simply said no to a course, I’d said no to them, to who they were, who I was in my little cubicle in Bennett Hall, to the beleaguered island of us, our collective endeavor to make sense of the treacherous currents that had brought us to an Ivy League university and also threatened daily to wipe out the small footholds and handholds we fashioned to survive there. To cut one part of a long story short, by the next day I’d changed my mind, and I did teach a Black Literature course the following semester. No white people in my office on that spring day in 1968. On the other hand, visualizing the presence of some sweaty, ham-fisted, Caucasian version of John Henry, the steel-driving man, hammering iron wedges between the students and me, incarcerating us behind bars as invisible as he was, clarifies the encounter. Why weren’t novels and poems by Americans of African descent being taught at the university? Why were so few of us attending and almost none of us teaching there? What rationales and agendas were served by dispensing knowledge through arbitrary, territorial “fields”? Why had the training I’d received in the so-called “best” schools alienated me from my particular cultural roots and brainwashed me into believing in some objective, universal, standard brand of culture and art—essentialist, hierarchical classifications of knowledge—that doomed people like me to marginality on the campus and worse, consigned the vast majority of us who never reach college to a stigmatized, surplus underclass. Yes, unpacking the issues above would surely be a long story, one I’ve undertaken to tell in thirty years of fiction and essay. So, back to the shorter story. The class I initiated partly, I admit, to assuage my guilt, to pay dues, to erase the cloud of disappointment I’ve never forgotten in the students’ eyes. It pains me all these years later, since the conditions brewing the cloud’s ugly presence remain in place, and the scene may be replicating itself, different office, different university and victims today. But the class, let’s stick to my first African-American Literature class that turned out to be a gift from the students to me rather than my offering to them, the class that leads back to Zora Neale Hurston and this folklore collection. At the end of the first trial run of the class an appreciative student handed me The Bluest Eye and said, Thank you for the course, Professor Wideman. Isabel Stewart, since she was a sweet, polite, subtle young woman and didn’t wish to undercut an expression of gratitude by mixing it with other, more complicated motives, didn’t add, You really must teach this wonderful novel, especially since you saw fit to include only one work by a female writer in your syllabus. The one work was Their Eyes Were Watching God. I had discovered it when I began teaching myself what my formal education had neglected. At the time African-American writing was dominated by males and framed intellectually by a reductive, apologetic, separate-but-equal mentality whose major critical project seemed to be asserting the point: we too have written and do write and some of our stuff deserves inclusion in the mainstream. By coincidence the two female writers who in separate ways—one by her presence, the other by her absence—were part of my first course would help transform African-American literary studies. Toni Morrison—as writer-editor and Nobel laureate—became point person of a band of awesomely talented women who would precipitate a flip-flop in African-American letters so that women today, for better or worse, dominate the field as much as men did thirty years ago. Zora Neale Hurston’s representation of the folk voice in her anthropological work, autobiography and fiction expanded the idea of what counts as literature, reframing the relationship between spoken and written verbal art, high versus low culture, affirming folk voices, female voices. Hurston foregrounds creolized language and culture in her fiction and nonfiction, dramatizing vernacular ways of speaking that are so independent, dynamic, self- assertive and expressive they cross over, challenge and transform mainstream dialects. Creole languages refuse to remain standing, hat in hand at the back door as segregated, second-class, passive aspirants for marginal inclusion within the framework of somebody else’s literary aesthetic. Though Africanized vernaculars of the rural American South are not separate languages like the Creole of Haiti or Martinique, they are distinctively different speech varieties marked by systematic linguistic structures common to Creoles. The difference of these Africanized vernaculars is complicated by what could be called their “unwritability,” their active resistance to being captured in print. I began to write, that is: to die a little. As soon as my Esternome began to supply me the words, I felt death. Each of his sentences (salvaged in my memory, inscribed in the notebook) distanced him from me. With the notebooks piling up, I felt they were burying him once again. Each written sentence coated a little of him, his Creole tongue, his words, his intonation, his eyes, his airs with formaldehyde…The written words, my poor French words, dissipated the echo of his words forever and imposed betrayal upon my memory…I was emptying my memory into immobile notebooks without having brought back the quivering of the living life. [Chamoiseau: Texaco (321–2)] All spoken language of course resists exact phonetic inscription. But Creole’s stubborn survivalist orality, its self-preserving instinct to never stand still, to stay a step ahead, a step away, the political challenge inherent in its form and function, increases the difficulty of rendering it on the page. The difference of vernacular speech has been represented at one extreme by blackface minstrelsy and Hollywood’s perpetuation of that fiction in the porn of race showcasing for the viewer’s gaze deviant clowns and outlaws whose comic, obscene, violent speech (often the embodied fantasies of white scriptwriters) stands as a barely intelligible mangling of the master tongue.

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