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| figurative language in their eyes were watching god: Their Eyes Were Watching God Zora Neale Hurston, 1937 |
| figurative language in their eyes were watching god: A Teacher's Guide to Their Eyes Were Watching God Zora Neale Hurston, Amy Jurskis, 2014-06-24 A leading novel in the canon of African American literature—this free teaching guide for Their Eyes Were Watching God by Zora Neale Hurston is designed to help you put the new Common Core State Standards into practice. “A deeply soulful novel that comprehends love and cruelty, and separates the big people from the small of heart, without ever losing sympathy for those unfortunates who don’t know how to live properly.”—Zadie Smith One of the most important and enduring books of the twentieth century, Their Eyes Were Watching God brings to life a Southern love story with the wit and pathos found only in the writing of Zora Neale Hurston. Out of print for almost thirty years—due largely to initial audiences’ rejection of its strong black female protagonist—Hurston’s classic has since its 1978 reissue become perhaps the most widely read and highly acclaimed novel in the canon of African American literature. |
| figurative language in their eyes were watching god: Stones from the River Ursula Hegi, 2011-01-25 From the acclaimed author of Floating in My Mother’s Palm and Children and Fire, a stunning story about ordinary people living in extraordinary times—“epic, daring, magnificent, the product of a defining and mesmerizing vision” (Los Angeles Times). Trudi Montag is a Zwerg—a dwarf—short, undesirable, different, the voice of anyone who has ever tried to fit in. Eventually she learns that being different is a secret that all humans share—from her mother who flees into madness, to her friend Georg whose parents pretend he’s a girl, to the Jews Trudi harbors in her cellar. Ursula Hegi brings us a timeless and unforgettable story in Trudi and a small town, weaving together a profound tapestry of emotional power, humanity, and truth. |
| figurative language in their eyes were watching god: The Mule-Bone Zora Neale Hurston, 2020-05-19 This story begins in Eatonville, Florida, on a Saturday afternoon with Jim and Dave fighting for Daisy's affection. An argument breaks out between two men, and Jim picks up a hock bone from a mule and knocks Dave out. Because of that Jim gets arrested and is held for trial in Joe Clarke's barn. When the trial begins the townspeople are divided along religious lines: Jim's Methodist supporters sit on one side of the church, Dave's Baptist supporters on the other. The issue to be decided at the trial is whether or not Jim has committed a crime. |
| figurative language in their eyes were watching god: How It Feels to be Colored Me Zora Neale Hurston, 2024-01-01 The acclaimed author of Their Eyes Were Watching God relates her experiences as an African American woman in early-twentieth-century America. In this autobiographical essay, author Zora Neale Hurston recounts episodes from her childhood in different communities in Florida: Eatonville and Jacksonville. She reflects on what those experiences showed her about race, identity, and feeling different. “How It Feels to Be Colored Me” was originally published in 1928 in the magazine The World Tomorrow. |
| figurative language in their eyes were watching god: Zora Neale Hurston's Their Eyes Were Watching God Cheryl A. Wall, 2000 The rediscovery of Zora Neale Hurston's Their Eyes Were Watching God, first published in 1937 but subsequently out-of-print for decades, marks one of the most dramatic chapters in African-American literature and Women's Studies. Its popularity owes much to the lyricism of the prose, the pitch-perfect rendition of black vernacular English, and the memorable characters--most notably, Janie Crawford. Collecting the most widely cited and influential essays published on Hurston's classic novel over the last quarter century, this Casebook presents contesting viewpoints by Hazel Carby, Henry Louis Gates, Jr., Barbara Johnson, Carla Kaplan, Daphne Lamothe, Mary Helen Washington, and Sherley Anne Williams. The volume also includes a statement Hurston submitted to a reference book on twentieth-century authors in 1942. As it records the major debates the novel has sparked on issues of language and identity, feminism and racial politics, A Casebook charts new directions for future critics and affirms the classic status of the novel. |
| figurative language in their eyes were watching god: How to Be a Heroine Samantha Ellis, 2015-02-03 While debating literature’s greatest heroines with her best friend, thirtysomething playwright Samantha Ellis has a revelation—her whole life, she's been trying to be Cathy Earnshaw of Wuthering Heights when she should have been trying to be Jane Eyre. With this discovery, she embarks on a retrospective look at the literary ladies—the characters and the writers—whom she has loved since childhood. From early obsessions with the March sisters to her later idolization of Sylvia Plath, Ellis evaluates how her heroines stack up today. And, just as she excavates the stories of her favorite characters, Ellis also shares a frank, often humorous account of her own life growing up in a tight-knit Iraqi Jewish community in London. Here a life-long reader explores how heroines shape all our lives. |
| figurative language in their eyes were watching god: The Boy Who Dared Susan Campbell Bartoletti, 2017-05-30 A Newbery Honor Book author has written a powerful and gripping novel about a youth in Nazi Germany who tells the truth about Hitler. Susan Campbell Bartoletti has taken one episode from her Newbery Honor Book, Hitler Youth, and fleshed it out into thought-provoking novel. When 16-year-old Helmut Hubner listens to the BBC news on an illegal short-wave radio, he quickly discovers Germany is lying to the people. But when he tries to expose the truth with leaflets, he's tried for treason. Sentenced to death and waiting in a jail cell, Helmut's story emerges in a series of flashbacks that show his growth from a naive child caught up in the patriotism of the times , to a sensitive and mature young man who thinks for himself. |
| figurative language in their eyes were watching god: Zora Neale Hurston's Their Eyes Were Watching God Harold Bloom, Sterling Professor of Humanities Harold Bloom, 2009 Discusses the writing of Their eyes were watching God by Zora Neale Hurston. Includes critical essays on the work and a brief biography of the author. |
| figurative language in their eyes were watching god: White Noise Don DeLillo, 1999-06-01 NATIONAL BOOK AWARD WINNER • An “eerie, brilliant, and touching” (The New York Times) modern classic about mass culture and the numbing effects of technology. “Tremendously funny . . . A stunning performance from one of our most intelligent novelists.”—The New Republic The inspiration for the award-winning major motion picture starring Adam Driver and Greta Gerwig Jack Gladney teaches Hitler Studies at a liberal arts college in Middle America where his colleagues include New York expatriates who want to immerse themselves in “American magic and dread.” Jack and his fourth wife, Babette, bound by their love, fear of death, and four ultramodern offspring, navigate the usual rocky passages of family life to the background babble of brand-name consumerism. Then a lethal black chemical cloud floats over their lives, an “airborne toxic event” unleashed by an industrial accident. The menacing cloud is a more urgent and visible version of the “white noise” engulfing the Gladney family—radio transmissions, sirens, microwaves, ultrasonic appliances, and TV murmurings—pulsing with life, yet suggesting something ominous. |
| figurative language in their eyes were watching god: Mules and Men Zora Neale Hurston, 2009-10-13 Zora Neale Hurston brings us Black America’s folklore as only she can, putting the oral history on the written page with grace and understanding. This new edition of Mules and Men features a new cover and a P.S. section which includes insights, interviews, and more. For the student of cultural history, Mules and Men is a treasury of Black America’s folklore as collected by Zora Neale Hurston, the storyteller and anthropologist who grew up hearing the songs and sermons, sayings and tall tales that have formed and oral history of the South since the time of slavery. Set intimately within the social context of Black life, the stories, “big old lies,” songs, voodoo customs, and superstitions recorded in these pages capture the imagination and bring back to life the humor and wisdom that is the unique heritage of Black Americans. |
| figurative language in their eyes were watching god: The New Negro Alain Locke, 1925 |
| figurative language in their eyes were watching god: Hope Is the Thing with Feathers Emily Dickinson, 2019-02-12 Part of a new collection of literary voices from Gibbs Smith, written by, and for, extraordinary women—to encourage, challenge, and inspire. One of American’s most distinctive poets, Emily Dickinson scorned the conventions of her day in her approach to writing, religion, and society. Hope Is the Thing with Feathers is a collection from her vast archive of poetry to inspire the writers, creatives, and leaders of today. Continue your journey in the Women’s Voices series with Jane Eyre, by Charlotte Bronte and The Feminist Papers by Mary Wollstonecraft. |
| figurative language in their eyes were watching god: The Day of the Triffids John Wyndham, 2022-04-19 The influential masterpiece of one of the twentieth century’s most brilliant—and neglected—science fiction and horror writers, whom Stephen King called “the best writer of science fiction that England has ever produced.” “[Wyndham] avoids easy allegories and instead questions the relative values of the civilisation that has been lost, the literally blind terror of humanity in the face of dominant nature. . . . Frightening and powerful, Wyndham’s vision remains an important allegory and a gripping story.”—The Guardian What if a meteor shower left most of the world blind—and humanity at the mercy of mysterious carnivorous plants? Bill Masen undergoes eye surgery and awakes the next morning in his hospital bed to find civilization collapsing. Wandering the city, he quickly realizes that surviving in this strange new world requires evading strangers and the seven-foot-tall plants known as triffids—plants that can walk and can kill a man with one quick lash of their poisonous stingers. |
| figurative language in their eyes were watching god: Better Than the Movies Lynn Painter, 2024-03-28 Perfect for fans of Emily Henry and Ali Hazelwood, this “sweet and funny” (Kerry Winfrey, author of Waiting for Tom Hanks) teen rom-com is hopelessly romantic with enemies to lovers and grumpy x sunshine energy! Liz hates her annoyingly attractive neighbour but he’s the only in with her long-term crush… Perpetual daydreamer and hopeless romantic Liz Buxbaum gave her heart to Michael a long time ago. But her cool, aloof forever crush never really saw her before he moved away. Now that he’s back in town, Liz will do whatever it takes to get on his radar—and maybe snag him as a prom date—even befriend Wes Bennet. The annoyingly attractive next-door neighbour might seem like a prime candidate for romantic comedy fantasies, but Wes has only been a pain in Liz’s butt since they were kids. Pranks involving frogs and decapitated lawn gnomes do not a potential boyfriend make. Yet, somehow, Wes and Michael are hitting it off, which means Wes is Liz’s in. But as Liz and Wes scheme to get Liz noticed by Michael so she can have her magical prom moment, she’s shocked to discover that she likes being around Wes. And as they continue to grow closer, she must re-examine everything she thought she knew about love—and rethink her own ideas of what Happily Ever After should look like. Better Than the Movies features quotes from the best-loved rom-coms of cinema and takes you on a rollercoaster of romance that isn’t movie-perfect but jaw-dropping and heart-stopping in unexpected ways. Pre-order Nothing Like the Movies, the swoony sequel to Better than the Movies and don't miss out on The Do-Over and Betting On You from Lynn Painter! |
| figurative language in their eyes were watching god: Jellicoe Road Melina Marchetta, 2010-04-06 Winner of the Michael L. Printz Award * ALA Best Book for Young Adults * Kirkus Best Book Jellicoe Road is a dazzling tale that is part love story, part family drama, and part coming-of-age novel. Described by Kirkus as “a beautifully rendered mystery” and by VOYA as “a great choice for more sophisticated readers and those teens who like multifaceted stories and characters.” Abandoned by her mother on Jellicoe Road when she was eleven, Taylor Markham, now seventeen, is finally being confronted with her past. But as the reluctant leader of her boarding school dorm, there isn't a lot of time for introspection. And while Hannah, the closest adult Taylor has to family, has disappeared, Jonah Griggs, the boy who might be the key to unlocking the secrets for Taylor’s past, is back in town, moody stares and all. In this absorbing story by Melina Marchetta, nothing is as it seems and every clue leads to more questions as Taylor tries to work out the connection between her mother dumping her; Hannah finding her; Hannah’s sudden departure; a mysterious stranger who once whispered something in her ear; a boy in her dreams; five kids who lived on Jellicoe Road eighteen years ago; and the maddening and magnetic Jonah Griggs, who knows her better than she thinks he does. If Taylor can put together the pieces of her past, she just might be able to change her future. |
| figurative language in their eyes were watching god: High John de Conquer Zora Neale Hurston, 2019-04-24 Maybe, now, we used-to-be black African folks can be of some help to our brothers and sisters who have always been white. You will take another look at us and say that we are still black and, ethnologically speaking, you will be right. But nationally and culturally, we are as white as the next one. We have put our labor and our blood into the common causes for a long time. We have given the rest of the nation song and laughter. Maybe now, in this terrible struggle, we can give something else—the source and soul of our laughter and song. We offer you our hope-bringer, High John de Conquer. Zora Neale Hurston (1891-1960) was an influential author of African-American literature and anthropologist, who portrayed racial struggles in the early 20th century American South, and published research on Haitian voodoo. Of Hurston's four novels and more than 50 published short stories, plays, and essays, her most popular is the 1937 novel Their Eyes Were Watching God. Originally published in The American Mercury (1943). |
| figurative language in their eyes were watching god: Mob Psycho 100: Reigen ONE, 2020-12-15 In a world haunted by dangerous supernatural forces, there are still some problems you can't solve no matter how much spiritual power you have. And a good thing too—because phony exorcist Reigen Arataka doesn't have any! But that's never stopped Reigen from running a ghostbusting business...and his new part-time office assistant is none other than Tome Kurata, a girl obsessed with the strange and unexplained—and the schoolmate of Reigen's protégé, Shigeo Mob Kageyama. Yet whereas Mob's incredible psychic strength resolved many a case for Reigen, Tome is as powerless as her boss! Or so she may think at first...but if there's one thing a master scam artist knows how to teach, it's the power of confidence and belief! |
| figurative language in their eyes were watching god: Honey Badger Don't Care Randall, 2012-01-24 Never before has wildlife narration been this bold and this hilarious. More than 40 million people have viewed Randall’s honey badger video, “The Crazy Nastyass Honey Badger.” “It has no regard for anyone or anything—it just takes what it wants! What a little badass!” When viewing wildlife footage, who hasn’t thought at times, “Ewww! What the hell is that?!” Randall thinks it — and says so! In Honey Badger Don’t Care, Randall examines and humorously informs on a dozen crazy, nasty animals of the wild kingdom employing his unique style of telling it like it is! His wildlife writing is refreshingly honest. If an animal scares Randall, he’s not afraid to share. Unlike most nature writers, Randall doesn’t deliver the sugarcoated or drab description. He “goes there” and shares his true feelings with his audience. Because of this, his readers feel that they can relate. Randall loves animals—even the ones that terrify him. He may not agree with how these animals conduct themselves in the world, but Randall wants everyone to know who they are. Just as he introduced the world to the honey badger, the Jesus lizard, and others, so will Randall shed light on twelve bizarre and interesting animals. Designed with callouts, sidebars, and more than fifty photos, Honey Badger Don’t Care presents a wildlife book for adults—hilarious, irreverent, profane, yet charming, chatty, and informative. Don’t be stupid—buy this book! |
| figurative language in their eyes were watching god: Like a House on Fire Cate Kennedy, 2012-09-26 WINNER OF THE 2013 STEELE RUDD AWARD, QUEENSLAND LITERARY AWARDS SHORTLISTED FOR THE 2013 STELLA PRIZE SHORTLISTED FOR THE 2013 KIBBLE AWARD From prize-winning short-story writer Cate Kennedy comes a new collection to rival her highly acclaimed Dark Roots. In Like a House on Fire, Kennedy once again takes ordinary lives and dissects their ironies, injustices and pleasures with her humane eye and wry sense of humour. In ‘Laminex and Mirrors’, a young woman working as a cleaner in a hospital helps an elderly patient defy doctor’s orders. In ‘Cross-Country’, a jilted lover manages to misinterpret her ex’s new life. And in ‘Ashes’, a son accompanies his mother on a journey to scatter his father’s remains, while lifelong resentments simmer in the background. Cate Kennedy’s poignant short stories find the beauty and tragedy in illness and mortality, life and love. PRAISE FOR CATE KENNEDY ‘This is a heartfelt and moving collection of short stories that cuts right to the emotional centre of everyday life.’ Bookseller and Publisher ‘Cate Kennedy is a singular artist who looks to the ordinary in a small rural community and is particularly astute on exploring the fallout left by the aftermath of the personal disasters that change everything.’ The Irish Times |
| figurative language in their eyes were watching god: The Lair of the White Worm Bram Stoker, 2017-12-20 In a tale of ancient evil, Bram Stoker creates a world of lurking horrors and bizarre denizens: a demented mesmerist, hellbent on mentally crushing the girl he loves; a gigantic kite raised to rid the land of an unnatural infestation of birds, and which receives strange commands along its string; and all the while, the great white worm slithers below, seeking its next victim... |
| figurative language in their eyes were watching god: Can't Quit You, Baby Ellen Douglas, 1989-12-01 “It is rare when a book this fine enters the world of contemporary American literature.” – The Boston Globe Two women share a Mississippi household for fifteen years, rolling out piecrusts and making conversation. Cornelia is rich, white, and pampered, the mistress of the house, who oversees a seemingly perfect world of smooth surfaces and stubborn silence. Tweet, her housekeeper, is a poor, black, world-weary woman with a ghost-ridden past. As the years go by, Cornelia and Tweet each endure moments of uncertainty and despair; each, in her time of need, is rescued by the other. In the footsteps of Southern writers like Peter Taylor, Eudora Welty, and Flannery O’Connor, Ellen Douglas celebrates the resiliency of the human spirit in this story of two women bound by transgression and guilt, memory and illusion, gratitude and love. “Ellen Douglas is not just one of our best Southern novelists. She is one of our best American novelists.” – The New York Times Book Review |
| figurative language in their eyes were watching god: One Dark Window Rachel Gillig, 2022-09-27 THE FANTASY BOOKTOK SENSATION! For fans of Uprooted and For the Wolf comes a dark, lushly gothic fantasy about a maiden who must unleash the monster within to save her kingdom—but the monster in her head isn't the only threat lurking. Elspeth needs a monster. The monster might be her. Elspeth Spindle needs more than luck to stay safe in the eerie, mist-locked kingdom she calls home—she needs a monster. She calls him the Nightmare, an ancient, mercurial spirit trapped in her head. He protects her. He keeps her secrets. But nothing comes for free, especially magic. When Elspeth meets a mysterious highwayman on the forest road, her life takes a drastic turn. Thrust into a world of shadow and deception, she joins a dangerous quest to cure the kingdom of the dark magic infecting it. Except the highwayman just so happens to be the King’s own nephew, Captain of the Destriers…and guilty of high treason. He and Elspeth have until Solstice to gather twelve Providence Cards—the keys to the cure. But as the stakes heighten and their undeniable attraction intensifies, Elspeth is forced to face her darkest secret yet: the Nightmare is slowly, darkly, taking over her mind. And she might not be able to stop him. |
| figurative language in their eyes were watching god: New Essays on Their Eyes Were Watching God Michael Awkward, 1990 An analysis of the literary values of Hurston's novel, as well as its reception--from largely dismissive reviews in 1937, through a revival of interest in the 1960s and its recent establishment as a major American novel. |
| figurative language in their eyes were watching god: American Gods Neil Gaiman, 2002-04-30 Shadow is a man with a past. But now he wants nothing more than to live a quiet life with his wife and stay out of trouble. Until he learns that she's been killed in a terrible accident. Flying home for the funeral, as a violent storm rocks the plane, a strange man in the seat next to him introduces himself. The man calls himself Mr. Wednesday, and he knows more about Shadow than is possible. He warns Shadow that a far bigger storm is coming. And from that moment on, nothing will ever he the same... |
| figurative language in their eyes were watching god: Huckleberry Finn as Idol and Target Jonathan Arac, 1997-11-01 If racially offensive epithets are banned on CNN air time and in the pages of USA Today, Jonathan Arac asks, shouldn’t a fair hearing be given to those who protest their use in an eighth-grade classroom? Placing Mark Twain’s comic masterpiece, Huckleberry Finn, in the context of long-standing American debates about race and culture, Jonathan Arac has written a work of scholarship in the service of citizenship. Huckleberry Finn, Arac points out, is America’s most beloved book, assigned in schools more than any other work because it is considered both the “quintessential American novel” and “an important weapon against racism.” But when some parents, students, and teachers have condemned the book’s repeated use of the word “nigger,” their protests have been vehemently and often snidely countered by cultural authorities, whether in the universities or in the New York Times and the Washington Post. The paradoxical result, Arac contends, is to reinforce racist structures in our society and to make a sacred text of an important book that deserves thoughtful reading and criticism. Arac does not want to ban Huckleberry Finn, but to provide a context for fairer, fuller, and better-informed debates. Arac shows how, as the Cold War began and the Civil Rights movement took hold, the American critics Lionel Trilling, Henry Nash Smith, and Leo Marx transformed the public image of Twain’s novel from a popular “boy’s book” to a central document of American culture. Huck’s feelings of brotherhood with the slave Jim, it was implied, represented all that was right and good in American culture and democracy. Drawing on writings by novelists, literary scholars, journalists, and historians, Arac revisits the era of the novel’s setting in the 1840s, the period in the 1880s when Twain wrote and published the book, and the post–World War II era, to refute many deeply entrenched assumptions about Huckleberry Finn and its place in cultural history, both nationally and globally. Encompassing discussion of Harriet Beecher Stowe, Frederick Douglass, Ralph Ellison, Archie Bunker, James Baldwin, Shelley Fisher Fishkin, and Mark Fuhrman, Arac’s book is trenchant, lucid, and timely. |
| figurative language in their eyes were watching god: The Glass Menagerie , 1970 |
| figurative language in their eyes were watching god: Bloom's Modern Critical Interpretations Set, 74-Volumes Sterling Professor of the Humanities Harold Bloom, 2009-06 Bloom's Modern Critical Interpretations presents a selection of the best current criticism on the most widely read and studied poems, novels, and dramas of the Western world, from timeless classics like Oedipus Rex and The Iliad to such modern and contemporary works as Ernest Hemingway's The Old Man and the Sea and Gabriel Garcia Marquez's Love in the Time of Cholera.Each title features: |
| figurative language in their eyes were watching god: Lost Spring Anees Jung, 2005 Case studies of economically disadvantaged children and their labor in different Indian industries. |
| figurative language in their eyes were watching god: Understanding Zora Neale Hurston's Their Eyes Were Watching God Neal Lester, 1999-10-30 Zora Neale Hurston's Their Eyes Were Watching God highlights the vitality of African American culture. This casebook demonstrates how African Americans fashioned themselves individually and collectively to combat racism, classism, and sexism. With provocative documents that contextualize the complex issues of the novel, Lester provides an excellent resource for students and teachers first approaching the excitement and cultural flavor that define Hurston's novels. The casebook is an encyclopedia of African American folk culture that simultaneously presents historical, political, and social commentary on the relationships between men and women and between blacks and whites in America. Documents include interviews with people living in the South at the time of the novel's publication, poetry, rap, folktales, and sermons. Also included are original materials on ebonics, minstrel songs, the blues tradition, the novel in theatrical and dance performance, and materials on Hurston's hometown of Eatonville, Florida. |
| figurative language in their eyes were watching god: When I Was White Sarah Valentine, 2019-08-06 The stunning and provocative coming-of-age memoir about Sarah Valentine's childhood as a white girl in the suburbs of Pittsburgh, and her discovery that her father was a black man. At the age of 27, Sarah Valentine discovered that she was not, in fact, the white girl she had always believed herself to be. She learned the truth of her paternity: that her father was a black man. And she learned the truth about her own identity: mixed race. And so Sarah began the difficult and absorbing journey of changing her identity from white to black. In this memoir, Sarah details the story of the discovery of her identity, how she overcame depression to come to terms with this identity, and, perhaps most importantly, asks: why? Her entire family and community had conspired to maintain her white identity. The supreme discomfort her white family and community felt about addressing issues of race–her race–is a microcosm of race relationships in America. A black woman who lived her formative years identifying as white, Sarah's story is a kind of Rachel Dolezal in reverse, though her passing was less intentional than conspiracy. This memoir is an examination of the cost of being black in America, and how one woman threw off the racial identity she'd grown up with, in order to embrace a new one. |
| figurative language in their eyes were watching god: CliffsNotes on Hurston's Their Eyes Were Watching God Megan E. Ash, 2011-05-18 The original CliffsNotes study guides offer expert commentary on major themes, plots, characters, literary devices, and historical background. The latest generation of titles in this series also feature glossaries and visual elements that complement the classic, familiar format. In CliffsNotes on Their Eyes Were Watching God, you discover the work of one of the 20th century's first African-American female authors—Zora Neale Hurston. In the novel, Janie Crawford returns to her hometown in Florida and relates to her friend Pheoby the tragic story of her 40-year search for love and respect. Chapter summaries and commentaries take you through Janie's journey, and critical essays give you insight into the novel's themes and structure, as well as Hurston's use of figurative language and dialect. Other features that help you study include Character analyses of the main characters A character map that graphically illustrates the relationships among the characters A section on the life and background of Zora Neale Hurston A review section that tests your knowledge A Resource Center full of books, articles, films, and Internet sites Classic literature or modern-day treasure—you'll understand it all with expert information and insight from CliffsNotes study guides. |
| figurative language in their eyes were watching god: Summary and Analysis of Their Eyes Were Watching God Worth Books, 2017-05-02 So much to read, so little time? This brief overview of Their Eyes Were Watching God tells you what you need to know—before or after you read Zora Neale Hurston’s book. Crafted and edited with care, Worth Books set the standard for quality and give you the tools you need to be a well-informed reader. This short summary and analysis of Their Eyes Were Watching God includes: Historical context Cast of characters Chapter-by-chapter overviews Character analysis Themes and symbols Important quotes Fascinating trivia Glossary of terms Supporting material to enhance your understanding of the original work About Their Eyes Were Watching God by Zora Neale Hurston: Their Eyes Were Watching God is storytelling at its soulful and powerful best. Published nearly a century ago, this classic novel remains unequivocally woven into the fabric of our country’s rich African American heritage, culture, and history. A passionate tribute to the strength and perseverance of the human heart, Zora Neale Hurston’s tale of one woman’s journey to self-actualization and unconditional love at the dawn of the twentieth century is filled with melodic voices and memorable characters, and resonates with symbolism in every chapter. The summary and analysis in this ebook are intended to complement your reading experience and bring you closer to a great work of fiction. |
| figurative language in their eyes were watching god: Tell My Horse Zora Neale Hurston, 2009-10-13 “Strikingly dramatic, yet simple and unrestrained . . . an unusual and intensely interesting book richly packed with strange information.” —New York Times Book Review Based on Zora Neale Hurston’s personal experiences in Haiti and Jamaica, where she participated as an initiate rather than just an observer of voodoo practices during her visits in the 1930s, this travelogue into a dark world paints a vividly authentic picture of the ceremonies, customs, and superstitions of voodoo. |
| figurative language in their eyes were watching god: Being Property Once Myself Joshua Bennett, 2020-05-12 Winner of the William Sanders Scarborough Prize “This trenchant work of literary criticism examines the complex ways...African American authors have written about animals. In Bennett’s analysis, Richard Wright, Toni Morrison, Jesmyn Ward, and others subvert the racist comparisons that have ‘been used against them as a tool of derision and denigration.’...An intense and illuminating reevaluation of black literature and Western thought.” —Ron Charles, Washington Post For much of American history, Black people have been conceived and legally defined as nonpersons, a subgenre of the human. In Being Property Once Myself, prize-winning poet Joshua Bennett shows that Blackness has long acted as the caesura between human and nonhuman and delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal—the rat, the cock, the mule, the dog, the shark—in the works of Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the valuation and sale of animals and enslaved people—all place Black and animal life in fraught proximity. Bennett suggests that animals are deployed to assert a theory of Black sociality and to combat dominant claims about the limits of personhood. And he turns to the Black radical tradition to challenge the pervasiveness of anti-Blackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a groundbreaking articulation of undertheorized notions of dehumanization and the Anthropocene. “A gripping work...Bennett’s lyrical lilt in his sharp analyses makes for a thorough yet accessible read.” —LSE Review of Books “These absorbing, deeply moving pages bring to life a newly reclaimed ethics.” —Colin Dayan, author of The Law Is a White Dog “Tremendously illuminating...Refreshing and field-defining.” —Salamishah Tillet, author of Sites of Slavery |
| figurative language in their eyes were watching god: Moses, Man of the Mountain Zora Neale Hurston, 1991 A fictionized biography of Moses as a religious leader and a great voodoo man, told in Negro vernacular. |
| figurative language in their eyes were watching god: Project Hail Mary Andy Weir, 2021-05-04 #1 NEW YORK TIMES BESTSELLER • From the author of The Martian, a lone astronaut must save the earth from disaster in this “propulsive” (Entertainment Weekly), cinematic thriller full of suspense, humor, and fascinating science—in development as a major motion picture starring Ryan Gosling. HUGO AWARD FINALIST • ONE OF THE YEAR’S BEST BOOKS: Bill Gates, GatesNotes, New York Public Library, Parade, Newsweek, Polygon, Shelf Awareness, She Reads, Kirkus Reviews, Library Journal • “An epic story of redemption, discovery and cool speculative sci-fi.”—USA Today “If you loved The Martian, you’ll go crazy for Weir’s latest.”—The Washington Post Ryland Grace is the sole survivor on a desperate, last-chance mission—and if he fails, humanity and the earth itself will perish. Except that right now, he doesn’t know that. He can’t even remember his own name, let alone the nature of his assignment or how to complete it. All he knows is that he’s been asleep for a very, very long time. And he’s just been awakened to find himself millions of miles from home, with nothing but two corpses for company. His crewmates dead, his memories fuzzily returning, Ryland realizes that an impossible task now confronts him. Hurtling through space on this tiny ship, it’s up to him to puzzle out an impossible scientific mystery—and conquer an extinction-level threat to our species. And with the clock ticking down and the nearest human being light-years away, he’s got to do it all alone. Or does he? An irresistible interstellar adventure as only Andy Weir could deliver, Project Hail Mary is a tale of discovery, speculation, and survival to rival The Martian—while taking us to places it never dreamed of going. |
| figurative language in their eyes were watching god: Black, White, and in Color Hortense J. Spillers, 2003-04-28 Black, White, and in Color offers a long-awaited collection of major essays by Hortense Spillers, one of the most influential and inspiring black critics of the past twenty years. Spanning her work from the early 1980s, in which she pioneered a broadly poststructuralist approach to African American literature, and extending through her turn to cultural studies in the 1990s, these essays display her passionate commitment to reading as a fundamentally political act-one pivotal to rewriting the humanist project. Spillers is best known for her race-centered revision of psychoanalytic theory and for her subtle account of the relationships between race and gender. She has also given literary criticism some of its most powerful readings of individual authors, represented here in seminal essays on Ralph Ellison, Gwendolyn Brooks, and William Faulkner. Ultimately, the essays collected in Black, White, and in Color all share Spillers's signature style: heady, eclectic, and astonishingly productive of new ideas. Anyone interested in African American culture and literature will want to read them. |
| figurative language in their eyes were watching god: Long Way Down Jason Reynolds, 2017-10-24 “An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds. |
| figurative language in their eyes were watching god: Zora Neale Hurston Stephanie Li, 2020-01-16 In this biography, chronological chapters follow Zora Neale Hurston's family, upbringing, education, influences, and major works, placing these experiences within the context of American history. This biography of Zora Neale Hurston, one of the most influential African American writers of the 20th century and a central figure in the Harlem Renaissance, is primarily for students and will cover all of the major points of development in Hurston's life as well as her major publications. Hurston's impact extends beyond the literary world: she also left her mark as an anthropologist whose ethnographic work portrays the racial struggles during the early 20th century American South. This work includes a preface and narrative chapters that explore Hurston's literary influences and the personal relationships that were most formative to her life; the final chapter, Why Zora Neale Hurston Matters, explores her cultural and historical significance, providing context to her writings and allowing readers a greater understanding of Hurston's life while critically examining her major writing. |
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more imaginative meaning, in…. Learn more.
Figurative Language - Definition and Examples - LitCharts
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way.
20 Types of Figurative Language (Examples + Anchor Charts)
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down its essential elements, and examine 20 specific types …
Figurative Language - Examples and Definition - Literary Devices
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, and allusions go beyond the literal meanings of …
Figurative - definition of figurative by The Free Dictionary
1. of the nature of or involving a figure of speech, esp. a metaphor; metaphorical; not literal. 2. characterized by or abounding in figures of speech. 3. representing by means of a figure or …
FIGURATIVE definition and meaning | Collins English Dictionary
If you use a word or expression in a figurative sense, you use it with a more abstract or imaginative meaning than its ordinary literal one.
FIGURATIVE Definition & Meaning - Dictionary.com
Figurative definition: of the nature of or involving a figure of speech, especially a metaphor; metaphorical and not literal.. See examples of FIGURATIVE used in a sentence.
Figurative - Definition, Meaning & Synonyms - Vocabulary.com
Any figure of speech — a statement or phrase not intended to be understood literally — is figurative. You say your hands are frozen, or you are so hungry you could eat a horse. That's …
Figurative Language – Definition and Examples - Proofed
Apr 13, 2023 · Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, …
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more …
Figurative Language - Definition and Examples - Lit…
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do …
20 Types of Figurative Language (Examples + Ancho…
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down …
Figurative Language - Examples and Definition - Lite…
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, …
