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aalbc.com: African American Literature Book Club

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The Gilded Six-Bits, A Short Story by Zora Neale Hurston

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The Gilded Six-Bits, A Short Story by Zora Neale Hurston (Jan 01, 1970)

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Quotations about the Novel and Short Story With IB Paper 2 Prompts

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"Sweat" by Zora Neale Hurston

It was eleven o'clock of a Spring night in Florida. It was Sunday. Any other night, Delia Jones would have been in bed for two hours by this time. But she was a wash-woman, and Monday morning meant a great deal to her. So she collected the soiled clothes on Saturday when she returned the clean things. Sunday night after church, she sorted them and put the white things to soak. It saved her almost a half day's start. A great hamper in the bedroom held the clothes that she brought home. It was so much neater than a number of bundles lying around.

She squatted in the kitchen floor beside the great pile of clothes, sorting them into small heaps according to color, and humming a song in a mournful key, but wondering through it all where Sykes, her husband, had gone with her horse and buckboard.

Just then something long, round, limp and black fell upon her shoulders and slithered to the floor beside her. A great terror took hold of her. It softened her knees and dried her mouth so that it was a full minute before she could cry out or move. Then she saw that it was the big bull whip her husband liked to carry when he drove.

She lifted her eyes to the door and saw him standing there bent over with laughter at her fright. She screamed at him.

"Sykes, what you throw dat whip on me like dat? You know it would skeer me-looks just like a snake, an' you knows how skeered Ah is of snakes."

"Course Ah knowed it! That's how come Ah done it." He slapped his leg with his hand and almost rolled on the ground in his mirth. "If you such a big fool dat you got to have a fit over a earth worm or a string, Ah don't keer how bad Ah skeer you."

"You aint got no business doing it. Gawd knows it's a sin. Some day Ah'm goin' tuh drop dead from some of yo' foolishness. 'Nother thing, where you been wid mah rig? Ah feeds dat pony. He aint fuh you to be drivin' wid no bull whip."

"You sho is one aggravatin' nigger woman!" he declared and stepped into the room. She resumed her work and did not answer him at once. "Ah done tole you time and again to keep them white folks' clothes outa dis house."

He picked up the whip and glared down at her. Delia went on with her work. She went out into the yard and returned with a galvanized tub and set it on the washbench. She saw that Sykes had kicked all of the clothes together again, and now stood in her way truculently, his whole manner hoping, praying, for an argument. But she walked calmly around him and commenced to re-sort the things.

"Next time, Ah'm gointer kick 'em outdoors," he threatened as he struck a match along the leg of his corduroy breeches.

Delia never looked up from her work, and her thin, stooped shoulders sagged further.
"Ah aint for no fuss t'night Sykes. Ah just come from taking sacrament at the church house."

He snorted scornfully. "Yeah, you just come from de church house on a Sunday night, but heah you is gone to work on them clothes. You ain't nothing but a hypocrite. One of them amen-corner Christians-sing, whoop, and shout, then come home and wash white folks clothes on the Sabbath."

He stepped roughly upon the whitest pile of things, kicking them helter-skelter as he crossed the room. His wife gave a little scream of dismay, and quickly gathered them together again.

"Sykes, you quit grindin' dirt into these clothes! How can Ah git through by Sat'day if Ah don't start on Sunday?"

"Ah don't keer if you never git through. Anyhow, Ah done promised Gawd and a couple of other men, Ah aint gointer have it in mah house. Don't gimme no lip neither, else Ah'll throw 'em out and put mah fist up side yo' head to boot."

Delia's habitual meekness seemed to slip from her shoulders like a blown scarf. She was on her feet; her poor little body, her bare knuckly hands bravely defying the strapping hulk before her.

"Looka heah, Sykes, you done gone too fur. Ah been married to you fur fifteen years, and Ah been takin' in washin' for fifteen years. Sweat, sweat, sweat! Work and sweat, cry and sweat, pray and sweat!"

"What's that got to do with me?" he asked brutally.

"What's it got to do with you, Sykes? Mah tub of suds is filled yo' belly with vittles more times than yo' hands is filled it. Mah sweat is done paid for this house and Ah reckon Ah kin keep on sweatin' in it."

She seized the iron skillet from the stove and struck a defensive pose, which act surprised him greatly, coming from her. It cowed him and he did not strike her as he usually did.

"Naw you won't," she panted, "that ole snaggle-toothed black woman you runnin' with aint comin' heah to pile up on mah sweat and blood. You aint paid for nothin' on this place, and Ah'm gointer stay right heah till Ah'm toted out foot foremost."

"Well, you better quit gittin' me riled up, else they'll be totin' you out sooner than you expect. Ah'm so tired of you Ah don't know whut to do. Gawd! how Ah hates skinny wimmen!"

A little awed by this new Delia, he sidled out of the door and slammed the back gate after him. He did not say where he had gone, but she knew too well. She knew very well that he would not return until nearly daybreak also. Her work over, she went on to bed but not to sleep at once. Things had come to a pretty pass!

She lay awake, gazing upon the debris that cluttered their matrimonial trail. Not an image left standing along the way. Anything like flowers had long ago been drowned in the salty stream that had been pressed from her heart. Her tears, her sweat, her blood. She had brought love to the union and he had brought a longing after the flesh. Two months after the wedding, he had given her the first brutal beating. She had the memory of his numerous trips to Orlando with all of his wages when he had returned to her penniless, even before the first year had passed. She was young and soft then, but now she thought of her knotty, muscled limbs, her harsh knuckly hands, and drew herself up into an unhappy little ball in the middle of the big feather bed. Too late now to hope for love, even if it were not Bertha it would be someone else. This case differed from the others only in that she was bolder than the others. Too late for everything except her little home. She had built it for her old days, and planted one by one the trees and flowers there. It was lovely to her, lovely.

Somehow, before sleep came, she found herself saying aloud: "Oh well, whatever goes over the Devil's back, is got to come under his belly. Sometime or ruther, Sykes, like everybody else, is gointer reap his sowing." After that she was able to build a spiritual earthworks against her husband. His shells could no longer reach her. Amen. She went to sleep and slept until he announced his presence in bed by kicking her feet and rudely snatching the covers away.

"Gimme some kivah heah, an' git yo' damn foots over on yo' own side! Ah oughter mash you in yo' mouf fuh drawing dat skillet on me."

Delia went clear to the rail without answering him. A triumphant indifference to all that he was or did.

*****

The week was as full of work for Delia as all other weeks, and Saturday found her behind her little pony, collecting and delivering clothes.

It was a hot, hot day near the end of July. The village men on Joe Clarke's porch even chewed cane listlessly. They did not hurl the cane-knots as usual. They let them dribble over the edge of the porch. Even conversation had collapsed under the heat.

"Heah come Delia Jones," Jim Merchant said, as the shaggy pony came 'round the bend of the road toward them. The rusty buckboard was heaped with baskets of crisp, clean laundry.

"Yep," Joe Lindsay agreed. "Hot or col', rain or shine, jes ez reg'lar ez de weeks roll roun' Delia carries 'em an' fetches 'em on Sat'day."

"She better if she wanter eat," said Moss. "Syke Jones aint wuth de shot an' powder hit would tek tuh kill 'em. Not to huh he aint. "

"He sho' aint," Walter Thomas chimed in. "It's too bad, too, cause she wuz a right pritty lil trick when he got huh. Ah'd uh mah'ied huh mahseff if he hadnter beat me to it."

Delia nodded briefly at the men as she drove past.

"Too much knockin' will ruin any 'oman. He done beat huh 'nough tuh kill three women, let 'lone change they looks," said Elijah Moseley. "How Syke kin stommuck dat big black greasy Mogul he's layin' roun wid, gits me. Ah swear dat eight-rock couldn't kiss a sardine can Ah done throwed out de back do' 'way las' yeah."

"Aw, she's fat, thass how come. He's allus been crazy 'bout fat women," put in Merchant. "He'd a' been tied up wid one long time ago if he could a' found one tuh have him. Did Ah tell yuh 'bout him come sidlin' roun' mah wife-bringin' her a basket uh pecans outa his yard fuh a present? Yessir, mah wife! She tol' him tuh take 'em right straight back home, cause Delia works so hard ovah dat washtub she reckon everything on de place taste lak sweat an' soapsuds. Ah jus' wisht Ah'd a' caught 'im 'dere! Ah'd a' made his hips ketch on fiah down dat shell road."

"Ah know he done it, too. Ah sees 'im grinnin' at every 'oman dat passes," Walter Thomas said. "But even so, he useter eat some mighty big hunks uh humble pie tuh git dat lil 'oman he got. She wuz ez pritty ez a speckled pup! Dat wuz fifteen yeahs ago. He useter be so skeered uh losin' huh, she could make him do some parts of a husband's duty. Dey never wuz de same in de mind."

"There oughter be a law about him," said Lindsay. "He aint fit tuh carry guts tuh a bear."

Clarke spoke for the first time. "Taint no law on earth dat kin make a man be decent if it aint in 'im. There's plenty men dat takes a wife lak dey do a joint uh sugar-cane. It's round, juicy an' sweet when dey gits it. But dey squeeze an' grind, squeeze an' grind an' wring tell dey wring every drop uh pleasure dat's in 'em out. When dey's satisfied dat dey is wrung dry, dey treats 'em jes lak dey do a cane-chew. Dey throws em away. Dey knows whut dey is doin' while dey is at it, an' hates theirselves fuh it but they keeps on hangin' after huh tell she's empty. Den dey hates huh fuh bein' a cane-chew an' in de way."

"We oughter take Syke an' dat stray 'oman uh his'n down in Lake Howell swamp an' lay on de rawhide till they cain't say Lawd a' mussy.' He allus wuz uh ovahbearin' niggah, but since dat white 'oman from up north done teached 'im how to run a automobile, he done got too biggety to live-an' we oughter kill 'im," Old Man Anderson advised.

A grunt of approval went around the porch. But the heat was melting their civic virtue, and Elijah Moseley began to bait Joe Clarke.

"Come on, Joe, git a melon outa dere an' slice it up for yo' customers. We'se all sufferin' wid de heat. De bear's done got me!"

"Thass right, Joe, a watermelon is jes' whut Ah needs tuh cure de eppizudicks," Walter Thomas joined forces with Moseley. "Come on dere, Joe. We all is steady customers an' you aint set us up in a long time. Ah chooses dat long, bowlegged Floridy favorite."

"A god, an' be dough. You all gimme twenty cents and slice way," Clarke retorted. "Ah needs a col' slice m'self. Heah, everybody chip in. Ah'll lend y'll mah meat knife."

The money was quickly subscribed and the huge melon brought forth. At that moment, Sykes and Bertha arrived. A determined silence fell on the porch and the melon was put away again.

Merchant snapped down the blade of his jackknife and moved toward the store door.

"Come on in, Joe, an' gimme a slab uh sow belly an' uh pound uh coffee-almost fuhgot 'twas Sat'day. Got to git on home." Most of the men left also.

Just then Delia drove past on her way home, as Sykes was ordering magnificently for Bertha. It pleased him for Delia to see.

"Git whutsoever yo' heart desires, Honey. Wait a minute, Joe. Give huh two bottles uh strawberry soda-water, uh quart uh parched ground-peas, an' a block uh chewin' gum."

With all this they left the store, with Sykes reminding Bertha that this was his town and she could have it if she wanted it.

The men returned soon after they left, and held their watermelon feast.

"Where did Syke Jones git da 'oman from nohow?" Lindsay asked.

"Ovah Apopka. Guess dey musta been cleanin' out de town when she lef'. She don't look lak a thing but a hunk uh liver wid hair on it."

"Well, she sho' kin squall," Dave Carter contributed. "When she gits ready tuh laff, she jes' opens huh mouf an' latches it back tuh de las' notch. No ole grandpa alligator down in Lake Bell ain't got nothin' on huh."

*****

Bertha had been in town three months now. Sykes was still paying her room rent at Della Lewis'-the only house in town that would have taken her in. Sykes took her frequently to Winter Park to "stomps." He still assured her that he was the swellest man in the state.

"Sho' you kin have dat lil' ole house soon's Ah kin git dat 'oman outa dere. Everything b'longs tuh me an' you sho' kin have it. Ah sho' 'bominates uh skinny 'oman. Lawdy, you sho' is got one portly shape on you! You kin git anything you wants. Dis is mah town an' you sho' kin have it."

Delia's work-worn knees crawled over the earth in Gethsemane and up the rocks of Calvary many, many times during these months. She avoided the villagers and meeting places in her efforts to be blind and deaf. But Bertha nullified this to a degree, by coming to Delia's house to call Sykes out to her at the gate.

Delia and Sykes fought all the time now with no peaceful interludes. They slept and ate in silence. Two or three times Delia had attempted a timid friendliness, but she was repulsed each time. It was plain that the breaches must remain agape.

The sun had burned July to August. The heat streamed down like a million hot arrows, smiting all things living upon the earth. Grass withered, leaves browned, snakes went blind in shedding and men and dogs went mad. Dog days!

Delia came home one day and found Sykes there before her. She wondered, but started to go on into the house without speaking, even though he was standing in the kitchen door and she must either stoop under his arm or ask him to move. He made no room for her. She noticed a soap box beside the steps, but paid no particular attention to it, knowing that he must have brought it there. As she was stooping to pass under his outstretched arm, he suddenly pushed her backward, laughingly.

"Look in de box dere Delia, Ah done brung yuh somethin'!"

She nearly fell upon the box in her stumbling, and when she saw what it held, she all but fainted outright.

"Syke! Syke, mah Gawd! You take dat rattlesnake 'way from heah! You gottuh. Oh, Jesus, have mussy!"

"Ah aint gut tuh do nuthin' uh de kin'-fact is Ah aint got tuh do nothin' but die. Taint no use uh you puttin' on airs makin' out lak you skeered uh dat snake-he's gointer stay right heah tell he die. He wouldn't bite me cause Ah knows how tuh handle 'im. Nohow he wouldn't risk breakin' out his fangs 'gin yo' skinny laigs."

"Naw, now Syke, don't keep dat thing 'roun' heah tuh skeer me tuh death. You knows Ah'm even feared uh earth worms. Thass de biggest snake Ah evah did see. Kill 'im Syke, please."

"Doan ast me tuh do nothin' fuh yuh. Goin' roun' trying' tuh be so damn asterperious. Naw, Ah aint gonna kill it. Ah think uh damn sight mo' uh him dan you! Dat's a nice snake an' anybody doan lak 'im kin jes' hit de grit."

The village soon heard that Sykes had the snake, and came to see and ask questions.

"How de hen-fire did you ketch dat six-foot rattler, Syke?" Thomas asked.

"He's full uh frogs so he caint hardly move, thass how. Ah eased up on 'm. But Ah'm a snake charmer an' knows how tuh handle 'em. Shux, dat aint nothin'. Ah could ketch one eve'y day if Ah so wanted tuh."

"Whut he needs is a heavy hick'ry club leaned real heavy on his head. Dat's de bes 'way tuh charm a rattlesnake."

"Naw, Walt, y'll jes' don't understand dese diamon' backs lak Ah do," said Sykes in a superior tone of voice.

The village agreed with Walter, but the snake stayed on. His box remained by the kitchen door with its screen wire covering. Two or three days later it had digested its meal of frogs and literally came to life. It rattled at every movement in the kitchen or the yard. One day as Delia came down the kitchen steps she saw his chalky-white fangs curved like scimitars hung in the wire meshes. This time she did not run away with averted eyes as usual. She stood for a long time in the doorway in a red fury that grew bloodier for every second that she regarded the creature that was her torment.

That night she broached the subject as soon as Sykes sat down to the table.

"Syke, Ah wants you tuh take dat snake 'way fum heah. You done starved me an' Ah put up widcher, you done beat me an Ah took dat, but you done kilt all mah insides bringin' dat varmint heah."

Sykes poured out a saucer full of coffee and drank it deliberately before he answered her.

"A whole lot Ah keer 'bout how you feels inside uh out. Dat snake aint goin' no damn wheah till Ah gits ready fuh 'im tuh go. So fur as beatin' is concerned, yuh aint took near all dat you gointer take ef yuh stay 'roun' me."

Delia pushed back her plate and got up from the table. "Ah hates you, Sykes," she said calmly. "Ah hates you tuh de same degree dat Ah useter love yuh. Ah done took an' took till mah belly is full up tuh mah neck. Dat's de reason Ah got mah letter fum de church an' moved mah membership tuh Woodbridge-so Ah don't haf tuh take no sacrament wid yuh. Ah don't wantuh see yuh 'roun' me atall. Lay 'roun' wid dat 'oman all yuh wants tuh, but gwan 'way fum me an' mah house. Ah hates yuh lak uh suck-egg dog."

Sykes almost let the huge wad of corn bread and collard greens he was chewing fall out of his mouth in amazement. He had a hard time whipping himself up to the proper fury to try to answer Delia.

"Well, Ah'm glad you does hate me. Ah'm sho' tiahed uh you hangin' ontuh me. Ah don't want yuh. Look at yuh stringey ole neck! Yo' rawbony laigs an' arms is enough tuh cut uh man tuh death. You looks jes' lak de devvul's doll-baby tuh me. You cain't hate me no worse dan Ah hates you. Ah been hatin' you fuh years."

"Yo' ole black hide don't look lak nothin' tuh me, but uh passle uh wrinkled up rubber, wid yo' big ole yeahs flappin' on each side lak uh paih uh buzzard wings. Don't think Ah'm gointuh be run 'way fum mah house neither. Ah'm goin' tuh de white folks bout you, mah young man, de very nex' time you lay yo' han's on me. Mah cup is done run ovah." Delia said this with no signs of fear and Sykes departed from the house, threatening her, but made not the slightest move to carry out any of them.

That night he did not return at all, and the next day being Sunday, Delia was glad she did not have to quarrel before she hitched up her pony and drove the four miles to Woodbridge.

She stayed to the night service-"love feast"-which was very warm and full of spirit. In the emotional winds her domestic trials were borne far and wide so that she sang as she drove homeward.

"Jurden water, black an' col'

Chills de body, not de soul

An' Ah wantah cross Jurden in uh calm time."

She came from the barn to the kitchen door and stopped.

"Whut's de mattah, ol' satan, you aint kickin' up yo' racket?" She addressed the snake's box. Complete silence. She went on into the house with a new hope in its birth struggles. Perhaps her threat to go to the white folks had frightened Sykes! Perhaps he was sorry! Fifteen years of misery and suppression had brought Delia to the place where she would hope anything that looked towards a way over or through her wall of inhibitions.

She felt in the match safe behind the stove at once for a match. There was only one there.

"Dat niggah wouldn't fetch nothin' heah tuh save his rotten neck, but he kin run thew whut Ah brings quick enough. Now he done toted off nigh on tuh haff uh box uh matches. He done had dat 'oman heah in mah house, too."

Nobody but a woman could tell how she knew this even before she struck the match. But she did and it put her into a new fury.

Presently she brought in the tubs to put the white things to soak. This time she decided she need not bring the hamper out of the bedroom; she would go in there and do the sorting. She picked up the pot-bellied lamp and went in. The room was small and the hamper stood hard by the foot of the white iron bed. She could sit and reach through the bedposts-resting as she worked.

"Ah wantah cross Jurden in uh calm time," she was singing again. The mood of the "love feast" had returned. She threw back the lid of the basket almost gaily. Then, moved by both horror and terror, she sprang back toward the door. There lay the snake in the basket! He moved sluggishly at first, but even as she turned round and round, jumped up and down in an insanity of fear, he began to stir vigorously. She saw him pouring his awful beauty from the basket upon the bed, then she seized the lamp and ran as fast as she could to the kitchen. The wind from the open door blew out the light and the darkness added to her terror. She sped to the darkness of the yard, slamming the door after her before she thought to set down the lamp. She did not feel safe even on the ground, so she climbed up in the hay barn.

There for an hour or more she lay sprawled upon the hay a gibbering wreck.

Finally, she grew quiet, and after that, coherent thought. With this, stalked through her a cold, bloody rage. Hours of this. A period of introspection, a space of retrospection, then a mixture of both. Out of this an awful calm.

"Well, Ah done de bes' Ah could. If things aint right, Gawd knows taint mah fault."

She went to sleep-a twitch sleep-and woke up to a faint gray sky. There was a loud hollow sound below. She peered out. Sykes was at the wood-pile, demolishing a wire-covered box.

He hurried to the kitchen door, but hung outside there some minutes before he entered, and stood some minutes more inside before he closed it after him.

The gray in the sky was spreading. Delia descended without fear now, and crouched beneath the low bedroom window. The drawn shade shut out the dawn, shut in the night. But the thin walls held back no sound.

"Dat ol' scratch is woke up now!" She mused at the tremendous whirr inside, which every woodsman knows, is one of the sound illusions. The rattler is a ventriloquist. His whirr sounds to the right, to the left, straight ahead, behind, close under foot-everywhere but where it is. Woe to him who guesses wrong unless he is prepared to hold up his end of the argument! Sometimes he strikes without rattling at all.

Inside, Sykes heard nothing until he knocked a pot lid off the stove while trying to reach the match safe in the dark. He had emptied his pockets at Bertha's.

The snake seemed to wake up under the stove and Sykes made a quick leap into the bedroom. In spite of the gin he had had, his head was clearing now.

"'Mah Gawd!" he chattered, "ef Ah could on'y strack uh light!"

The rattling ceased for a moment as he stood paralyzed. He waited. It seemed that the snake waited also.

"Oh, fuh de light! Ah thought he'd be too sick"-Sykes was muttering to himself when the whirr began again, closer, right underfoot this time. Long before this, Sykes' ability to think had been flattened down to primitive instinct and he leaped-onto the bed.

Outside Delia heard a cry that might have come from a maddened chimpanzee, a stricken gorilla. All the terror, all the horror, all the rage that man possibly could express, without a recognizable human sound.

A tremendous stir inside there, another series of animal screams, the intermittent whirr of the reptile. The shade torn violently down from the window, letting in the red dawn, a huge brown hand seizing the window stick, great dull blows upon the wooden floor punctuating the gibberish of sound long after the rattle of the snake had abruptly subsided. All this Delia could see and hear from her place beneath the window, and it made her ill. She crept over to the four-o'clocks and stretched herself on the cool earth to recover.

She lay there. "Delia. Delia!" She could hear Sykes calling in a most despairing tone as one who expected no answer. The sun crept on up, and he called. Delia could not move-her legs were gone flabby. She never moved, he called, and the sun kept rising.

"Mah Gawd!" She heard him moan, "Mah Gawd fum Heben!" She heard him stumbling about and got up from her flower-bed. The sun was growing warm. As she approached the door she heard him call out hopefully, "Delia, is dat you Ah heah?"

She saw him on his hands and knees as soon as she reached the door. He crept an inch or two toward her-all that he was able, and she saw his horribly swollen neck and his one open eye shining with hope. A surge of pity too strong to support bore her away from that eye that must, could not, fail to see the tubs. He would see the lamp. Orlando with its doctors was too far. She could scarcely reach the Chinaberry tree, where she waited in the growing heat while inside she knew the cold river was creeping up and up to extinguish that eye which must know by now that she knew.

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"Sweat" by Zora Neale Hurston It was eleven o'clock of a Spring night in Florida. It was Sunday. Any other night, Delia Jones would have been in bed for two hours by this time. But she was a wash-woman, and Monday morning meant a great deal to her.

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Hurston: "How it Feels to be Colored Me"

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Hurston: "How it Feels to be Colored Me"

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The essay ZNH wrote that everyone should read while reading her stories:

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Hurston treats nature with____.
As a narrator in "Magnolia Flower," nature's voice assumes the role of_____ and____, revealing...
Nature affects the atmosphere in "______" and "______" by functioning as _______.

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MODEL: Which novel would you use to compare contrast and "Spunk"

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'' looka heah....years.....takin.....sweat.....cry...sweat!''
Repetition is used here a lot with the word ''sweat''. Delia is saying that she does all the work around the house while he goes off doing who knows what. A motif that constantly comes up is that it seems like men are in control of the women. Sykes beats her and she just takes it. Another motif is masculinity. Sykes tries to act rough and tough but Delia is showing to be the bigger man standing up to him.

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"The blood of those born in the north flowed to the sea ... fires of hate to sear and scorch the ground ... Then all men walked free in the land, and Wind and Water again grew sweet."

Personification
Allusion
Symbolism
Motif
Imagery

In this passage, a personified river describes what we know as the civil war. Phrases like "fires of hate" help create the atmosphere of conflict and relentless bloodshed, but the river never uses words like "war" or "civil", as they are man-made words that a river would have no reason to know.

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"I have no separate feeling about being an American citizen and colored..... My country, right or wrong.... I feel like a brown bag of miscellany propped against a wall. Against a wall in company with other bags, white, red and yellow. .....that is how the Great Stuffer
of Bags filled them in the first place--who knows?" Even though she sometimes struggles with discrimination in America, She still feels American and that America is her country no matter what. She believes that being colored and American are not mutually exclusive. She believes that inside we are filled with something useless inside us. Whether that thing be something like a water diamond or dried-up flower its all in the end useless junk - Maxwell Britton (Puffin Gang)

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Hurston uses imagery to describe how women are supposed to act and how they are treated by talking about their clothes and how they go about their daily routines. Hurston also uses no quotation marks just like McCarthy in no country for old men. Just like in no country for old men you can tell where the characters are from because they are given accents and that helps characterization.

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"I would like just a little of her sunshine to soak into my soul. I would like that a lot."

A main focus of a lot of Zora Neale Hurstons work is blackness, especially in women, and this piece is no different; even if it is only mentioned when relevant, Isis's race plays an important role in the symbolism and revolutionary elements of this story. Many stories, even nowadays, have a reoccouring theme of light vs dark, good vs evi; and this motif on its own is not the problem. No, the issue can be found in the way brown skin is often associated with the dark side of things. This story is profound because, even during this time, the protaginist is associated with light. For lack of better word, she is the light.

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" No one was to sit with knees separated (setting brazen) a lady must never whistle  and a lady must never cross her legs".

It is not astonishing that these are words coming out of an elderly woman. In many cultures with African descent, older people are seen as wise and the teachers of a nation. Although the advises they give may posses innocent intentions, they should not be fully trusted and practiced. The advises mostly represent an indigenous point of view which if taken into account slows adaptation to the rapidly changing world. Sitting postures are non verbal languages hence they carry significant meanings.  In some cases they are bias given that they apply to limited gender. A female is expected to be submissive towards the male but in some cases it goes into censoring one's self. For insistence, sitting with knees separated shows dominance and girls are reprimanded from such posture in public compared to a guy.

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Zora is writing about how woman should conduct themselves,and seems to have a thing against woman.

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"Spunk Banks—he ain’t skeered of
nothin‘ on God’s green footstool"

Hurston utilizes dialogue to foil Spunk and Joe. Spunk is fearless, while Joe is constantly anxious. Also, this line foreshadows the role reversal of Joe and Spunk in the end. Spunk becomes afraid of the person that was afraid of everything.

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Zora Neal Hurston starts off her short story with a women, Missie May, taking a bath and using imagery to describe her and make the audience know that this is a romantic short story since the next scene is her and her husband roughhousing and cuddling. Hurston uses imagery, similes, and other ways to make the audience feel like they are in the story.

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“Syke! Syke, mah Gawd! You take dat rattlesnake ‘way from heah! You gottuh. Oh, Jesus, have mussy!”
I feel like the rattle snake that Syke brought home represents the couple's married. The rattle snake sheds it's skin and that is almost seen as a form of being reborn and in the short story Delia mentions, when Syke left like she felt like she could start a new life on her own and that was after the snake was brought home

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Spunk is courageous and determined in his actions and doesn't often second guess his actions. The definition of spunk is also being courageous.

The author choose to use specific wording in order to ground the reader in the story.

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"Just then something long, round, limp and black fell upon her shoulders and slithered to the floor beside her. A great terror took hold of her. It softened her knees and dried her mouth so that it was a full minute before she could cry out or move. Then she saw that it was the big bull whip her husband liked to carry when he drove."
Hurston uses language like "slithered" to foreshadow the use of a snake which ends up killing Sykes at the end of the book. This scene also shows the reader that Delia is scared of snakes and Sykes enjoys scaring and pranking her.

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¨What followed was to violent for words to tell,- strength against strength, steel against steel. Threatens bellowed from

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Hurston uses Motifs, Personification, and imagery throughout the story to describe nature and people/love

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"I would like just a little of her sunshine to soak into my soul. I would like that a lot."

This quote from the end of the story, as well as the story's title, seem to express light as both a physical force and a metaphorical one. Physically, one could say that a person with white skin is "drenched in light", referencing the actual color associated with light. Metaphorically, however, Huston uses light as a symbol for happiness and innocence, as seen in Isis. Even though her adopters are "drenched in light", they want to share in Isis's own childlike light.

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" during the drive....a princess...the horizon....blue bottoms....charger...giants....tree...grandma....packard
Hurston uses the character of Isis to show a point of view of basically what every little girl would want, in Isis's words '' a princess.'' Isis talks about all the things that she dreams of doing and having, like pretty shoes. Isis wants to be free and enjoy life, but she also thinks very highly of herself. Hurston uses Isis to also reveal the character of the grandma through her pov, by saying that he grandma beats her too much. This would be like the flipside of a princess though because they wouldnt get told what to do

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"A round-shouldered figure in overalls much too large, came nervously in the door and the talking ceased."

Hurston uses the diction to describe Joe to show that it's more likely he will continue to do nothing about his wife cheating with Spunk than actually do something due to his constant fear of life as well as to show the contrast between Spunk and Joe and characterize the two

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"The man-made time notches flew by, and Magnolia Flower was in full-bloom."
Hurston uses the Motif of plants to show how a young youth blooms into adult hood and begins the journey of life.

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Throughout the story the way Hurston describes the character spunk is as if they are a super natural being and Joe is like an average Joe literally

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Through the story Delia does a lot of hard work that is taxing on a person while her husband doesn't and comes home to criticize her for her work

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Isis is a girl who wants to be happy and please everyone and be kind but her grandma doesn't feel the same way she believes in hard work and no play. This also deals with race a little because she talks about how she has always said hey to anyone and been friendly with all people but her grandma frowns upon that behavior

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" This time she did not run away with averted eyes as usual. She stood for a long time in the doorway in a red fury that grew bloodier for every second that she regarded the creature that was her torment." This is referring to Delia's reaction to the rattlesnake, but the snake really signifies Sykes. He is"the creature that was her torment," and she confronts Sykes, much like she did not avert her eyes from the snake.

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"He stood there silent for a long moment staring blankly,

with his Adam’s apple twitching nervously up and down his throat."
Hurston use the motif of nature again to describe lies and guilt. Once this line has been read we can instantly concluded that whatever happened that was supposed to be kept a secret has now gotten out.

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"Now here's five dollars to get another one. I want her to go to the hotel and dance for me. I could stand a little light-'
One of the main motifs of this short story is darkness and light. Isis represent the light because of the many times that she is referred to as such. Isis is also a pure child and is innocent at heart even though she angers her grandmother a lot she only wants to play and fool around, something her grandma thinks is a waste of time. I believe that perhaps the lady who came to Isis's aid maybe couldn't have children and that's why she took such a liking to Isis and why she asked to spend more time with her.

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''but there were some...red man....house....they die....metal....the end''

The river is saying that what ever is taken from the land comes back to the river. The river is talking about this man that everyone and everything fear. He takes what he wants and there is nobody to stop him or stand up to him. The river says they do not pay attention enough to know why the men want to take things. Maybe for wealth but it must come back to the river.

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“Naw! Why, Joe ain’t had time to git cold yit. Nohow Ah didn’t figger

Spunk was the marryin’ kind.”

“Well, he is,” rejoined Elijah. “He done moved most of Lena’s things—

and her along wid ’em—over to the Bradley house.

The others in the town are defending Spunk. Spunk is respected purely out of fear. This creates tension as character feel like he might snap at any point. They feel better if there on his side not the other way around.

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"He set the bottle down upon

the counter. He didn’t bang it, just eased it out of his hand silently and fiddled with his suspender buckle."

Characterization
Imagery
Juxtaposition

Joe's character is a complete opposite of Spunk's. While Joe is shy and non-confrontational, Spunk is direct and does what ever he wants. In the quote we see a broken man, ready to give up his life because he has nothing left to lose.

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“T'aint no law on earth dat kin make a man be decent if it aint in ‘im. There’s plenty men dat takes a wife lak dey do a joint uh sugar-cane. ... Dey knows whut dey is doin’ while dey is at it, an’ hates theirselves fuh it but they keeps on hangin’ after huh tell she’s empty. Den dey hates huh fuh bein’ a cane-chew an’ in de way.”

Metaphor
Foreshadowing
Characterization
Motif

The central theme of this short story involves the mistreatment of women by their husbands. This quote gives us a metaphor that helps symbolize the whole situation as Hurston sees it.

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The Gilded Six Bits

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" the hours..bed rail...finally....face stiff...day....as usual.....for joe...to cook....get up.  "
There is change and self doubt and question of self worth
All of this change is from Missie May. She thinks that Joe will think differently of her. Everything will be awkward now. Joe is mainly mad at Slemmons, he thinks that none of it was her fault. Joe wants things to go back to normal because he loves her but she is stuggling with her innner self. Missie thinks that she doesnt deserve Joe because he still loves her and she does not understand why

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" there was a....fact....fight....stiff....nerve...nothin....ever had....lena...bob-cat...blue...once...wuz...den...time...hot..etcher "
This has foreshadow and fear from the other men
The men think that spunk is rough and tough, but then they say that Joe was the braver man because he had the guts to confront spunk. The blade slipping up on spunk foreshadows that it will probably happen again. Then when Spunk says joe has come back for his revenge the men think he's lost it.

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“You sho is one aggravatin’ 🤬 woman!”.....“Sykes, what you throw dat whip on me like dat? You know it would skeer me–looks just like a snake, an’ you knows how skeered Ah is of snakes.”

The author, Hurston, uses tension between the character Sykes and Delia by first introducing the two with an argument about a snake prank. The author also uses metaphors to symbolizes the sykes to the snake because of the resemblance that they are both harmful to Delia which Hurston signifies throughout the short story.

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“Syke! Syke, mah Gawd! You take dat rattlesnake ‘way from heah! You gottuh. Oh, Jesus, have mussy!”

The rattlesnake symbolizes the toxic relationship between Syke and Delia. The rattle on the snake warns people of its presence and danger. Akin to how emotionally and physically abusive Syke is to Delia. Hurston uses her fear of snakes to connect to how she fears Syke. Delia said how snakes could killer her sort of how Syke could 🤬 her from his abuse.

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" No one was to sit with knees separated (setting brazen) a lady must never whistle  and a lady must never cross her legs".

Isis represents a child like innocents in the face of a cruel and changing world. She is learning bit by bit on how to conduct herself, but is unable to change herself due to her child like behavior.

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Huston uses personification to make the river come alive and comment on current events of the lovers.

Magnolia Flowers:
She is searching for her lost memories and her lost child hood innocents in the search for why her grandmother gave her the estate.

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" the hours..bed rail...finally....face stiff...day....as usual.....for joe...to cook....get up.  "

Hurston is writing about how woman should act and conduct themselves and she doesn't understand why she needs to conduct themselves.

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"Back in Eatonville, Joe reached his own front door. There was the ring of singing metal on wood...Joe Banks, Ah hear you chunkin’ money in mah do’way. You wait till Ah got mah strength back and Ah’m gointer fix you for dat.”

The coin is used, in the short story to represent the happiness in their marriage. When Joe finds Missie May with Slemmons he feels cheated and hurt and even more so when May tells him that she is pregnant and he doubts that it is his. But at the end of the short story Joe tosses a few silver dollars in the doorway again saying that he forgives her and that he still loves her.

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Zora uses dialogue and perspective to create characters in the story of Spunk. By the dialogue we learn that "Spunk" is a fearless man who is not scared of anything and Joe is the very opposite. Spunk lives up to his name but at the end we learn something different. Zora uses third person narrative which gives limited information since it focuses on a single person which many would argue to be Spunk. Although the town people talk more about Spunk, in reality they are actually defining Joe, a "cowardice who stands up to a fearless man and at the end wins. Came back as a ghost to hunt him and we later find out that Spunk is not so Spunk. Joe is the real Spunk.

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In the story of Sweat, Zora uses plenty of symbolism and irony, we learn that Delia is a very religious woman who is married to Sykes, a very toxic dominant man. Since at first we are told that she is religious, the situation irony occurs when the snake does the opposite from what is expected. Snake in a religious perspective is seen as bad and a symbol of a division and deception but in this particular story its a symbol of relief. The snake symbolizes the rebirth of Delia, a life of freedom, getting rid of the bad and introducing good.

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As often used by Zora, she uses the gilded coin to symbolize the breach in the relationship between Joe and Missy Mae. Their relationship in the beginning of the story is characterized as this perfect, "goals couple" where nothing can ever go wrong. As the story progresses  we discover that their relationship is infact not as  presented.  Their relationship is gilded.  Although it is wrecked, it bounces back after time which snaps up back into the reality of love. Although a coin might be gilded, that does not change the value of something underneath it.

(Disclaimer: could not find a better way to put this together)

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Zora uses plenty of personification to represent the love in nature. This technique makes the story more vivid and easy for comprehension.

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Zora says that she realized that she was colored when she turned 13. It is like her identity was taken( her name) then generalized with others due to her skin tone. The racial divide is done as a control tactic but the truth is that at the end of the day we are all the same.