“‘And now we’ll listen tuh uh few words uh encouragement from Mrs. Mayor Starks.’
The burst of applause was cut short by Joe taking the floor himself.
‘Thank yuh fuh yo’ compliments, but mah wife don’t know nothin’ ’bout no speech-makin’. Ah never married her for nothin’ lak dat. She’s uh woman and her place is in de home'” (43).
Hurston, Zora Neale. Their Eyes Were Watching God. New York: Harper Perennial Modern Classics, 2006. Print.
This moment reflects the themes of both being silenced and being named in Hurston’s novel. When Joe does not allow Janie to speak it is a sharp denial of Janie’s human right to speech because of her gender. Its problematic effect is heightened because this is the first time in which Janie is called “Mrs. Mayor Starks,” with Joe’s following clarification of “mah wife.” This denotes ownership, but it is also follows a theme in other parts of the book, such as when she is called Alphabet, which is before she even realizes the color of her skin. This shows that when names are imposed upon Janie, it stifles the progress of Janie’s self-actualization and self-determination, in turn stifling the novel itself.
Because I said If you wouldn’t keep on sawing and nailing at it until a man cant sleep even and her hands laying on the quilt like two of them roots dug up and tried to wash and you couldn’t get them clean. I can see the fan and Dewey Dell’s arm. I said if you’d just let her alone. Sawing and knocking, and keeping the air always moving so fast on her face that when you’retired you cant breathe it, and that goddamn adze going One lick less. One lick less. One lick less until everybody that passes in the road will have to stop and see it and say what a fine carpenter he is. If it had just been me when Cash fell off of that church and if it had just been me when pa laid sick with that load of wood fell on him, it would not be happening with every bastard in the county coming in to stare at her because if there is a God what the hell is He for. It would just be me and her on a high hill and me rolling the rocks down the hill faces and teeth and all by God until she was quiet and not that goddamn adze going One lick less. One lick less and we could be quiet. (13-14)
The first glimpse of Jewel is as a kind of robot. The second time he seems to have only one focus, the taming of the horse. But here we see Jewel with something nearing human emotional feeling for his dying mother.
“The strange thing was, he said, how they screamed every night at midnight. I do not know why they screamed at that time. We were in the harbor and they were all on the pier and at midnight they started screaming. We used to turn the searchlight on them to quiet them. That always did the trick (11)”
I thought this passage seemed modern because of the vagueness of it all. The reader is given this situation without any context clues. The author does not say who “we” is or who “they” are. It is also a stream of consciousness, a train of thought coming from the speaker.