The power of the porch
Subtitle: the storyteller's craft in Zora Neale Hurston, Gloria Naylor, and Randall Kenan
By: Trudier Harris.
Series: Mercer University Lamar memorial lectures ;; no. 39
Publisher: University of Georgia Press
Published: 1996
Place of publication: Athens
Language: eng
Number of pages: 152
Subjects: Hurston, Zora Neale -- Criticism and interpretation; Naylor, Gloria -- Criticism and interpretation; Kenan, Randall -- Criticism and interpretation; American fiction -- African -American authors -- History and criticism; Literature and folklore -- Southern States -- History -- 20th century; American fiction -- Southern States -- History and criticism; African Americans -- Intellectual life -- 20th century; African American oral tradition -- Southern States; African Americans -- Southern States -- Folklore; Narration (Rhetoric) -- History -- 20th century; African Americans in literature; Storytelling in literature; Southern States -- In literature
Description: In ways that are highly individual, says Harris, yet still within a shared oral tradition, Zora Neale Hurston, Gloria Naylor, and Randall Kenan skillfully use storytelling techniques to define their audiences, reach out and draw them in, and fill them with anticipation.

Considering how such dynamics come into play in Hurston's Mules and Men, Naylor's Mama Day, and Kenan's Let the Dead Bury Their Dead, Harris shows how the "power of the porch" resides in readers as well, who, in giving themselves over to a story, confer it on the writer.

Against this background of give and take, anticipation and fulfillment, Harris considers Zora Neale Hurston's special challenges as a black woman writer in the thirties, and how her various roles as an anthropologist, folklorist, and novelist intermingle in her work. In Gloria Naylor's writing, Harris finds particularly satisfying themes and characters. A New York native, Naylor came to a knowledge of the South through her parents and during her stay on the Sea Islands she wrote Mama Day.

A southerner by birth, Randall Kenan is particularly adept in getting his readers to accept aspects of African American culture that their rational minds might have wanted to reject. Although Kenan is set apart from Hurston and Naylor by his alliances with a new generation of writers intent upon broaching certain taboo subjects (in his case gay life in small southern towns), Kenan's Tims Creek is as rife with the otherworldly and the fantastic as Hurston's New Orleans and Naylor's Willow Springs.
Notes: Includes bibliographical references (p. 145-147) and index.