A flamboyant leader during the Harlem Renaissance (an era of notable cultural and artistic achievements from the African American community in Harlem during the 1920s and (1) 1930s). Zora Neale Hurston achieved fame and notoriety in the first half of the 20th century but then faded into obscurity. (2) Raised in Eatonville, Florida, Hurston spent her years of literary productivity in New York, only to return to Florida at the end of her career, penniless and out of print. This renewed interest in Hurston's work brought several of the author's works, such as Their Eyes Were Watching God and Mules and Men, back into the literary limelight. Though now generally recognized as an important contributor to the American literary canon, (3) Hurston was one of the most controversial authors of her time.

In 1925, Hurston began her studies at Barnard College, (4) where, under the tutelage of Franz Boas, the “Father of Modern Anthropology”—she embraced the idea of cultural relativism, or studying a culture in isolation rather than in comparison to others. Her work reflected this (5) exposition, as she sought to capture what she termed the “natural” art of African Americans (6) through speech song and folklore. By adopting the vernacular, for example, Hurston believed that she could develop the authenticity of her characters and present the uniqueness of African American culture. (7)

Hurston’s revolutionary work resulted in scathing criticism, especially from some of the intellectual leaders of the Harlem Renaissance. Two of the movement’s (8) rulers, authors Langston Hughes and Richard Wright, saw Hurston’s work as a harmful caricature of African American life and even accused Hurston of creating new stereotypes that were no better than the old. (9) While Hurston viewed her work as a tribute to a rich and sophisticated culture, her detractors saw it as a mockery, (10) and Hurston’s work, according to them, was lampooning African Americans in the worst possible way.

Today, Hurston is often revered as a fiercely independent thinker who challenged many of the literary and social norms of her day. Since Walker’s rediscovery of Hurston’s work, a dozen short story collections, essays, and folk tales have been published posthumously. Festivals, foundations, literary societies, endowed chairs, journals, and honors now exist in Hurston’s name. (11) When Walker found Hurston’s unmarked grave in 1973, she purchased a headstone and inscribed the epitaph: “A Genius of the South,” illustrating her veneration of Hurston’s work.