Saturday, October 20, 2012

Dialect


                Zora Neale Hurston wrote Their Eyes Were Watching God in part as an attempt to document and capture the lives of African-American men and women in the deep South. These people, having  remained in the South instead of emigrating to the North, and leaving much of their culture and tradition behind when they did emigrate to the city, existed in a world largely unseen by the average American reader. Hurston received funding to travel throughout the South and document their traditions, partially to preserve them for future generations and partially as material for her fiction. Their Eyes Were Watching God reflects many of these traditions, but the most instantly apparent and often confusing aspect of Southern life in this book is the pervasive use of dialect. The novel's characters speak quite fluently in vernacular, and the text depicts their often nonstandard grammar, accents, and complex idioms. Even the third person narrator takes on aspects of the vernacular at points during the book, when following characters particularly closely.

                The first question that Hurston's contemporary readers, and indeed many modern readers ask, is "Why dialect?" The contractions, omissions of letters, and word choices force the reader to analyze sentences audibly instead of visually, and many of the sayings are so obscure and removed from their meaning that they cannot be understood without close attention to context. At the beginning of the novel, the reader is almost instantly confused by the conversations, and must read them multiple times to figure out what the characters are saying and how they are saying it.

                However, by midway through the book, the dialect is almost unnoticeable. It seems almost as if the characters are speaking aloud in the reader's head, and most of the difficulties aforementioned have slipped away as the grammar has been seen to be consistent and the dialogue reflective of actual speech patterns. At some point, the dialect stops removing us from the scene and starts bringing us in closer, by creating a somewhat film-like attention to depict exactly what the characters are not saying, and not paraphrasing it in any way.

                Another example of a book which uses its own confusing lexicon is A Clockwork Orange. The protagonist and narrator, Alex, speaks in a British-Russian slang that employs religious use of Cockney rhyming slang, Russian loanwords. When the novel begins, the reader is literally incapable of understanding half of the words (most of the slang is not English), but the reader quickly catches on to the patterns of the language and by the end, the reader and the narrator are using the same vocabulary entirely. One side effect of this is that the protagonist, who is quite a morally reprehensible man, in some ways pulls us into his world and makes us understand him in a way that we would not if he were speaking standard English. A parallel can be drawn here with Their Eyes Were Watching God: Hurston's contemporaries, especially white ones, might not understand or be willing to immerse themselves in Southern black culture. By using dialect, the reader is implicitly drawn into the conversations the characters have, and by making the effort to learn the speech patterns and expressions, can identify with the characters more readily.

                Dialect also possesses another quality that must have appealed to Hurston. In many ways, the vernacular present in Southern communities is an artifact just as much as their folklore and customs are. As an anthropologist, Hurston made note of the games that the people played, the ceremonies for weddings and religion, and the stories that they told. If she wanted to fully capture the extent of Southern culture, representing the language that they spoke must have also been vital, for it is as likely to disappear as the other customs people leave behind when they leave the South. To preserve it, she likely felt it important to include the dialect in her novel. Their culture might have been preserved, but without the language, it would be almost impossible to place yourself in their shoes.

3 comments:

  1. I thought that this was a really interesting post. The second paragraph where you said that at first it's hard to read because of the dialect, but eventually the dialect keeps you drawn in really hit home with me. Like you said, it was a little bit hard to adjust to the speech, but after you do adjust you really do start reading aloud in your head, and it makes it easier to hear the voices, almost like a film. One question I have for you however is, if the dialect makes it like a movie, and really draws the reader in, why is the narrator's proper voice necessary? There aren't too many movies with the narrator popping in every 10 sentences.

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  2. The idea of this book being turned into a movie was tossed around some in the third paragraph and in Randall's comment, and I found that idea really interesting. Of the three books we have read so far, this is by far the easiest to turn into a movie. The plot is not complicated, it's a short book, there's not a lot of allusions or imagery. I can easily imagine it as a movie. There is no way _Invisible Man_ could be made into a movie. Even _Native Son_, there is to much important stuff in the book that takes place in Bigger's thoughts, I don't think it would be possible to make a good film adaptation.

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  3. There is a film adaptation of _Their Eyes Were Watching God_, starring Halle Berry as Janie, from I think the mid-2000s. I've only seen clips of it, though, so I can't really speak to it in terms of quality. It definitely seems like a book that would translate well to film, but at the same time, it doesn't seem to me like film could add a whole lot to what we already get in the book. The settings--the physical locations of the "muck"/Everglades and the town of Eatonville--could be interesting. I should give it a look sometime.

    Randall: the narrator's voice might be seen as an analogy to stuff like the sets and camerawork in a film. The characters provide the action and dialogue, but the way those actions are framed comes from the "external" narrator? She affects the "tone" in which we apprehend the story.

    And Jonny: I remember hearing at some point that there's a film adaptation of _Native Son_ starring Richard Wright as Bigger (it was made in France, if memory serves--so imagine a French city standing in for Chicago!). There have been others, too: we see clips from one of them in the Ellison documentary (from the 1970s), and then there's been another more recently. Wright's style is so "real-time," documentary realism, a film almost seems superfluous: do we really need to *watch* him dismember Mary's corpse and stuff it into the furnace? Isn't it enought to read about it?

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