Tell My Horse - Zora Neale Hurston

Summary

"Tell My Horse" is Zora Neale Hurston's account of her anthropological fieldwork in Jamaica and Haiti during the late 1930s. The book is an ethnographic study exploring the folklore, spiritual practices, and daily lives of the people she encountered. In Jamaica, Hurston delves into Obeah practices, Maroon history, and local folk tales, observing rituals and interviewing practitioners. She then travels to Haiti, where her primary focus shifts to Haitian Vodou (Voodoo). Hurston meticulously describes Vodou rituals, including drumming, singing, trance possessions by theoa (spirits), and the complex pantheon of Vodou deities. A significant portion of her research in Haiti is dedicated to investigating the phenomenon of zombies, providing detailed accounts from interviews and local legends, culminating in her controversial claim of having seen a real zombie. Throughout the book, Hurston challenges Western misconceptions of these spiritual systems, portraying them as sophisticated, integral parts of the cultural fabric, rather than mere superstition or evil.

Book Sections

Section 1: Jamaica – Of Maroons and Myalism

This section begins Hurston's journey in Jamaica, detailing her initial experiences and the cultural landscape. She immerses herself in the local communities, particularly focusing on the Maroons, descendants of escaped enslaved people who formed independent communities. Hurston explores their history, social structures, and unique spiritual practices, including Myalism, a form of spiritual healing and protection that often involves ritual dance and possession. She documents their strong sense of identity, their stories of resistance, and their deep connection to the land and their ancestral traditions. Hurston also encounters various forms of Obeah, a system of spiritual power and magic, often associated with both healing and harm, and differentiates it from Myalism, noting the community's mixed views on its practitioners.

Character	Characteristics	Motivations
Zora Neale Hurston	Anthropologist, writer, keen observer, adventurous, culturally sensitive.	To document and understand the folklore, spiritual practices, and cultures of the Caribbean.
The Maroons	Descendants of escaped enslaved people, fiercely independent, traditional.	To preserve their heritage, maintain their autonomy, and honor their ancestors.
Obeah Practitioners	Individuals believed to possess spiritual power, often revered or feared.	To provide spiritual services (healing, protection, curses) for their community or clients.
Myal Practitioners	Spiritual healers and diviners, often community leaders.	To heal the sick, cleanse communities of negative influences, and maintain spiritual balance.

Section 2: Jamaican Folk Tales and Cultural Practices

Hurston continues her exploration of Jamaican culture by collecting and analyzing a rich array of folk tales. She recounts numerous stories, including trickster tales, animal fables, and myths that reflect the worldview, humor, and moral values of the Jamaican people. She emphasizes the oral tradition and the importance of storytelling in transmitting cultural knowledge and history across generations. Hurston also observes and describes various everyday cultural practices, from farming techniques to social customs, demonstrating how deeply intertwined folklore and daily life are. She provides insights into the role of music, dance, and community gatherings in reinforcing social bonds and spiritual beliefs.

Section 3: Transition to Haiti – The Lure of Vodou

Leaving Jamaica, Hurston travels to Haiti, drawn by the profound and often misunderstood religion of Vodou. This section marks a shift in her research focus, as she prepares to delve into the complexities of Haitian spiritual life. She describes her initial impressions of Haiti, its vibrant culture, and the pervasive presence of Vodou, which she immediately recognizes as a fundamental aspect of Haitian identity, far removed from the sensationalized and demonized portrayals in Western media. Hurston expresses her determination to approach Vodou with an open mind, seeking to understand it from an insider's perspective, without imposing external judgments.

Section 4: Vodou Pantheon and Rituals

In Haiti, Hurston dedicates herself to understanding the intricate structure of Vodou. She meticulously describes the Vodou pantheon, introducing the major Loa (spirits), their characteristics, domains, and the specific rituals associated with invoking them. She details the ceremonies, including the roles of the Houngan (priest) and Mambo (priestess), the significance of drums, songs, and dances, and the phenomenon of spirit possession. Hurston attends numerous services, providing vivid accounts of participants entering trance states, embodying the Loa, and delivering messages or performing actions guided by the spirits. She highlights the social functions of Vodou, such as community building, healing, and addressing daily life challenges.

Character	Characteristics	Motivations
Houngan/Mambo	Vodou priests/priestesses, community leaders, spiritual guides.	To serve the Loa, conduct ceremonies, provide spiritual guidance, healing, and protection to their community.
Vodou Initiates	Individuals who participate in Vodou ceremonies, sometimes becoming possessed.	To connect with the Loa, seek guidance, healing, or solutions to problems, fulfill spiritual obligations.
Loa (Spirits)	Divine entities in the Vodou pantheon, each with distinct personalities.	To interact with humans, offer guidance, blessings, or warnings; manifest through possession.

Section 5: The Mystery of Zombies

One of the most captivating and controversial aspects of Hurston's research in Haiti is her investigation into zombies. She dedicates a significant portion of the book to exploring the legends, beliefs, and alleged occurrences of zombies. Hurston interviews many Haitians, from peasants to government officials, gathering testimonies and stories about individuals who were supposedly "zombified"—brought back from the dead without their souls or free will. She explores the cultural and social context of the zombie phenomenon, suggesting it is not merely a supernatural tale but also intertwined with social control, justice, and the fear of losing one's identity. Hurston recounts visiting an alleged zombie, Felicia Felix-Mentor, describing her as a person found wandering and identified as a woman who had died years prior, with blank eyes and incoherent speech, though she admits the precise mechanism remains a mystery.

Character	Characteristics	Motivations
Felicia Felix-Mentor	An alleged zombie whom Hurston claims to have seen and photographed.	As a supposed victim of zombification, her actions are believed to be controlled by another's will.
Zombie Sorcerers	Individuals believed to possess the power to zombify people (Bokors).	To exact revenge, gain power, or fulfill requests from clients by creating zombies for labor or other ends.

Section 6: Vodou and Haitian Society

In her final sections on Haiti, Hurston broadens her analysis to examine the pervasive influence of Vodou on Haitian society as a whole. She illustrates how Vodou is not merely a religion but a complete way of life, shaping social norms, political dynamics, and artistic expressions. Hurston argues that Vodou served as a powerful unifying force during the Haitian Revolution and continues to provide a framework for community organization and resistance against oppression. She critically discusses the efforts by some elite Haitians and foreign missionaries to suppress Vodou, arguing that such attempts misunderstand its fundamental role and deep roots in the culture. Hurston concludes by reiterating her conviction that Vodou is a coherent and deeply meaningful spiritual system, deserving of respect and serious study, rather than dismissal as primitive superstition.

Literary Genre

Ethnography, Non-fiction, Travelogue, Folklore.

Author Facts

• Zora Neale Hurston (1891-1960) was a pivotal figure of the Harlem Renaissance.
• She was an accomplished anthropologist, having studied at Barnard College and Columbia University, where she worked with Franz Boas, often considered the "father of American anthropology."
• Hurston conducted extensive ethnographic research in the Southern United States and the Caribbean, collecting folklore, songs, and stories.
• She is best known for her novel 'Their Eyes Were Watching God' (1937), a seminal work in American literature.
• Her work often explored racial and gender identity, focusing on the experiences of African Americans in the rural South and the richness of their cultural traditions.
• Despite her significant contributions, her work fell into obscurity for a period and was later rediscovered and championed by writers like Alice Walker in the 1970s.

Moral of the Book

The primary "moral" or underlying message of 'Tell My Horse' is the imperative to understand and respect diverse cultural and spiritual practices on their own terms, free from Western ethnocentric bias and prejudice. Hurston advocates for an empathetic and informed approach to studying other cultures, particularly those that have been marginalized or demonized. She implicitly argues that dismissing practices like Vodou as mere superstition or evil is not only intellectually lazy but also serves to dehumanize the people who practice them. The book underscores the deep wisdom, social cohesion, and resilience embedded within indigenous belief systems, challenging readers to recognize the complex human needs and values they serve.

Curiosities of the Book

• Hurston's Unique Position: As an African American woman researching Black cultures in the Caribbean, Hurston occupied a unique and often privileged position that allowed her to gain deeper access and trust from her informants compared to many white anthropologists of her time.
• The Zombie Controversy: Hurston's claim of having seen a real zombie (Felicia Felix-Mentor) was highly controversial and generated much debate. While some dismissed it, others interpreted her account as an early recognition of psychopharmacological manipulation or severe mental illness rather than a literal supernatural reanimation. It remains one of the most discussed parts of the book.
• Ethnographic Style: Unlike purely academic texts, 'Tell My Horse' blends rigorous anthropological observation with Hurston's signature literary flair, making it accessible and engaging. She weaves her personal experiences and vivid descriptions into her ethnographic reporting.
• Funding Challenges: Hurston conducted much of this research on a Guggenheim Fellowship, but like many of her projects, it was often underfunded, highlighting the economic struggles she faced even as a prominent intellectual.
• Title Origin: The title "Tell My Horse" is believed to derive from a Jamaican folk saying or a Vodou expression, referring to spiritual communication or the idea of an unseen power at work.