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The Shenandoah Valley

The Shenandoah Valley Edward Beyer, Digital Restoration of "Harper's Ferry from Jefferson Rock" from Album of Virginia: Illustrations of the Old Dominion, 1858. The Shenandoah Valley's history marks it as...

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Glimpsing Andalusia in the O'Connor-Hester Letters

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Indians in the Family: Adoption and the Politics of Antebellum Expansion

...turns out, the transfer of McDonald's son to Dinsmoor's care was not unique. In the decades following the US Revolution, a number of American Indian women and men and elite US whites...

The Carolina Piedmont

...that connected mountains with coast. Faced with increasing white numbers and hostility, as well as the ravages of smallpox and the occupation of their familiar territory, natives desperately sought strategies...

A Well-Tied Knot: Atlanta's Mobility Crisis and the 2012 T-SPLOST Debate

...numbers, vetting projects, and trading horses in an effort that to longtime observers must have seemed a fool's errand. Competition, not collaboration, had long characterized metropolitan relationships and it wasn't...

References
1.	Valerie Boyd, Wrapped in Rainbows: The Life of Zora Neale Hurston (New York: Scribner, 2004), 313; Kennedy as quoted in Boyd, 318. Says Kennedy, "She had already published her first two books by that time, but she wanted a job and was given the same job title that I had when I started out. I was junior interviewer. Imagine Zora Hurston, junior interviewer. She had already had her degrees from Boaz (sic) and Columbia and Barnard and so on." "The Sounds of 1930s Florida Folklife," All Things Considered, February 28, 2002, NPR Hearing Voices, http:// hearingvoices.com/transcript.php?fID =23. In his unpublished manuscript on Hurston's career and his time working with her on what became known as the "Negro Unit" of the FWP, Kennedy notes that Hurston was given the title of "Junior Interviewer" and paid "$67.20 per month" for her work with the WPA. "Ironically," Kennedy adds, "the typist at the Negro Unit" in Jacksonville "was paid $5.00 per month more than Zora, by virtue of a higher urban wage scale." Stetson Kennedy, "Alan Lomax/Zora Neal Hurston Field Trip of 1935 . . . As Described by Alan [Lomax] to Stetson Kennedy," Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged, n.d., George A. Smathers Library, University of Florida, Gainesville. However, Stetson remains a tricky figure when it comes to his own treatment of Hurston's legacy. He was a fierce champion of her legendary status, a jealous protector of his own archival materials related to their shared work for the WPA, and also a spectacularly harsh critic of Hurston's contradictory persona. See, for instance, his searing list of "SAD-BUT-TRUE ASPECTS of Zora" which includes a range of inflammatory monikers including "THE SELF-STYLED 'PET DARKEY' . . . NO RACE CHAMPION . . . THE LICKER OF THE WHIP HAND, THE 'HOUSE NIGGER' . . . THE RACISTS' DARLING," "THE ARCH REACTIONARY," and "THE 24-KARAT BITCH." The latter insult Kennedy attributes to Alan Lomax, quoting him as having said that in "the field, Zora was absolutely magnificent—but of course you know she was a 24-karat bitch. . . ." Kennedy, "SAD-BUT-TRUE ASPECTS OF ZORA," September 5, 2000, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research. Kennedy wrote obsessively about Hurston in a range of published material and unpublished material that recycled and occasionally reworked versions of the aforementioned list of traits he logged. See, for instance, Kennedy, "Almost all I know about Zora," unpublished manuscript, September 5, 2000, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research. Kennedy, untitled ("I am the one who wrote, in my Tribute to Zora . . ."), unpublished manuscript, September 8, 2000, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research.
2.	Boyd, Wrapped in Rainbows, 322; Stetson Kennedy, unpublished manuscript, 6, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research.
3.	Zora Neale Hurston to Carita Dogget Corse, December 3, 1938, in Zora Neale Hurston: A Life in Letters (New York: Anchor, 2003), 417–418.
4.	"Sounds of 1930s Florida Folklife." Kennedy traces the recorder back to "the Hurston/Lomax/Barnicle team," pointing out that the team "borrowed the recorder of the Library of Congress" because of Lomax's father's ties to that institution. "In those pre-tape days," he muses, recorders "consisted of a heavy monstrosity. . . ." After joining the FWP, "Zora was able to again wangle it on loan from the Library of Congress" Stetson Kennedy, unpublished manuscript, 62–63, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research. Bordelon further points out that Halpert would arrive in Jacksonville "with the equipment carefully stored in a converted World War I ambulance outfitted by workers from the Federal Theater Project. . . . He was one of the few folklorists with field recording experience. He knew how to transport, repair, and set up the cumbersome equipment as well as how to conduct the first-person interviews, an integral part of the recording sessions." "Zora Neale Hurston," Go Gator and Muddy the Water: Writings by Zora Neale Hurston from the Federal Writers Project, ed. Pamela Bordelon (New York: Norton, 1999), 45; Boyd, Wrapped in Rainbows, 324.
5.	Boyd, Wrapped in Rainbows, 325; Bordelon, "Mule on the Mount" transcription, 163–164; Herbert Halpert, "Tentative Record Check List: southern recording expedition," March 12– June 30, 1939, Herbert Halpert 1939 Southern States Recording Expedition (AFC 1939/005), Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, DC. Kennedy maintains that it was his "bright idea" to "sav[e] travel money," "summo[n]" Hurston to Jacksonville, "si[t] her down in a chair, and recor[d] all the folkstuff she carried around in her head," and he looked to Halpert, who was "using the machine at the time," to "collaborate in interviewing" her. Stetson Kennedy, unpublished manuscript, 64, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research.
6.	Kennedy's version of this recording expedition occasionally frames Hurston as the object of ethnographic inquiry rather than as a fellow collaborator ("I had gotten into the habit of asking my informants if they knew any 'dirty songs.' As it turned out, they knew plenty. . . . I asked Zora if she knew a song called 'Uncle Bud.'"). Stetson Kennedy, unpublished manuscript, 64, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research. The Library of Congress website lists both Halpert and Kennedy as "speakers" along with Hurston on various recordings from these sessions. Elsewhere Kennedy elaborates on the team's working conditions, describing how, "in recent years when asked to speak on the subject 'Working with Zora' . . . I have been tempted to suggest that the title 'Trying to Get Zora to Work' would be more appropriate. Like many of us who were on our own out in the field (again myself included), production was sporadic." Stetson Kennedy, "Zora's Contributions," n.d., unpublished manuscript, n.p., Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged. Kennedy was one of Hurston's greatest defenders and also one of the most consistent critics of her well-known ambivalences when it came to racial uplift politics, her "accomodationist-if-not apologist" leanings, as he puts it. But repeatedly in his manuscript, he argues that "we and generations yet to come should focus upon how Zora Neale Hurston wrote, not how she voted." Stetson Kennedy, unpublished manuscript, 68, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged. See also Kennedy, "sad-but-true aspects of zora," unpublished manuscript, September 5, 2000, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research. For more on Hurston's political leanings, see Boyd, Wrapped in Rainbows.
7.	Zora Neale Hurston, "Mule on the Mount," Herbert Halpert 1939 Southern States Recording Expedition, AFC 1939/005: AFS 03136 B01, American Folklife Center, Library of Congress, Washington, DC, https://www.loc.gov/item/flwpa000008/.
8.	Bordelon transcription of "Mule on the Mount," Bordelon, Go Gator, 163–164; Hurston, "Mule on the Mount."
9.	Blind Lemon Jefferson's 1926 "Wartime Blues" makes use of the blues form's "floating verses," oft-repeated verses in Black radical tradition lore, and ones that reference familiar images, for instance, "trains" and "rivers" and tropes evocative of African American rural and migratory life. Such visions and figures and themes "float" from one song to another and can sometimes take shape as jarring abstractions, as thematic non-sequitar. But in every case, they are manifestations of both a dispersed and disrupted culture and the innovative contemplation of and rejoinder to quotidian and ubiquitous crisis. Blind Lemon Jefferson, "Wartime Blues," Release # 12425A, Matrix # 3070, Take #1, The Rise & Fall of Paramount Records, Vol. 1 (1917–1932) (Third Man Records-Revenant Records, 2013). For more on blues aesthetic traditions, see also Scott Blackwood's monumental work on the archive of Paramount recordings. Scott Blackwood, The Red Book liner notes for The Rise & Fall of Paramount Records, Vol. 1 (1917–1932); and Chapter 7.
10.	Hurston, "Mule on the Mount."
11.	Hurston, Dust Tracks on a Road (New York: Harper Perennial, 1996, 146; Carla Kaplan, "'De Talkin Game': The Twenties (and Before)," in Zora Neale Hurston: A Life in Letters (New York: Anchor Books, 2002), 51–52. With regards to the opacity of Dust Tracks, Maya Angelou's 1995 foreword to the book is instructive. Angelou famously observes of Dust Tracks that "the author stands between the content and the reader. It is difficult, if not impossible, to find and touch the real Zora Neale Hurston" (xii).
12.	Hurston, Dust Tracks on a Road, 67. See also Boyd, Wrapped in Rainbows, 57. Fellow FWP recording expedition team member Kennedy recalls Hurston's time in the field with him "record[ing] more of the songs of migratory black workers in the Everglades mucklands." Stetson Kennedy, unpublished manuscript, 63, Zora Neale Hurston Box 1, Stetson Kennedy Papers, uncataloged at the time of archival research.
13.	Marti Slaten, Email message to the author, Jan. 13, 2011. Josh Kun would most certainly identify the "audiotopian" sites of cultural memory, communal questing, and questioning in Hurston's sounds. Josh Kun, Audiotopia: Music, Race, and America (Berkeley: University of California Press, 2005). Concerning this noted Blackness and suffering trend, redolent in the work of some of her most prominent 1930s contemporaries like George Gershwin and Richard Wright, she lamented in a 1936 letter that "some writers are playing to the gallery. That is, certain notions have gotten in circulation about conditions in the south and so writers take this formula and workout so-called true stories." Zora Neale Hurston to Stanley Hoole, March 7, 1936, Folder 60, Box 2, Zora Neale Hurston Papers.
14.	Zora Neale Hurston, "Halimuhfack," Herbert Halpert 1939 Southern State Recording Expedition, AFC 1939/005: AFS 03138 B02, recorded in Jacksonville, Florida, June 18, 1939, American Folklife Center, Library of Congress, Washington, DC, https://www.loc.gov /item/flwpa000014/.
15.	Zora Neale Hurston, "Characteristics of Negro Expression," in The Jazz Cadence of American Culture, ed. Robert O'Meally (New York: Columbia University Press, 1998), 306–309.
16.	Katherine McKittrick, Demonic Grounds: Black Women and the Cartographies of Struggle (Minneapolis: University of Minnesota Press, 2006), xiii. McKittrick calls these kinds of "clandestine geographic-knowledge practices" the "spaces of black liberation" that were "invisibly mapped across the United States and Canada and that this invisibility is, in fact, a real and meaningful geography. . . . the unmapped knowledges" (18). These "black geographies," she argues, "are deep spaces and poetic landscapes, which not only gesture to the difficulties of existing geographies and analyses, but also reveal the kinds of tools that are frequently useful to black social critics" (21–22).
17.	Zora Neale Hurston, "First Version of Folklore," n.d., manuscript, Box 12, Zora Neale Hurston Papers. Pamela Bordelon includes "the third and final draft of the folklore and music chapter for The Florida Negro" in her collection of Hurston's transcribed FWP writings, but she spells the title as "Halimufask." The song title in Hurston's "first version" is "Halimuhfack." See Zora Neale Hurston, "Go Gator and Muddy the Water," in Bordelon, Go Gator, 72. The Stetson Kennedy Papers include a Zora Neale Hurston "set list" of sorts with "Halimuhfack" listed as "Halimuhfact," as well as the handwritten additional lyric, "My slow drag will bring you back!" Black theater scholar Eric Glover notes that "Halimuhfack" appears in Hurston's script for Polk County as well. See Eric Glover, "By and About: An Antiracist History of the Musicals and Anti-musicals of Langston Hughes and Zora Neale Hurston" (PhD diss., Princeton University, 2017).
18.	Bordelon points out that one of the "Negro mythical places" included in her automotive guide excerpt, "'Diddy-Wah-Diddy' . . . [is] a magical destination where neither man nor beast had to worry about work or food. Both were magically supplied. They often laughed and dreamed of far-off 'Heaven,' pinning human qualities on its celestial inhabitants." Bordelon, "Zora Neale Hurston," 26. See also Christopher D. Felker, "'Adaptation of Source': Ethnocentricity and 'The Florida Negro,'" in Zora in Florida, ed. Steve Glassman and Kathryn Lee Seidel (Orlando: University of Central Florida Press, 1991), 149.
19.	Bordelon, "Zora Neale Hurston," 17.
20.	McKittrick, Demonic Grounds, xxvi–xxvii.
21.	McKittrick, 5.

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