Spunk

Stylistically, Hurston’s idiomatic dialogue is typical of literature written during the Harlem Renaissance, a period of cultural revival among Black writers, artists, musicians, and others that took place during the 1920s and ‘30s. Hurston’s decision to reproduce dialogue authentically and phonetically, such as substituting “Ah” for “I” and “skeered” for “scared,” reflects her pride in Black culture and language.

The story’s setting also proves significant. Though the writer only identifies the town as a “Village” near Orlando, Florida, it is likely inspired by Eatonville, the small town where Hurston grew up. Appropriately, when Joe, Spunk, and Lena try to resolve their situation verbally, they do so in the town. Joe and Spunk only resort to violence in the woods outside the town, as if there they are beyond the limits of civilization and therefore its law.

Though “Spunk” is concise, even for a short story, the plot contains all the elements typically found in fiction. The first scene introduces the major characters and conflicts, while subsequent action builds toward Spunk’s climactic death. The story’s conclusion, including the possibility that Joe continues to harass Spunk from beyond the grave, casts the title in an ironic light: Joe turns out to have more spunk, or courage, than Spunk does.

Unusually, however, Hurston presents the events of “Spunk” from a distance, filtered through the views and opinions of the townspeople who observe them. By focusing on reactions, rather than events themselves, Hurston addresses themes of perception and public opinion. Within that context, Elijah and Walter function as foil characters, presenting different points of view on Joe and Spunk’s attributes and actions. Joe and Spunk represent competing ideals of courage and, by extension, masculinity. Whereas Spunk draws admiration from Elijah and others for his supposed fearlessness, Joe earns Walter’s respect by overcoming his fears. If Spunk represents a traditional and popular macho ideal, Joe exemplifies a humbler alternative. Joe’s supposed supernatural role in Spunk’s death at the story’s climax seems to vindicate Walter’s belief that Joe is braver than Spunk. Of the bystanders, only Walter looks past gossip and stereotypes to see Joe for the unlikely hero that he becomes.

Like Joe and Spunk, Lena also acts within the context of social expectations related to her gender. Spunk and Joe fight over her as though she were property, and Spunk claims her as his own. When she reminds him that her house belongs to her, he tells her that she belongs to him. Their conversation reflects traditional patriarchal conceptions of marriage, in which a wife is subject to her husband. Even after Joe and Spunk’s deaths, the only role the women of the town can imagine for Lena is that of a wife.