Spunk

Fiction | Short Story | Adult | Published in 1925

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Literary Devices

Dialect

In addition to her work as a writer of fiction, Hurston is also known for her work as an anthropologist and folklorist. In “Spunk,” she follows in the footsteps of authors like Mark Twain in presenting idiomatic language reflective of historical and regional speaking patterns. Examples include the use of double negatives, as when Walter says, “Ah ain’t heered ‘bout none” (60), referring to the bobcat; the use of symbolic expressions, such as Elijah’s description of Spunk and Lena walking “brassy as tacks” (54); and the use of colloquial words or phrases, as when Elijah answers, “Nope, not a frazzlin’ thing” to one of Walter’s inquiries (58). Hurston’s attention to the details of speech pays dividends in her decision to present the story primarily through hearsay and dialogue, adding humor and emotion. “Spunk” powerfully demonstrates the value of preserving language as a cultural artifact and, simultaneously, its merit as a literary device.

Anaphora

Anaphora involves the repetition of a word or phrase at the beginning of adjacent clauses. Hurston notably employs anaphora to emphasize Spunk’s restored sense of freedom after the trial:

A clear case of self-defense, the trial was a short one, and Spunk walked out of the court house to freedom again. He could work again, ride the dangerous log-carriage that fed the singing, snarling, biting circle-saw; he could stroll the soft dark lanes with his guitar. He was free to roam the woods again; he was free to return to Lena. He did all of these things (59).

Instead of simply telling readers what Spunk did, Hurston emphasizes the phrases “He could” and “He was free” through repetition, conveying a sense of elation and opportunity. In context, this sense of freedom serves to raise readers’ consternation that Spunk faces no legal consequences for his actions.

Gapped Narrative Structure

“Spunk” is divided into four numbered sections, and significant events take place between the gaps. Between the first and second sections, Spunk shoots and kills Joe. Between the second and third sections, the bobcat who may be Joe confronts and frightens Spunk. In the final gap before the fourth section, Spunk dies when he falls on the saw. Readers find out about these events only after the fact, through the characters’ retelling. This layer of distance between events and readers affords Hurston the opportunity to examine the way events characters’ perceptions and beliefs filter events to become meaningful stories.