55 pages • 1 hour read
Zora Neale HurstonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Janie arranges a lavish funeral for Joe, and important people come from all over South Florida to see him off. Janie publicly presents as a grieving widow dressed in expensive black mourning clothes, but internally, she celebrates being free of restraints for the first time in her life. As she thinks of Nanny’s decisions, Janie realizes that she hated her grandmother for foreclosing the possibilities in her life, and she blames Nanny for choosing material security over happiness for her granddaughter.
After the funeral, Janie carries on with her normal routine of minding the store with the help of Hezekiah, Joe’s assistant. Free of Joe, Janie burns all her head rags, wears her hair uncovered, and occasionally sits on the porch. When suitors begin showing up just a month after Joe’s death, she ignores them, telling Pheoby that love for her newfound freedom, not grief, leads her to deny these men. Pheoby tells her to keep that subversive thought to herself.
One day, when Janie is tending the store by herself, a young man named Vergible Woods, who goes by the name “Tea Cake,” walks in to buy some cigarettes. With most of the town away at a baseball game, Janie agrees to sit with Tea Cake and play a game of checkers; she finds him instantly charming. He gently flirts with her, flattering her by calling her smart. Unlike Joe, Tea Cake clearly sees women as capable beings. He treats Janie like a regular person rather than someone to be placed upon a pedestal.
When the townspeople trickle back into town, Tea Cake socializes easily with them and convinces Janie to allow him to walk her home. She has misgivings about walking home with a stranger, but he gallantly leaves her at her door.
With Tea Cake away for a week, Janie is assailed by doubts. She worries what the townspeople would think of her for dating a much younger man and wonders if Tea Cake is after her money. When he returns, to Janie’s relief, she plays checkers with him on the porch, much to the pleased surprise of the townspeople. He walks her home and this time sat on her porch with her. He also takes Janie out fishing at night, arousing her long dormant sense of play.
That night, Tea Cake, a blues man, plays Janie’s piano and even grooms her hair while she sleeps. When Janie asks why he is interested in someone so ordinary, he tells her that he finds her far from ordinary and encourages her to really look at herself. Tea Cake addresses her fear that he is merely after her money. She dismisses his concern but notes that most people might find their age disparity objectionable. Tea Cake doesn’t care about what other people think, but he leaves abruptly after Janie tells him that he might feel differently once the heat of the moment passes.
In the days that follow, Janie tries to think pragmatically about a relationship with Tea Cake, but she cannot escape her desire for the sexual passion she had dreamed about under the pear tree. At daybreak one morning, he shows up to plead his love only to rush away to work; on another morning, he kisses Janie fiercely enough to wake her from sleep. She finally accepted that she loves him, but her doubts came back again when he disappears for four days.
He returns in a car, asked her to go to the big social event of the year—the Sunday school picnic—and offered to take her shopping beforehand. She asked him earnestly if he wanted to make such a public declaration that they were together. He assured her that he did and that he loved her wholeheartedly.
When the love between Tea Cake and Janie becomes public, the townspeople are shocked that “Mrs. Mayor Starks” would date a man so different from her deceased husband (110). Pheoby’s husband Sam asks Pheoby to encourage Janie to put an end to this unseemly relationship.
Pheoby talks with Janie about all the possible ways it could go wrong, but Janie insists that she knows what she is doing. Her former separation from people like Tea Cake is Joe’s doing. Janie hated being idolized and hardly knew what to do with herself because Joe forced her to stay up on a pedestal that kept her lonely and unhappy. Such a life might have suited the formerly enslaved Nanny, but Janie is interested only in love; she is willing to violate social norms, if doing so will bring her happiness on her own terms. Janie discloses a bombshell that she asks Pheoby not to share quite yet: She plans to marry Tea Cake, sell the store, and start over somewhere else, away from the shadow of Joe Starks.
Janie receives a letter from Tea Cake: He got a railroad job in Jacksonville and wants Janie to come right away so that they can be married. Once Janie arrives, they spend their honeymoon in a boarding house. On a morning a week later, Tea Cake leaves to get some fish but fails to return for a day and a night. Even worse, Janie discovers that $200 hidden in her dress (on the advice of Pheoby) has gone missing. Janie fears that Tea Cake has made a fool of her. As she waits for him, she recalls the story of Mrs. Tyler, an older woman who lost everything when she married a man in Tampa who stole her money and abandoned her. She previously dyed her hair to look younger, but the cheap dye ends up wearing off, leaving her hair gray and streaked. Mrs. Tyler relied on charity to return home and died soon after.
Tea Cake returns. When Janie asks where he’s been and what happened to her money, he tells her a long tale about discovering the money and deciding to go on a spending spree so he could feel like a rich man for a day. He threw a catered party for his railroad coworkers and got his guitar out of the pawn shop. Janie is offended that he didn’t bother to invite her to join in the fun. He was afraid that she would look down on his friends, working-class railroad laborers, but she loves him and didn’t care about any of that, so the two make up.
Tea Cake also assures her that he will get her money back. The upcoming Saturday will be payday for the railroad workers, and Tea Cake considers himself an excellent gambler. Janie has misgivings, but she accepts his decision because she loves him; after being gone all Saturday night, he returns with two shallow knife wounds and $320. When she tells him that she has $1,200 in the bank, he tells her to keep it. They will live only on what he brought in.
Tea Cake decides that they should head to the Everglades, where work and fun are plentiful. She agrees, feeling a love that snuffs out her fear that he will abandon her.
Janie’s level of autonomy changes substantially in the aftermath of Joe’s death. At Joe’s funeral, she conforms to gendered norms of mourning, but just a few months later, she pursues love on her terms. The love story that unfolds is subversive when read in historical context because Janie’s evolution occurs against the backdrop of strong societal pressure to remain chaste, marry within her social class, and allow the community to have a say in how she lives her life.
Developing the theme of Black Women’s Identity, Janie’s outward and inward sense of herself is completely transformed by the freedom widowhood offers. The treatment of her hair symbolizes the external aspects of this change. First, she publicly rejects Joe’s rules, burning the head rags he made her wear and leaving her hair uncovered. Then, Janie allows Tea Cake to touch her hair in her home—a suggestive gesture of seduction, physical intimacy, and vulnerability—and she styles her hair differently as her courtship with Tea Cake blossoms. Her self-care in this instance reflects the importance of hair culture, especially in the African American community. However, the risks inherent in the relationship are also conveyed through the symbolism of hair: Janie considers the cautionary tale of Mrs. Tyler, who returned home with dye running from her hair after being conned by Who Flung.
Janie’s most significant shifts are internal. As Janie’s conversation with Pheoby makes clear, she has reflected on the choices Nanny and Joe made for her and concluded that respectability and material comfort are no substitutes for love and self-direction. Having survived marriage to Logan Killicks and Joe Starks, Janie concludes, “Dis ain’t no business proposition, and no race after property and titles. Dis is uh love game” (114). Her rejection of respectable, conformist notions of love is confirmed when she accedes to Tea Cake’s freewheeling ways with the money she brings to the marriage. Finding sexual pleasure with Tea Cake and enjoying his treatment of her as a person with valid desires, Janie opens herself to love without reservations, conveying The Importance of Romantic Fulfilment.
Tea Cake’s insistence that Janie control her own money and his view that Janie is sturdy enough for the rough-and-tumble life he leads would have been revolutionary to Hurston’s contemporaries. However, even his progressivism has limits: His unilateral decision to move the couple to the Everglades without consulting Janie shows that even this forward-looking man cannot fully escape the patriarchal ideas of his time. Furthermore, Hurston’s full-throated celebration of female sexual desire as essential and valuable aspects of Black women’s identities was almost unheard of for the time period. Black authors faced pressure to depict African American women as chaste, moral, and conventional heroines who sacrificed everything for their race or their children. This is why Hurston’s portrayal of Janie, who notably makes no sacrifices and has no children, but focuses on self-actualization, was subversive.
By Zora Neale Hurston