McGregor 1
Section One: "Introduction: Talking Books" and
"The Vernacular Tradition"
The information in this section will contain some of the first examples of African American folktales and oral
traditions, and many of these stories should sound familiar. These tales have been immortalized through books,
rhymes, spirituals, songs, movies, and probably in your own families. You most likely did not realize that what
you were hearing or reading had African American or slave roots. Do you remember the tale of "Brer Rabbit
and Brer Bear", also known as "Brother Rabbit and Brother Bear"? Do you remember the John Henry stories
and songs? They are African American stories that have been handed down for generations as oral and written
stories and which have been rewritten for a "standardized" (often white standardized) audience. The works you
are reading in this text have been recorded more closely to how they were told, which preserves a rich African
American culture or tale spinning, hyperbole (or exaggeration), and "the structures." You will pick out those
traits in this series of assignments. As you review the stories, and no matter whether you understand or do not
understand the material, you should look up the work and author in Literary Reference Center Plus and record
the sources to help you write journal entries, papers, and understand the material in general.
Assignments
1/10: Read the following sections and record definitions to the literary terminology included. "Introduction:
Talking Books" (xxxvii-xlvii) and record definitions for the following vocabulary terms in your journal: The
answers are in the textbook readings as well as in Dr. Wheeler’s website, located at
http://web.cn.edu/kwheeler/lit_terms.html.
Introductory Reading Assignments:
A. "Introduction: Talking Books"
(xxxvii-xlvii)
B. "The Vernacular Tradition" (3-8)
C. "Spirituals" (8-10)
D. "Gospel" (19-20)
E. "Secular Rhymes and Songs,
Ballads, Work Songs, and Songs of
Social Change" (25-6)
F.
G.
H.
I.
J.
K.
"The Blues" (48-9)
"Jazz" (64-6)
"Rhythm and Blues" (69-71)
"Hip Hop" (78-80)
"Sermons and Prayers" (94-6)
"Folktales" (130-2)
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speeches
sermons
oral literature
vernacular literature
"bellettristic traditions" (Gates and
McKay xxxvii)
slave narratives
"Spoken Word" poetry (xliii)
folktales
Vocabulary Terms:
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literary canon (see video on
instructor site)
fiction
non-fiction
prose
articles and pamphlets
poetry
essays
rhymes
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McGregor 2
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work songs
protest songs
field hollers
"Characteristics of Negro
Expression" (6-7)
"the structures": "repetitions, tropes,
and signifying" (xlv) and "call and
response, repetition, and double
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
meaning of words" (Worley and
Perry xvi—see handout)
dialect
advice pieces
social protest works
1/10: Read Zora Neale Hurston's Characteristics of Negro Expression (1041-53) and [Negro
Folklore] (1053-62), an excerpt from Mules and Men, Hurston's anthropological recording of the
stories told in her hometown in Eatonville, Florida. Trace one of the following aspects presented
throughout [Negro Folklore]: drama, adornment, angularity, asymmetry, cultural heroes,
originality, imitation, absence of privacy, jook, and dialect.
1/15: Read "Been in the Storm So Long" (13-4) and answer one of the following questions in an
original posting:
A. Look at the description of Negro Expression (6-7) and identify what elements this piece
has. Demonstrate that proof through line citations and analysis of those lines.
B. Explicate the poem and trace the progression of ideas through each stanza. When finished
with the explication, state clearly the primary purpose of the work.
C. Identify and trace the literal and figurative meaning of one symbol through the poem.
1/15: Read "Walk Together Children" (17) and answer one of the following questions in an
original posting:
A. Look at the description of Negro Expression (6-7) and identify what elements this piece
has. Demonstrate that proof through line citations and analysis of those lines.
B. Explicate the poem and trace the progression of ideas through each stanza. When finished
with the explication, state clearly the primary purpose of the work.
C. Who is the speaker in the poem? Prove that with line citations and analysis.
D. Identify and trace the literal and figurative meaning of one symbol through the poem.
1/15: Read "Me and My Captain" (27) and answer one of the following questions in an original
posting:
A. Look up the term "rhyme" in the definitions for this section or on Dr. Wheeler’s website
and describe the content and form of the poem according to the definition. Ultimately, the
objective is to define how this work meets the requirements of a rhyme.
B. Show how this work exemplifies the three structures, or conventions, of "call and
response, repetition, and double meaning of words" (Worley and Perry xvi). How do
those elements add or subtract from the text? How might it be regarded as a canonical
piece of literature? (Again, you should look up the meaning of literary canon or canonical
in the definitions for this section or on Dr. Wheeler’s website.)
McGregor 3
C. According to Gates and McKay's introduction to "Secular Rhymes and Songs, Ballads,
Work Songs, and Songs of Social Change," the purpose of many of the works is to offer
advice (26). What is the piece of advice that the poem represents? Trace the central piece
of advice through the poem, citing lines that represent those ideas and analyzing those
lines in context to the central idea.
D. Define this piece as uplifting literature or realistic literature. What are the qualities in the
piece that make it uplifting or realistic.
1/15: Read the ballad "John Henry" (31-4) and answer one of the following questions in an
original posting:
A. Look up the term "ballad" in the definitions for this section or on Dr. Wheeler’s website
and describe the content and form of the poem according to the definition. Ultimately, the
objective is to define how this work meets the requirements of a ballad.
B. Analyze the symbol of John Henry competing against the machine. What does John
Henry represent, both literally and figuratively? What does the machine represent, both
literally and figuratively? Finish the posting with a commentary about why the
comparison is made and whether it is a necessary comparison.
C. Look up the term "character" in the definitions for this section or on Dr. Wheeler’s
website, and follow the additional defining terms related to character. Clarify the type of
character John Henry, the Captain, and Polly Ann are in the piece.
D. Show how this work exemplifies the three structures, or conventions, of "call and
response, repetition, and double meaning of words" (Worley and Perry xvi). How do
those elements add or subtract from the text? How might it be regarded as a canonical
piece of literature? (Again, you should look up the meaning of literary canon or canonical
in the definitions for this section or on Dr. Wheeler’s website.)
E. Locate another version of John Henry's story in poetic form or prose form and compare
one element, such as the detail in character (sense of honor or moral character, not
character in the literary term sense), detail that adds too his larger-than-life value, or
another element that changes John Henry as a hero.
1/17: Read "Frankie and Johnny" (34-5) and answer one of the following questions in an original
posting:
A. Look up the term "ballad" in the definitions for this section or on Dr. Wheeler’s website
and describe the content and form of the poem according to the definition. Ultimately, the
objective is to define how this work meets the requirements of a ballad.
B. Show how the "Frankie and Johnny" exemplifies the three structures, or conventions, of
"call and response, repetition, and double meaning of words" (Worley and Perry xvi).
How do those elements add or subtract from the text? How might it be regarded as a
canonical piece of literature? (Again, you should look up the meaning of literary canon or
canonical in the definitions for this section or on Dr. Wheeler’s website.)
C. Conduct a title search for "Frankie and Johnny" using DMACC library resources such as
Literature Reference Center Plus or JSTOR. Read and write about how this work is
viewed by the African American culture, white culture, and other cultures.
McGregor 4
D. Look up the term "character" in the Encyclopedia of Literature, and follow the additional
defining terms related to character. Clarify the type of character Frankie and Johnny are
in the piece.
1/17: Read "Stackolee" (38-9) and answer one of the following questions in an original posting:
A. Look up the term "ballad" in the Encyclopedia of Literature and describe the content and
form of the poem according to the definition. Ultimately, the objective is to define how
this work meets the requirements of a ballad.
B. Justify Stackolee's behavior in at least two of the altercations in the ballad, supporting
those ideas with evidence from the text.
C. What is a hero, and how does Stackolee meet the requirements of a hero in this text?
D. Locate another version of Stackolee, or Stagolee, and compare one element, such as the
detail in character (sense of honor or moral character, not character in the literary term
sense), roles of women, the detail that adds too his larger-than-life value, or another
element.
1/17: Read "Oh, Freedom" (44) and answer one of the following questions in an original posting:
A. Look up the terms "rhyme" and "refrain" in the definitions for this section or on Dr.
Wheeler’s website and describe the form of the poem according to the definitions. How
does the rhyme connect the lines? How does the repetition help define the purpose of the
poem? Offer the lines from the poem that show the truest transition and meaning to the
poem between those lines.
B. Define this piece as uplifting literature or realistic literature. What are the qualities in the
piece that make it uplifting or realistic.
C. Look up the terms "tone" and "voice" in Dr. Wheeler’s website and describe the term in
relation to the topic and form of the poem.
D. Study the topic changes in the poem--the word or words that change from stanza to
stanza--and describe the importance of the progression those changes.
1/17: Read Abel Meeropol's "Strange Fruit" (45) and answer one of the following questions in an
original posting:
A. Define this piece as uplifting literature or realistic literature. What are the qualities in the
piece that make it uplifting or realistic. Locate one reliable Internet or library resource
that covers the poem or song, remembering to cite the source in the text and Works Cited
area.
B. Look up the terms "rhyme," "rhythm," and "couplet" in the definitions for this section or
on Dr. Wheeler’s website and describe the form of the poem according to the definitions.
How does the couplet form connect the lines that hold the couplet? Offer the lines from
the poem that show the truest transition and meaning to the poem between those two
lines.
C. Look up the terms "tone" and "voice" in the Dr. Wheeler’s website and describe the term
in relation to the topic and form of the poem.
McGregor 5
D. Trace the symbol of the fruit throughout each stanza of the poem, explaining how the
symbol transforms with each couplet and stanza.
1/22: Read Martin Luther King, Jr.'s, "I've Been to the Mountaintop" (110-6) and answer one of
the following questions in an original posting:
A. Analyze this work into the features of a black sermon as summarized by Gates and
McKay on page 94. What characteristics do you see in this piece? What significance does
it have to the work's whole meaning? What kind of spiritual lessons are being conveyed
in this piece.
B. What other literary features that we have studied appear in this piece?
C. Research the context and reception of this piece when it was delivered.
1/22: Read Malcolm X's "The Ballot or the Bullet" (116-28) and answer one of the following
questions in an original posting:
A. Analyze this work into the features of a black sermon as summarized by Gates and
McKay on page 94. What characteristics do you see in this piece? What significance does
it have to the work's whole meaning? What kind of spiritual lessons are being conveyed
in this piece.
B. What other literary features that we have studied appear in this piece?
C. Research the context and reception of this piece when it was delivered.
1/24: Read Caesar Grant's "All God's Chillen Had Wings" (132-3) and answer one of the
following questions in an original posting:
A. Look up the definition of "folktale" in the definitions for this section or on Dr. Wheeler’s
website. Describe how those elements are seen in Grant's work.
B. Show how Grant's work exemplifies the three structures, or conventions of "call and
response, repetition, and double meaning of words" (Worley and Perry xvi). How do all
three elements add or subtract from the text? How might it be regarded as a canonical
piece of literature? (Again, you should look up the meaning of literary canon or canonical
in the definitions for this section or on Dr. Wheeler’s website.)
C. Explain the "rites ...rights" connection Ellison describes as well as the "rhythmic...not
political freedom" connection from West (Gates and McKay 130) in regard to Grant's
story.
D. Look up "slave narrative" in the definitions for this section or on Dr. Wheeler’s website.
Describe in what ways "All God's Chillen Had Wings" exemplifies those guidelines and
the importance of recording this work.
1/24: Read Zora Neale Hurston's retelling of "Big Talk" (134-5) and answer one of the following
questions in an original posting:
A. Look up the definition of "folktale" in the definitions for this section or on Dr. Wheeler’s
website. Describe how those elements are seen in Hurston's work.
McGregor 6
B. Show how "Big Talk" exemplifies the three structures, or conventions of "call and
response, repetition, and double meaning of words" (Worley and Perry xvi). How do
those elements add or subtract from the text? How might it be regarded as a canonical
piece of literature? (Again, you should look up the meaning of literary canon or canonical
in the definitions for this section or on Dr. Wheeler’s website.)
C. Research Hurston's Mules and Men, using DMACC library resources such as Literature
Reference Center Plus or JSTOR. What purpose to the "Ole Massa" stories can you find?
D. Look up "slave narrative" in the Encyclopedia of Literature. Describe in what ways "Big
Talk" exemplifies those guidelines and the importance of recording this work.
1/24: Read Zora Neale Hurston's retelling of "'Member Youse a Nigger'" (136-7) and answer one
of the following questions in an original posting:
A. Look up the definition of "folktale" in the definitions for this section or on Dr. Wheeler’s
website. You will see the term or similar terms appear to click and read. Describe how
those elements are seen in Hurston's work.
B. Show how "'Member Youse a Nigger'" exemplifies the three structures, or conventions of
"call and response, repetition, and double meaning of words" (Worley and Perry xvi).
How do those elements add or subtract from the text? How might it be regarded as a
canonical piece of literature? (Again, you should look up the meaning of literary canon or
canonical in the definitions for this section or on Dr. Wheeler’s website.)
C. Explain the "rites ...rights" connection Ellison describes as well as the "rhythmic...not
political freedom" connection from West (Gates and McKay 130) regarding Hurston's
story.
1/24: Read Zora Neale Hurston's retelling of "'Ah'll Beatcher Makin' Money'" (137-9) and
answer one of the following questions in an original posting:
A. Show how "'Ah'll Beatcher Makin' Money'" exemplifies the three structures, or
conventions of "call and response, repetition, and double meaning of words" (Worley and
Perry xvi). How do those elements add or subtract from the text? How might it be
regarded as a canonical piece of literature? (Again, you should look up the meaning of
literary canon or canonical in the definitions for this section or on Dr. Wheeler’s
website.)
B. Explain the "rites ...rights" connection Ellison describes as well as the "rhythmic...not
political freedom" connection from West (Gates and McKay 130) in regard to Hurston's
story.
C. Look up "slave narrative" in the Encyclopedia of Literature. Describe in what ways
"'Ah'll Beatcher Makin' Money'" exemplifies those guidelines and the importance of
recording this work.
D. In studying literature, a reader must consider how well as story's plot is developed.
Define the plot structure in Hurston's work, possibly beginning the posting by stating
something similar to "The protagonist is ______, and the central conflict revolves around
______. This means that the plot progression moves..." Do not use that sentence
verbatim, but use the ideas to help you define elements of the plot. The five tenets of
classical plot development include:
McGregor 7
1. the exposition: where the protagonist, his or her flaws, background information,
setting, and potentially foreshadowing to the conflict and the antagonist are
introduced
2. the rising action: where characters are developed thoroughly, the antagonist reveals
his or her intentions for conflict and foreshadowing are offered, and the protagonist's
ability to overcome the flaw/tragic end because of the flaw is revealed
3. the climax: --the highest point of conflict--where the protagonist and antagonist's
clash produces a result of the protagonist overcoming the flaw or ending in tragedy-the climax is defined with the protagonist's issue, not the antagonist's
4. declining action: the tension in the conflict lessens and the protagonist's end is
coming to a close
5. resolution/denouement: the central conflict is resolved and the protagonist's fate for
the conflict is final
1/29: Read Julius Lester's retelling of "Brer Rabbit Tricks Brer Fox Again" (142-3) and the
assigned journal question (half a page minimum):
A. Discuss the use of animal characters in African American folktales. Explain why slaves
used animals in their stories. You should research this idea using DMACC library
resources, including Literature Reference Center Plus or JSTOR to help support your
ideas, making sure that you are properly citing the source.
B. What oral signatures reveal this piece as an oral traditions piece? What identifies it as a
vernacular tradition? Why must they be preserved?
C. In studying literature, a reader must consider how well as story's plot is developed.
Define the plot structure in Hurston's work, possibly beginning the posting by stating
something similar to "The protagonist is ______, and the central conflict revolves around
______. This means that the plot progression moves..." Do not use that sentence
verbatim, but use the ideas to help you define elements of the plot. The five tenets of
classical plot development include:
1. the exposition: where the protagonist, his or her flaws, background information,
setting, and potentially foreshadowing to the conflict and the antagonist are
introduced
2. the rising action: where characters are developed thoroughly, the antagonist reveals
his or her intentions for conflict and foreshadowing are offered, and the protagonist's
ability to overcome the flaw/tragic end because of the flaw is revealed
3. the climax: --the highest point of conflict--where the protagonist and antagonist's
clash produces a result of the protagonist overcoming the flaw or ending in tragedy-the climax is defined with the protagonist's issue, not the antagonist's
4. declining action: the tension in the conflict lessens and the protagonist's end is
coming to a close
5. resolution/denouement: the central conflict is resolved and the protagonist's fate for
the conflict is final
D. Compare this piece to another trickster folktale you have read in this section. Show and
describe the similarities between the two pieces.
McGregor 8
Works Cited
"Been in the Storm So Long." N.d. Gates and McKay 13-4.
"Frankie and Johnny." N.d. Gates and McKay 34-5.
Gates, Henry Louis, Jr. and Nellie Y. McKay (eds.). The Norton Anthology of African American
Literature. Second Edition. New York: Norton, 2004. Print.
Grant, Caesar. "All God's Chillen Had Wings." 1943, 1946. Gates and McKay 132-3.
Hurston, Zora Neale. "'Ah'll Beatcher Makin' Money'." 1935. Gates and McKay 137-9.
---. "Big Talk." 1935. Gates and McKay 134-5.
---. Characteristics of Negro Expression. 1934. Gates and McKay 1041-53.
---. "' 'Member Youse a Nigger'." 1935. Gates and McKay 136-7.
---. Mules and Men. 1935. Gates and McKay 1053-62.
"John Henry." N.d. Gates and McKay 31-4.
King, Martin Luther, Jr. "I've Been to the Mountaintop." Bishop Charles Mason Temple,
Memphis, TN. 3 April 1968. Gates and McKay 110-6.
Lester, Julius. "Brer Rabbit Tricks Brer Fox Again." 1987. Gates and McKay 142-3.
Malcolm X. "The Ballot or the Bullet." Group on Advanced Leadership Rally, Detroit, MI. 14
April 1964. Gates and McKay 116-28.
"Me and My Captain." N.d. Gates and McKay 27.
Meeropol, Abel. "Strange Fruit." Perf. Billie Holiday. 1939. Gates and McKay 45.
"Oh, Freedom." [1800s?] Gates and McKay 44.
"Stackolee." N.d. Gates and McKay 38-9.
"Walk Together Children." N.d. Gates and McKay 17.
Worley, Demetrice A. and Jesse Perry, Jr. (eds.). "Historical Overview." African-American
Literature: An Anthology. Lincolnwood: NTC Publishing Group, 1998. xv-xxii. Print.