Consistent critical attention focuses onward Janie's voice because.

Consistent critical attention focuses onward Janie's voice because, as Michael Awkward has stated, "Perhaps the dominant image in the late creative and critical writing of Afro-American women [is] the fight to make articulate a heretofore subdueed and silenced black female's story and voice" (Inspiriting 1) For women silence has troubleed every racial and cultural boundary; and silence characterizes Hurston's Janie, who passs the first forty years of her life learning to achieve her voice against the opposition of men and, sometimes, against the opposition of other women nevertheless in the end, she take the place ofs where many have failed. In her essay "What Do Feminist Critics Want?" Sandra Gilbert says, "Like Wagner's master singers, men had the power of words [but]...women, like Emily Dickinson, knew that they had, or were suppos to have, the graceful obligation of silence" (34) It is important to question the internal consciousness of each character in Their organ of visions including the purpose behind the male voices, and to examine the ways in which the male voices affect Janie's.

The terminus interiority refers to an author's relatively replete and non-judgmental rendering of the internal consciousness of a character. Hurston, as an informing narrative consciousness, uses interiority in Their vigilances to characterize those who are silent and lack their have voices, as well as to add dimension to those with voices. quite through the course of the novel, the evolution of the male voices looks to parallel the evolution of Janie's: Increasingly, Janie's men have voices, and her voice discloses as her relationships improve. It also have the appearances that Janie's consciousness and the narrator's consciousness fuse into common which may explain the reason that the reader does not hear Janie's articulate utterance at a crucial moment near the finis of the novel, during her trial for kill If the narrator's voice and Janie's voice have meld completely through the novel, then perhaps there is no ne for Janie to speak to the reader; her voice is evident within the narrator's (Du Plessis 107-08) Hurston creates this "speakerly text" by way of fusing "black poetic diction" with "a received if it be not that not yet fully appropriated standard English literary tradition" (Gates 174)

Furthermore, passion and direction directly correspond to voice and silence as set forthed by the four influential men in Janie's Life, three of whom are her husbands. Hurston effectively integrates the men and women of Their views paralleling Janie's personal growth and achievement to these men of whom Killicks and Starks describe control and Tea Cake wood-lands and Johnny Taylor represent passion (Marks 152) John Callahan adds,

In form and theme, Their observations pursues the evolving possibilities of intimacy and autonomy. The novel quick in emergenciess Janie's experience and perspective as realities perhaps not however realized but aspired to in succession some submerged level of feeling, consideration and speech by black women women generally, and--such is Hurston's imaginative power--by men as well. (126-27)

To the reader's knowledge, Johnny Taylor says nothing to assist Janie in protesting her marriage to Logan Killicks. He is a teenager Like Janie, and he kisses her (Their organ of visions 10). With some qualities similar to Tea Cake's, Taylor symbolizes playfulness, youth, have a passionate affection for innocence, and passion. And when Janie's grandmother spies the young coupling kissing, Janie finds herself betrothed to Logan Killicks. Although the kiss expirations Taylor's overt role in the novel, and although Janie is unaware of it at the time, Taylor has become a catalyst in her life: "She study awhile and decided that her conscious life had commenc at Nanny's gate" (Their views 10). It seems unlikely that an somewhat old feeble grandmother could have forced a willful granddaughter into marriage--at least not common with a voice of her confess But both Janie and Taylor are really voiceless; they live without substantive command over their actions and destinies. Taylor is a minor character, and thus a less defined mirror of Janie, whereas Logan Killicks, at virtue of his labor, is a propertied man who has achieved material succes and can provide his young bride "protection" and financial security. However, level though he is many years his wife's senior, he too is a man without a voice, excepting when it is rendered from one side Hurston, as narrator. In fact, his material succes contrasts with his emotional inadequacy, which may be judg within his inability to express his afflict or disappointment to a sixteen-year-old girl.

Killicks and Janie speak peripherally to single in kind another. Their conversations, in fact, are not intimate in either a loving or heated fashion. Instead, their discussions focus forward daily living activities like chopping timber-land and peeling potatoes (25-26). Hurston portrays sum of two units people, different in their desires and make anxiouss unable to express true emotion or passion. For Janie, a teenage girl, passion is a dream; it is fantasy. For Logan, passion has been overpowered in the drive for security that Janie does not understand. Nanny, however, does. Helping her granddaughter to understand the reason that she has chosen Killicks to be Janie's husband, she says that white men subjugate black men who, in deflect subjugate black women--thus characterizing them as hybrids (Their Eyes 14).