Zora Neale-Hurston - how it Feels to be Colored Me

Hurston reports that she "lived in the little town of Eatonville, Florida" until she was how old?

•  5 years
• 7 years
• 13 years
• 17 years

According to Hurston, white people would pass through Eatonville on their way to or from what large Florida city?

• Orlando
• Tampa
• Jacksonville
• Hialeah

Hurston recalls that when greeting travelers as a child her "favorite place" to perch was atop

• the automobile
• the water barrel
• the gatepost
•  her brother's shoulders

Hurston interprets her move from Eatonville to Jacksonville as a personal transformation: from "Zora of Orange County" to

• an African-American leader
• Zora Neale of Duval County
• a Florida author
• a little colored girl

Hurston employs a metaphor to demonstrate that she does not accept the self-pitying role of a victim. What is that metaphor?

• I am guided by the star--and by a still small voice.
• I am too busy sharpening my oyster knife.
• I am searching for treasure and digging for gold.
•  I am the queen of the hill.

Hurston employs another metaphor to evaluate the effects of slavery ("sixty years in the past") on her life. What is that metaphor?

• The operation was successful, and the patient is doing well.
• That dark night of the soul has been transformed by a glorious sunrise.
• That dark road has led to a bright highway.
• One chapter has closed; another has begun.

When Hurston recalls sitting in The New World Cabaret, she introduces the metaphor of a wild animal, which "rears on its hind legs and attacks the tonal veil with primitive fury, rending it, clawing it until it breaks through to the jungle beyond." What is she describing with this metaphor?

•  the street noise of New York City
• a jazz orchestra
•  the hatred felt by black people
• race riots in major American cities in the 1920s

According to Hurston, how does her white male companion respond to the music that has affected her so deeply?

• He storms out of the club.
• He continues to talk about his stock options, oblivious to the music.
• He says, "Good music they have here."
• "Music from hell," he says.

Toward the end of the essay, Hurston refers to Peggy Hopkins Joyce, an American actress known in the 1920s for her lavish lifestyle and scandalous affairs. In comparison to Joyce, Hurston says that she herself is

• a much more talented actress
• the cosmic Zora . . . the eternal feminine with its string of beads
• far more respectable
•  an invisible woman, unnoticed by fans and reporters

In the final paragraph of the essay, Hurston compares herself to

• the Great Stuffer of Bags
• an actor in a play
•  a brown bag of miscellany
•  a beacon light of truth.