Compare and Contrast Essay: Spunk by Zora Neale Hurston vs. The Storm by Kate Chopin

“Spunk,” by Zora Neale Hurston, and “The Storm,” by Kate Chopin, are two separate short stories with a similar theme. Collectively bringing them under the lens of an observant eye reveals just how similar these stories are, as well as revealing some major differences. Both authors use imagery to create descriptive, realistic environments in which the characters interact with one another. Dialect is also utilized to further immerse the reader into a convincing argument for the early 1900s. Although one character is round, the other is dynamic.

“The Storm,” by Kate Chopin, is a short story that is set in the late 19th century during a large squall. Calixta, the adulterous wife of Bobinot, is at home doing chores while her husband and child Bibi are at the store purchasing groceries. While outside gathering the laundry, Alcee meets with Calixta at her front porch, and insists that he comes in during the poor weather. Alcee and Calixta have intimate relations with one another under the protection of the storm. Shortly after, Alcee leaves after the weather has subsided, and Bobinot and Bibi have returned home, unaware of what transpired. The central idea of “The Storm” is adultery.

“Spunk,” by Zora Neale Hurston, is a story of two men in conflict over an unfaithful woman. Against the advice of others at a local store, Lena’s husband Joe unsuccessfully murders Spunk for cheating on his wife. Throughout the remainder of the story, Spunk insists that the ghost of Joe is trying to kill him, until the conclusion where he claims that he is pushed into the saw-mill’s circular saw by the late Joe himself. The central idea is revenge. Both stories equally use imagery and dialect to present a realistic painting of the settings: Conversely, the characters are slightly different in how they develop through their respective stories, and although both stories contain adultery, one is more inclined towards revenge.

The central idea of “The Storm,” is adultery, whereas the central idea of “Spunk,” is revenge. Kate Chopin’s “The Storm” reveals this in chapter two. “’Do you remember—in Assumption, Calixta?’ he asked in a low voice broken by passion. Oh! She remembered; for in Assumption he had kissed her and kissed and kissed her; until his senses would well nigh fail, and to save her he would resort to a desperate flight” (241). This isn’t the first time she has had these relations behind the back of her husband. Conversely, in “Spunk,” the theme of adultery is present, but revenge is more prevalent in this story. “He heft mah hen’ till the last, Walter, and said: ‘It was Joe, ‘Lige—the dirty sneak shoved me… he didn’t dare come to mah face… but Ah’ll git the son-of-a-wood louse soon’s Ah get there an’ make hell too hot for him… Ah felt him shove me…!’ Thass how he died’” (Website). Joe got his revenge against Spunk for killing him and stealing his wife. Both stories have themes of adultery, but the latter’s main theme revolves around Spunk’s haunting from Joe, resulting in the gentle push that decapitated Spunk.

The characters from “The Storm,” and “Spunk,” are round and dynamic respectively. Calixta reveals her multi-dimensionality throughout the story. “’Oh, Bobinot! You back! My! But I was uneasy. W’ere you been during the rain? An’ Bibi? He ain’t wet? He ain’t hurt?’ She had clasped Bibi and was kissing him effusively” (242). Calixta’s behavioral change in between visits with the adulterous lover reveal her double life. On the other hand, “Spunk” features a dynamic character, who starts off brave and physically strong, only to be ironically murdered by the ghost of Joe. “’But that’s one thing Ah likes about Spunk Banks—he ain’t skeered of nothin’ on God’s green footstool—nothin’! he rides that log down at saw-mill jus’ like he struts ‘round wid another man’s wife—jus’ don’t give a kitty. When Tes’ Miller got cut to giblets on that circle-saw, Spunk steps right up and starts ridin’. The rest of us was skeered to go near it” (Website). Finally, towards the end of the story, his character’s courage and strength are undermined. “’Ain’t cher? Well, night befo’ las’ was the fust night Spunk an’ Lena moved together an’ jus’ as they was goin’ to bed, a big black bob-cat, black all over, you hear me, black, walked round and round that house and howled like forty, an’ when Spunk got his gun an’ went to the winder to shoot it he says it stood right still an’ looked him in the eye, an’ howled right at him. The thing got Spunk so nervoused up he couldn’t shoot. But Spunk says twan’t no bob-cat nohow. He says it was Joe done sneaked back from Hell!”’ (Website). Spunk started off as a brave strong man, only to be reduced to a panic-stricken version of himself towards the end of the story. The similarities between Calixta and Spunk are only found within their adulterous nature.

The language devices used in “The Storm,” and “Spunk,” are imagery and dialect. Kate Chopin uses dialect and descriptive imagery to paint an accurate portrayal of the characters and setting. “Calixta was preparing supper. She had set the table and was dripping coffee at the hearth. She sprang up as they came in. ‘Oh, Bobinot! You back! My! But I was uneasy. W’ere you been during the rain? An’ Bibi? He ain’t wet? He ain’t hurt?’ She had clasped Bibi and was kissing him effusively” (242). Calixta’s portrayal as a housewife is indicative of the temporal setting she exists in, and the language she uses also paints an accurate picture of how communication takes place in similar households. Similarly, Zora Neale Hurston’s “Spunk” use the same language devices to build up an accurate setting. “A giant of a brown-skinned man sauntered up the one street of the Village and out into the palmetto thickets with a small pretty woman clinging lovingly to his arm. ‘Looka theah, folkses!’ cried Elijah Mosley, slapping his leg gleefully. ‘Theah they go, big as life an’ brassy as tacks’” (Website). Both stories have a similar dialect spoken within the story. It is interesting to note that both stories were written around the same time. This contributes to the language used within the stories.

“The Storm,” and “Spunk” are both stories that are written by female authors within 1890 to 1935. Each story features language that was prominent during this time. The stories also share the similar theme of adultery. What’s fascinating about these two stories is that both authors are advocating empathy for the female characters: There’s a good reason why Joe’s wife left him in “Spunk,” just as there’s a logical reason why Calixta is cheating on her husband. Looking deeper beyond the adulterous nature of the stories shows a woman’s struggle for relevancy in a world dominated by men. The late 19th century was not kind towards women, and it was certainly difficult for them to advocate for themselves. Both stories reveal the woman’s struggle, and both are effective in invoking an emotional response.  Writing is a powerful tool, not only can it convey emotion and feeling, but it can also be wielded as a weapon for change. It is through these literary works that we can strengthen our humanity, and develop the change our world so desperately needs.

Works Cited – Electronic Source Citations

History Matters, “The Harlem Renaissance: Zora Neale Hurston’s First Story.” <http://historymatters.gmu.edu/d/5131>