Zora Neale Hurston’s Moses: Man of the Mountain stands as a testament to her rich cultural heritage and innovative storytelling. Blending elements of voodoo, folklore, and distinctive black dialect, the work reflects Hurston’s upbringing in Eatonville, Florida—an all-black town teeming with the poetic speech rhythms that found their way into her writing. Her academic pursuits in anthropology, particularly under the tutelage of Franz Boas at Columbia University, further enriched her narrative palette. Her exploration of Southern folktales and Haitian traditions culminated in the well-regarded folklore collection Mules and Men (1935).

In Moses: Man of the Mountain, Hurston ambitiously recasts the Biblical story of Moses, seeking to make it resonate with the experience of enslaved peoples globally. Although her attempt to universalize the tale sometimes resulted in stereotypical characterizations and ambivalence, the novel was intended to transcend racial boundaries, addressing the themes of enslavement, power, and leadership. While the allegorical nature of the work led to some critical misunderstandings, it remains an important part of her oeuvre, even if overshadowed by her more celebrated novel, Their Eyes Were Watching God (1937).

Hurston’s refusal to conform to the prevailing expectations of African American literature during her time—where protest novels were seen as the most legitimate form of expression—meant that she fell out of favor with many influential figures of the Harlem Renaissance. Despite this, Moses: Man of the Mountain can be seen as a subtle protest novel. The story of Moses naturally invites comparisons to the plight of African American slaves, particularly through spirituals like “Go Down, Moses.” Yet, Hurston’s portrayal is nuanced; she does not shy away from depicting the captive Israelites with human flaws, using humor to prevent the narrative from becoming a heavy-handed sociological critique.

Upon its release, Moses: Man of the Mountain received mixed reviews. Some critics acknowledged its ambition but pointed to its flaws. Hurston’s later works, including her autobiography Dust Tracks on a Road (1942) and her final novel, Seraph on the Suwanee (1948), did not revive her waning literary career. She spent her last years in obscurity, her contributions largely forgotten until the 1970s.

The revival of interest in Hurston’s work owes much to the efforts of Alice Walker, a prominent African American novelist, who, in rediscovering Hurston’s writings, brought them back into the public eye. Walker’s dedication included locating Hurston’s unmarked grave and ensuring it was properly memorialized. Thanks to this renewed attention, Hurston’s books have been republished, and her once-overlooked contributions to literature have been lauded, securing her rightful place in the annals of African American literary history.