Editing Zora Neale Hurston (section)

===Research and representation===
Some authors criticized Hurston for her sensationalist representation of voodoo.<ref>{{Cite news|last=Brock|first=H. i|date=1935-11-10|title=The Full, True Flavor of Life in a Negro Community; Mules and Men. By Zora Neale Hurston. With an Introduction by Franz Boas. Ten Illustrations by Miguel Covarrubias. Philadelphia: J.B. Lippincott Company. [Book review]|language=en-US|work=The New York Times|url=https://www.nytimes.com/1935/11/10/archives/the-full-true-flavor-of-life-in-a-negro-community-mules-and-men-by.html|url-access=subscription|access-date=2020-05-10|issn=0362-4331|archive-date=March 16, 2022|archive-url=https://web.archive.org/web/20220316200541/https://www.nytimes.com/1935/11/10/archives/the-full-true-flavor-of-life-in-a-negro-community-mules-and-men-by.html|url-status=live}}</ref> In ''[[The Crisis]]'' magazine in 1943, [[Harold Preece]] criticized Hurston for her perpetuation of "Negro primitivism" in order to advance her own literary career.<ref>Preece, Harold, "The Negro Folk Cult", ''Crisis'', v. 43, no. 12, December 1936.</ref> The ''[[Journal of Negro History]]'' complained that her work on voodoo was an indictment of African-American ignorance and superstition.<ref>{{Cite journal|last=McNeill|first=B. C.|date=April 1936|title=Zora Neale Hurston, with foreword by Franz Boas and illustrations by Miguel Covarrubias, Mules and Men|journal=The Journal of Negro History|language=en|volume=21|issue=2|pages=223–225|doi=10.2307/2714574|jstor=2714574|issn=0022-2992}}</ref>

Jeffrey Anderson states that Hurston's research methods were questionable and that she fabricated material for her works on voodoo. He observed that she admitted to inventing dialogue for her book ''Mules and Men'' in a letter to Ruth Benedict and described fabricating the ''Mules and Men'' story of rival voodoo doctors as a child in her later autobiography. Anderson believes that many of Hurston's other claims in her voodoo writings are dubious as well.<ref>Jeffrey Anderson, "Voodoo" in ''Black and White'', in Frank & Killbride (eds), ''Southern Character'', 2011.</ref>

Several authors have contended that Hurston engaged in significant plagiarism, and her biographer Robert Hemenway argues that the article "Cudjo's Own Story of the Last African Slaver" (1927) was approximately 25% original, the rest being plagiarized from [[Emma Langdon Roche]]'s ''Historic Sketches of the Old South''.<ref>Robert Hemenway, "Zora Neale Hurston: A Literary Biography", [https://archive.org/details/zoranealehurston00robe/page/73 pp. 73–78], [https://archive.org/details/zoranealehurston00robe/page/96 pp. 96–99]</ref> Hemenway does not claim that this undermines the validity of her later fieldwork: he states that Hurston "never plagiarized again; she became a major folklore collector".<ref>{{Cite book |last=Hemenway |first=Robert |title=Zora Neale Hurston: A Literary Biography |publisher=University of Illinois Press |year=1980 |page=98}}</ref>