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Neale Hurston (1901-1960) and two of her well-known contemporaries, Langston Hughes ( 1902-1 967) and Richard Wright ( 1 908-1 960) beginning in the Harlem Renaissance (hereafter referred to as HR). Although many of the more recent in-depth analyses of the Harlem Renaissance contain contrasting points of view on quite a few issues, most of the accounts and descriptions of Hurston as a person during the era are relatively consistent.1 Yet relative judgement in the case of Hurston seems to be deter-
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Stored only when both papers are in the corpus — 17 citations exist upstream.
Papers that cite the same references — the relational fallback while embeddings are still backfilling.
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