Whoever controls the God-concept can stratify humanness, and since the Ancient Hebrews know the "Divine Plan" ("God sent somebody especially to tell them about it"), they qualify as the Chosen People, full-fledged humans who have the authority and right to rule and govern the "lesser breeds." By contrast, the Canaanites lack knowledge of the "Divine Plan" ("their evil ways would not let them see"), and as a consequence they are "no-count rascals," which God "never did think much of, anyway."
After outlining how twentieth-century political leaders have appropriated Moses' theocratic government and specified how those leaders have cast the Jews into the role of Canaanites--the "no-count rascals" of the text--Hurston describes the situation of Jews in a way that resembles the situation of blacks: "We have no written side of the people other than the direct testimony of their behavior recorded by their oppressors.
He'd impressed director Terence Malick, not with his CV (at that point just no-count
roles in G I Jane, The Rock and Wyatt Earp plus a jeans modelling gig for Gap) but his soulfulness.
Tripping from bar to banquette to bar, killing the seconds of a sweaty afternoon when the river breeze will not genuflect at the cathedral, when the memories of old Count No-Count
shimmer in the aroma of Dixie-45, Regal, Jax, and Tennessee's fate-burnt bourbon across the square like a Puritan epiphany, when a second-line of jazz fingers their hearts like hands exploring private spaces in the cool of dawn, they fear their secret lives will be drawn and quartered by the moralities of the little theatre, paraded in off-beat mardi gras, never again to know the masque of smoked shadows, the forbidden bonded in hard liquor and blooming like a rose tattoo under the skin, the iron kiss of suddenness breaking the mouth of surprise.
Like that poor woman ain't got troubles of her own with that aggravatin, no-count
husband of hers, and them eight younguns that act like they gone be just like him."
This ethical orientation is reflected in her belief that she is "an upright and Christian woman, burdened with a no-count
man, whom God wanted her to punish" (37),(3) and she rationalizes that her antipathy toward Cholly is sanctified by her God, for "Christ the Judge" demands that she make her husband pay for his transgression.
Although not as important in the literary reconstruction of spoken dialect as grammar, such lexical items as killer-diller, killer, hussie, no-count
, doodly-squat, and hootchie-kootchie man were popular during that era.