Stylistically, Hurston’s idiomatic dialogue is typical of literature written during the Harlem Renaissance, a period of cultural revival among Black writers, artists, musicians, and others that took place during the 1920s and ‘30s. Hurston’s decision to reproduce dialogue authentically and phonetically, such as substituting “Ah” for “I” and “skeered” for “scared,” reflects her pride in Black culture and language.

The story’s setting also proves significant. Though the writer only identifies the town as a “Village” near Orlando, Florida, it is likely inspired by Eatonville, the small town where Hurston grew up. Appropriately, when Joe, Spunk, and Lena try to resolve their situation verbally, they do so in the town. Joe and Spunk only resort to violence in the woods outside the town, as if there they are beyond the limits of civilization and therefore its law.

Though “Spunk” is concise, even for a short story, the plot contains all the elements typically found in fiction. The first scene introduces the major characters and conflicts, while subsequent action builds toward Spunk’s climactic death. The story’s conclusion, including the possibility that Joe continues to harass Spunk from beyond the grave, casts the title in an ironic light: Joe turns out to have more spunk, or courage, than Spunk does.