Some review pieces for our wrap-up meeting

Aunt Ester’s Children: A Century on Stage – April 2000 (also in various editions of King Hedley II)
https://groups.google.com/d/msg/august-wilson-century-cycle-study-group/BfzpRww31CQ/qcz8DiD8CQAJ

The Light in August Wilson – November 2005
https://www.americantheatre.org/2005/11/01/the-light-in-august-wilson-a-career-a-century-a-lifetime/
https://groups.google.com/d/msg/august-wilson-century-cycle-study-group/9qdEf5FlUkc/AlAW9c78AgAJ

How August Wilson Brought a Century of Black American Culture to the Stage – April 2001
https://www.newyorker.com/magazine/2001/04/16/been-here-and-gone
https://groups.google.com/d/msg/august-wilson-century-cycle-study-group/pLkN5cLG700/D1ILIX0fCQAJ

My weekly notes are posted here

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More found poetry – From the scene-setter, The Play, at the start of Joe Turner’s Come and Gone

It is August in Pittsburgh, 1911.

The sun falls out of heaven like a stone.
The fires of the steel mill rage with a combined
sense of industry and progress. Barges loaded
with coal and iron ore trudge up the river to the mill towns

that dot the Monongahela and return with fresh, hard,
gleaming steel. The city flexes its muscles. Men throw
countless bridges across rivers, lay roads and carve
tunnels through the hills sprouting with houses.

From the deep and the near South the sons
and daughters of newly freed African slaves wander
into the city. Isolated, cut off from memory, having forgotten
the names of the gods and only guessing at their faces,

they arrive dazed and stunned, their hearts kicking
in their chests with a song worth singing. They arrive
carrying Bibles and guitars, their pockets lined
with dust and fresh hope, marked men and women

seeking to scrape from the narrow, crooked cobbles and
the fiery blasts of the coke furnace a way of bludgeoning
and shaping the malleable parts of themselves
into a new identity as free men of definite and sincere worth.

Foreigners in a strange land, they carry as part and parcel
of their baggage a long line of separation and dispersement
which informs their sensibilities and marks their conduct
as they search for ways to reconnect, to reassemble,

to give clear and luminous meaning to the song
which is both a wail and a whelp of joy.

A beginning rhizomatic schematic of the August Wilson American Century Cycle

Screen Shot 2018-05-06 at 11.57.24 AM

The decades of the 20th century covered by each play are listed clockwise, beginning top and center with Gem of the Ocean, set in 1904. The blue lines with arrows indicate the order in which the plays were written, beginning with Jitney. Still working on the meaning & frequency of lines that cross.

Characteristics of the rhizome related to August Wilson’s plays (hypothetical).

  1. Connections. The connections between plays/decades is just as important as the plays/decades themselves.

2. Heterogeneity. Any play can be connected to any other play or any series of plays.

3. Multiplicity. There is no original order for the plays, no prior unity.

4. Assignifying rupture. Connections between plays fail, rupture and remake themselves in various combinations.

5. Cartography and decalcomania. Discussions of themes can be entered via any play, mapped to any other play, and can conclude at any play.

It’s been a while since I’ve posted at #clmooc, but I haven’t forgotten you (or it). My work has taken me out of the classroom, but my volunteer activities have all been involved in various settings of adult education.

Most recently, I led a study group reading and discussing the plays of August Wilson that comprise his #AmericanCenturyCycle. Fiddling around, I came up with a rhizomatic approach to the plays, one for each decade in the 20th century.

Wilson’s plays all depict life in the black community (mostly in Pittsburgh), decade by decade. But here is the question. Can one deconstruct and reconstruct the order of a community’s history (through its surrogates, the plays) to find new meaning? In effect, is there a rhizomatic approach to history itself which we normally think of in linear terms? And what does this portend for teaching (and learning)?

Just beginning to arrange thoughts. Would love to hear ideas from the community.

some initial thoughts on Week 10 – #RadioGolf

Week 10 – Radio Golf – some initial thoughts

Very first impression: my wife and I saw this on stage on Baltimore in 2006. It was still “fresh off the press,” being performed across the country, not yet ready for prime time on Broadway. Reading it now, at the end of the Century Cycle, I realize that I missed a lot of the plot action when I saw it performed in 2006. It seemed at the time to have no context, no unifying structure. But this time, it all makes sense.

Characters

Harmon Wilks, grandson to Caesar Wilks 100 years before in Gem of the Ocean.

Old Joe Barlow, son of Citizen Barlow and Black Mary from Gem of the Ocean. (Recall Black Mary and Caesar Wilks were half siblings)

Sterling, older and wiser but still Sterling, from Two Trains Running.

Mame Wilks, wife of Harmon.

Roosevelt Hicks, college buddies with Harmon at Cornell.

1839 Wylie Street, home of Aunt Ester, willed to Black Mary, left to Old Joe Barlow, her son with Citizen barlow, purchased by Harmon Wilks for delinquent taxes, sold to Bedford Hills Redevelopment run by Roosevelt Hicks and Harmon Wilks.

There is a lot to be said about the reappearance of the Barlow/Wilks family from #9 and the first decade of the cycle, Gem of the Ocean. I saw Caesar Wilks as a type of “godfather” figure and that was borne out in his and his son’s paying of the taxes on Aunt Ester’s house for all those years. We saw the chemistry between Citizen Barlow and Black Mary. Happy to see that worked out. When Mame says “I tied myself so close to you that there is no me. I don’t know if i can carry this any further” I immediately thought about Rose in Fences, who mentions a similar submergence of the wife’s personality into that of the husband’s. I personally think Mame and Harmon will make it, but the path immediately ahead will be rocky.

It appears that Roosevelt gets his way in tearing down Aunt Ester’s house. But the story may not end there. I suspect the Roosevelt/Harmon relationship, business-wise and socially, will not survive this dramatic breech of trust.

The play treads all so gingerly on the subject of gentrification, which is bound to accompany redevelopment of the Hill district due to its close proximity to the center of Pittsburgh.

Radio Golf. What’s in a name? Roosevelt Hicks has a minority interest in a new urban radio station, WBTZ, in partnership with Bernie Smith, a white businessman Harmon does not trust. Hicks is the “blackface’ that enables purchase of a radio station at a deep discount with an FCC Minority Tax Certificate. Hicks is the front man, in charge of day-to-day operations, even though he has no radio experience. And because he loves golf, he produces a radio program where he offers golf tips. It’s also a symbolic representation of an attempt, in sharp departure to the other nine plays in the cycle, to portray the black middle class: Harmon the real estate developer/attorney running for mayor, Roosevelt (his humble origins are betrayed by his first name) the banker/real estate developer, and Mame, the loving wife/government bureaucrat. It’s the Cosby/Huxtable family all over again except we never see the children. But they are there.

From the Urban Dictionary:

Huxtable: A reference to an “upscale” or “Upper Middle Class” black person or family. NOT derogatory when used by white people, but can be derogatory if used by blacks, about blacks. Derived from the Huxtables on the Cosby Show. Also used to define “poser” black families, trying to act “white”

On the subject of golf, Roosevelt’s monologue in Act 1 Scene 1 where he reflects on his first experience hitting a golf ball was both stirring and moving. Poetic, in fact. But the same monologue also betrays Roosevelt’s deep-seated sense of insecurity, if not inferiority with regard to race.

And who is this play’s Wilson Warrior? Which character shows the greatest transformation? Which one “finds his song?” Harmon Wilks has my vote. While Sterling and Old Joe have the best lines in the play, the most poetic monologues, Wilks goes the greatest distance in his discovery of his roots and his changing outlook to reflect that discovery. Radio Golf extends the Wilsonian vision to the black middle class and gives them as a class their own separate hero. I think that is a good thing.

Finally, this play is a huge advertisement for genealogy. AncestryDNA should not only be thrilled, they should be tripping over themselves to underwrite local productions of the #AmericanCenturyCycle.

postscript.