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After August - Blues, August Wilson, and American Drama (Hardcover)
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After August - Blues, August Wilson, and American Drama (Hardcover)
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Critics have long suggested that August Wilson, who called blues
"the best literature we have as black Americans," appropriated
blues music for his plays. After August insists instead that
Wilson's work is direct blues expression. Patrick Maley argues that
Wilson was not a dramatist importing blues music into his plays; he
was a bluesman, expressing a blues ethos through drama. Reading
Wilson's American Century Cycle alongside the cultural history of
blues music, as well as Wilson's less discussed work--his
interviews, the polemic speech "The Ground on Which I Stand," and
his memoir play How I Learned What I Learned--Maley shows how
Wilson's plays deploy the blues technique of call-and-response,
attempting to initiate a dialogue with his audience about how to be
black in America. After August further contends that understanding
Wilson as a bluesman demands a reinvestigation of his forebears and
successors in American drama, many of whom echo his deep investment
in social identity crafting. Wilson's dramaturgical pursuit of
culturally sustainable black identity sheds light on Tennessee
Williams's exploration of oppressive limits on masculine sexuality
and Eugene O'Neill's treatment of psychologically corrosive
whiteness. Today, the contemporary African American playwrights
Katori Hall and Tarell Alvin McCraney repeat and revise Wilson's
methods, exploring the fraught and fertile terrain of racial,
gender, and sexual identity. After August makes a significant
contribution to the scholarship on Wilson and his undeniable impact
on American drama.
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