
After August
Description
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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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Person
Patrick Maley is Associate Professor of English at Centenary University.
Content
1. Blues and the Social Human
2. "I am the Blues": August Wilson as Bluesman
3. August Wilson's Blues
4. "God A'mighty, I Be Lonesomer'n Ever!": Eugene O'Neill's Aesthetic of Whiteness
5. "Laws of Silence Don't Work": Tennessee Williams and the Problem of Sexualized Masculinity
6. August Wilson's Legacy and Its Limits: Worrying the Line in Katori Hall and Tarrell Alvin McCraney
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File format: PDF
Copy-Protection: Adobe-DRM (Digital Rights Management)
System requirements:
- Computer (Windows; MacOS X; Linux): Install the free reader Adobe Digital Editions prior to download (see eBook Help).
- Tablet/smartphone (Android; iOS): Install the free app Adobe Digital Editions or the app PocketBook before downloading (see eBook Help).
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The file format PDF always displays a book page identically on any hardware. This makes PDF suitable for complex layouts such as those used in textbooks and reference books (images, tables, columns, footnotes). Unfortunately, on the small screens of e-readers or smartphones, PDFs are rather annoying, requiring too much scrolling.
This eBook uses Adobe-DRM, a „hard” copy protection. If the necessary requirements are not met, unfortunately you will not be able to open the eBook. You will therefore need to prepare your reading hardware before downloading.
Please note: We strongly recommend that you authorise using your personal Adobe ID after installation of any reading software.
For more information, see our eBook Help page.
File format: ePUB
Copy protection: without DRM (Digital Rights Management)
System requirements:
- Computer (Windows; MacOS X; Linux): Use a reader that can handle the file format ePUB, such as Adobe Digital Editions or FBReader – both free (see eBook Help).
- Tablet/Smartphone (Android; iOS): Install the free app Adobe Digital Editions or the app PocketBook (see eBook Help).
- E-reader: Bookeen, Kobo, Pocketbook, Sony, Tolino and many more (not Kindle).
The file format ePUB works well for novels and non-fiction books – i.e., 'flowing' text without complex layout. On an e-reader or smartphone, line and page breaks automatically adjust to fit the small displays.
This eBook does not use copy protection or Digital Rights Management
For more information, see our eBook Help page.