Alan Nadel - May All Your Fences Have Gates: Essays on the Drama of August Wilson
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May All Your Fences Have Gates: Essays on the Drama of August Wilson
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May All Your Fences Have Gates : Essays On the Drama of August Wilson
author
:
Nadel, Alan
publisher
:
University of Iowa Press
isbn10 | asin
:
0877454396
print isbn13
:
9780877454397
ebook isbn13
:
9781587291647
language
:
English
subject
Wilson, August--Criticism and interpretation, Historical drama, American--History and criticism, African Americans in literature.
publication date
:
1994
lcc
:
PS3573.I45Z78 1994eb
ddc
:
812/.54
subject
:
Wilson, August--Criticism and interpretation, Historical drama, American--History and criticism, African Americans in literature.
Page iii
May All Your Fences Have Gates
Essays on the Drama of August Wilson
Edited by Alan Nadel
University of Iowa Press Iowa City
Page iv
University of Iowa Press, Iowa City 52242 Copyright 1994 by the University of Iowa Press All rights reserved Printed in the United States of America
Design by Richard Hendel
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher.
Printed on acid-free paper
Library of Congress Cataloging-in-Publication Data
May all your fences have gates: essays on the drama of August Wilson / edited by Alan Nadel. p.cm. Includes bibliographical references and index. ISBN 0-87745-428-0, ISBN 0-87745-439-6 (paper) 1. Wilson, AugustCriticism and interpretation. 2. Afro-Americans in literature. I. Nadel, Alan, 1947 PS3573.145677Z781994 812'.54dc20 93-34628 CIP
98 97 96 95 94 C 5 4 3 2 1
98 97 P 5 4 3 2
Page v
This collection is dedicated to the memory of my parents, PERCY and ADELE NADEL, who took me to the theater; and to my daughter GLYNNIS PERKINS NADEL, who loves to perform
Page vii
Contents
Preface
by Alan Nadel,
ix
Introduction
by Alan Nadel,
1
The History Lesson: Authenticity and Anachronism in August Wilson's Plays,
by Anne Flche
9
August Wilson's Burden: The Function of Neoclassical Jazz,
by Craig Werner
21
Speaking of Ma Rainey / Talking about the Blues,
by Sandra Adell
51
Filling the Time: Reading History in the Drama of August Wilson,
by John Timpane
67
Boundaries, Logistics, and Identity: The Property of Metaphor in Fences and Joe Turner's Come and Gone,
by Alan Nadel
86
Ghosts on the Piano: August Wilson and the Representation of Black American History,
by Michael Morales
105
American History as "Loud Talking" in Two Trains Running,
by Mark William Rocha
116
Romare Bearden, August Wilson, and the Traditions of African Performance,
by Joan Fishman
133
Page viii
The Ground on Which I Stand: August Wilson's Perspective on African American Women,
by Sandra G. Shannon
150
August Wilson's Women,
by Harry J. Elam, Jr.
165
August Wilson's Gender Lesson,
by Missy Dehn Kubitschek
183
I Want a Black Director,
by August Wilson
200
"The Crookeds with the Straights": Fences, Race, and the Politics of Adaptation,
by Michael Awkward
205
Annotated Bibliography of Works by and about August Wilson,
by Sandra G. Shannon
230
Notes on Contributors,
267
Index to the Plays,
269
Page ix
Preface
ALAN NADEL
When I was nine years old I saw Orson WellesI think it was on "The Steve Allen Show"perform Shylocks speech from The Merchant of Venice. I was so struck by the power of the speech and its rendition that I read the play. It was not typical fare for a fourth-grader, and I'm not sure what I got from the experience, but I do remember discovering that the play was not just about prejudice but about money and, I guess, about the ways in which they are connected. I also remember feeling that it was about a similar connection between money and love and about the problems of a smart woman in a stupid world, a woman who reminded me of the women played by Katharine Hepburn and Rosalind Russell in the old movies I loved to watch on television.
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