And on the following morning, they all come back from the non-existing planet where they had been for twenty-four hours. And nothing has changed. Back to normal. Back to Normal, really? Yet, maybe in the memory of that day, the whites might have learned a lesson and the blacks might have learned about their power. But Might! And nothing else. Promises, Promises! This play is one of the most important plays in the book and in the history of Black theater. A very important and fascinating play from the black stage.
Editorial Reviews. Language Notes. Text: French. About the Author. Philippe Walter est Buy Mythologie chrétienne: Fêtes, rites et mythes du Moyen Age ( IMAGO (EDITIONS) (French Edition): Read Kindle Mythologie chrétienne: Fêtes, rites et mythes du Moyen Age (IMAGO (EDITIONS) (French Edition) Kindle Edition. Editorial Reviews. About the Author. Philippe Walter est professeur émérite de littérature Dictionnaire de mythologie arthurienne (IMAGO (EDITIONS) (French Edition) by [Philippe l'Ours et le Roi (), Mythologie chrétienne, fêtes, rites et mythes au Moyen Age (), Perceval, le Pêcheur et le Graal (), Galaad, .
Not so important because of the power struggle in this black fundamentalist Christian church but because of four other dimensions: The role of women in society; the place of religion as an alienation in society; the musical perspective in society; and the place of love for father, mother and son in society. These four questions are universal, and yet the play situates them in the black community of New York.
I will not develop the power struggle.
Attributes to him the frescoes which he painted first in the Loggetta, then in the Loggia of Raphael, Vasari noting his presence there. Cormier, Athens, Ohio University Press, , p. Michelangelo Merisi da Caravaggio, la vita e le opere attraverso i documenti. The Naming of the Beasts. Dans la tradition hindoue. This encyclopaedia was the first illustrated book to be printed in England, originally published by William Caxton in Cape and H.
One younger woman took over from an older man and is pushed aside by another woman who takes over. This church, maybe most churches, is the locale of ambition and social climbing. The arguments of this power struggle have nothing to do with religion. It is plain power struggle for the sake of power which also means financial resources and some kind of comfort represented by a brand new Frigidaire, though such a position is always fragile. Music is important in this play, as always with James Baldwin. The father, Luke, is a jazz trombone player. The son, David, is or is to be a jazz piano player.
Music is fundamental in this church too with an evolution about how to use it from a plain piano, or keyboard today, which is the very minimum in a black church, though with a lot of singing, to the introduction of drums and horns of some kind coming from a sister church in Philadelphia. Note he is perfectly well named since King David was the founder of the music school of Jerusalem some 25 centuries ago. A lot should be said about these two names and men.
It is based on the fake social contacts in the group that in fact isolate Jesus, Mary, Joseph, and Judas completely from all others.
These are shown as being taken over by so much pain that empathy from others is impossible. They just want to die to live forever with their recollection of Jesus unchanged and unchanging. There are a few facts that we know better nowadays. Paul is present though he was nothing at all to Jesus. Joseph has only one wife and only one son: he was a widower and had at least four children.
Mary was married several years after she was sixteen. But the poem is poignant all the same. This play is an absolute marvel as for the description of Post Traumatic Slavery Syndrome.
The black father is haunted by what his mother wanted: she wanted him to be Jesus, to walk in Genesis, to save the race, heal the race, heal their misery and take the blacks off the cross. This black man had intercourse with a white in fact very pale but black: one drop, etc. The daughter that came out of this union is black. She is haunted by the guilt of being black. The father and the daughter then turn the racist violence from outside onto themselves and are typical willing PTSS victims.
The father hangs himself in a Harlem hotel. The daughter hangs herself out of the haunting guilt of being black, colored, yellow. Behind there is a Black Man who is not really identified except as a rapist. Patrice Lumumba is just the ghost of the violence applied to blacks by whites. Because she was not really white?
Because she was a disguised black woman? Because of the one drop of black blood theory? She is anyway the designated guilty agent of it all. The artist though confronted to some riot in Harlem is changing his project about the triptych he wants to paint to represent the fate of blacks in America. His vision of the present and the future has changed. The present is no longer the lost, whoring, neglected social reject of a woman he had in mind at first but in fact she is the queen, the glamorous model given as the perfect model for black women, and the future is no longer young people lost in crime and drugs but the young people he has in front of him, full of love and empathy.
But that is possible because he remembers slavery and brings it back into his vision while being surrounded by a riot. In other words, he is coping with his PT Slavery S by recuperating his past, his ancestry and projecting it into the present and the future as the healing element. He is inventing the cure the Nation of Islam is advocating today. The absolute PTSS vision of a trauma that leads people to the worst illusions about life and final crimes as if killing children were a solution to past slavery.
This play is trying to recuperate the real experience of slavery for women, the real survival instinct of the slave that has been carried through and is still in full existence today. Women have retained from this old slavery time the practice of submitting to a rape which is not just being relaxed and easy but on the contrary to keep tight, tight enough to give the rapist the impression he is raping, forcing, breaking through.
He only finds his pleasure in that force he has to exercise to penetrate the woman who has the obligation if she wants to survive to give him the impression he is doing it for real. The memory that comes back is that for a black slave to accept to have children from the white master was the way she could protect her own children she had from a black slave.
Note there is no love in sex. There is only love from the mother to the children no matter who the father is or may be because only the mother counts. PTSS is a trap. Lula is the temptress who delivers the temptation to be a black clown for her sole pleasure to a young black man.
And when he refuses to be that servile non-entity, she just kills him and moves to the next victim. What is surprising is the absolute accompliceship of all the people around the event. For them, it is nothing but entertainment. Clay, you liver-lipped white man. You would-be Christian.
Get up, Clay. Dance with me, Clay. A sad play about a band of low life who survive by being strippers or prostitutes or both for women, and being pimps or thieves and gangsters for men, and I should say, girls and boys, because none of them is an adult. There comes one who is an adult and he is introduced because he saved the life of the main man in the band when he was in prison. That intruder will manipulate them all into going onto a big drug deal. He will have the cops there. They will all be arrested except the girl who was driving and stayed in the car at some distance.
He will elope with her and all the cash available in the den of this little gang. It takes a real man to clean up a plate of immature girls and boys who behave as if they were men and women, or vice versa, and keep for himself the dough and the butter.
A common situation in black ghettos and communities. A young male is killed by the police and a demonstration is being planned. The local preacher is trying to defuse it. The old black granny, openly subservient to whites, has killed white masters all her life with poison. She boosts his morale and at the same time she has the breakfast pancakes of the Sherriff delivered to him just before the integration of said drugstore and the sheriff will not survive this last experience of what he loved best in life: his breakfast cooked by this subservient old black woman.
The integration of the drugstore goes through without a hitch, because the white crowd outside have lost their main leader, the Sheriff himself. Grief is a great integrationist.
This play is the most surprising piece of male chauvinistic theater I know. African Americans have been negated in their fertile man-ness, in their fertile men. African American men are supposed to recapture their fertility and their position in society as the leading force. Racial purity; procreational future; narrowly-defined existence black, pure black, black-minded, heterosexual, everything white rejected ; definitely sectarian in the rejection of all that does not fit the model: racial bastards, sexual faggots and all whites of course.
It does not correspond to the present practice of the Nation of Islam, but this attitude has many roots in many black approaches from Marcus Garvey to Malcolm X and many others. When will they come home?
Where is the seed of Africa? How long before from the seeds a new Black nation shall bloom. Let a new Black nation bloom. Let us a new Black nation bloom. Eleven scenes or exhibits, since we are in a museum. They are all extremely humorous, very black and tense but at times hilarious, at least if they are not seen as a monstrous reality or its inversion. The Slave Aircraft, the middle passage in modern times. Soul cooking or how to cook little niggers. Become a glamorous photo in a black magazine and the squalor of life will not exist anymore.