By Harold Bloom
In 1987 August Wilson was once offered the Pulitzer prize for his play Fences. research this play besides Ma Rainey's Black backside, Joe Turner's Come and long gone, and Trains operating. This sequence is edited by way of Harold Bloom, Sterling Professor of the arts, Yale collage; Henry W. and Albert A. Berg Professor of English, big apple collage Graduate tuition; preeminent literary critic of our time. Titles current an important 20th-century feedback on significant works from The Odyssey via glossy literature reflecting numerous faculties of feedback. Texts additionally comprise serious biographies, notes at the contributing critics, a chronology of the author's lifestyles, and an index, and an introductory essay via Bloom.
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Extra resources for August Wilson (Bloom's Modern Critical Views)
Hatch 540. 39. William K. Gale, “August Wilson’s Vision of Light at End of the Tunnel,” Providence Journal-Bulletin (6 Apr. 1990): D5. 40. Gottschild 7. 42 Sandra G. Shannon 41. , 8. 42. Paul Carter Harrison, “August Wilson’s Blues Poetics,” in August Wilson: Three Plays (Pittsburgh: Pittsburgh University Press, 1991), 295. 43. Ibid. 44. Soyinka xii; Harrison 292; Olaniyan 139; and Gottschild 6. K eith C lark Race, Ritual, Reconnection, Reclamation: August Wilson and the Refiguration of the Male Dramatic Subject V ery rarely does an author articulate his artistic strategy as concisely as does August Wilson in this 1991 interview in the New York Times: Part of my process is that I assemble all these things and later try to make sense out of them and sort of plug them in to what is my larger artistic agenda.
From this site, the motivations, actions, and eventual fates of the characters took on more culturally specific meanings. Although silent, the dancer, who was garbed in African headdress, mask, and beads, communicated with his body that Ma, her band, and her two associates occupy the same space as their ancestors; moreover, the dancer drew attention to the fact that the characters should call upon their ancestors as they try to find their way in the racist America of the late 1920s. As a result of their refusal to set aside Western logic, the audience and critics, once again, opted to reject and dismiss as flawed this Africanist symbol.
21 22 Sandra G. Shannon tendency to privilege one culture over another is also prevalent among black theater audiences, in general, and among August Wilson’s audiences, in particular, most noticeably manifesting in the refusal or inability on the part of spectators and critics alike, white or black, to recognize the African in African American. Though often advanced in the guise of sophisticated theater reviews or passed off as informed intellectual discourse, the tendency to devalue another culture’s aesthetic principles while waving the American flag and advocating Euro-American standards is a dangerous one, which needs to be exposed for what it is.