Temporal and Spatial Displacement in Black Homelessness in August Wilson’s Fences
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The quickly changing African American experience in the 1960s with the Civil Rights movement and many others, and the people’s struggles coping with even the positive changes are most blatantly yet subtly depicted in August Wilson’s Fences. Baseball is the most prominent theme by which he expresses the fortunes and misfortunes of his characters, mainly the Maxson family, and while this metaphor seems relevant and positive, it is also destructive to Troy and his family. The sense of being protected by fences as well as feeling limited by these fences begins blurring the sense of home or rather, homelessness and what it means to have a true home or not. This problem is especially pertinent to the contemporary black males who need to play the role of the patriarch, and who seem to be gaining by the changing atmosphere, yet cannot seem to accept the changes because of the fear of being left behind in history. All elements and motifs are double-edged swords in this play, but the men in the Maxson family slowly progress despite obstacles—especially family feuds—reflecting the new era to come.
Abstract
The quickly changing African American experience in the 1960s with the Civil Rights movement and many others, and the people’s struggles coping with even the positive changes are most blatantly yet subtly depicted in August Wilson’s Fences. Baseball is the most prominent theme by which he expresses the fortunes and misfortunes of his characters, mainly the Maxson family, and while this metaphor seems relevant and positive, it is also destructive to Troy and his family. The sense of being protected by fences as well as feeling limited by these fences begins blurring the sense of home or rather, homelessness and what it means to have a true home or not. This problem is especially pertinent to the contemporary black males who need to play the role of the patriarch, and who seem to be gaining by the changing atmosphere, yet cannot seem to accept the changes because of the fear of being left behind in history. All elements and motifs are double-edged swords in this play, but the men in the Maxson family slowly progress despite obstacles—especially family feuds—reflecting the new era to come.
참고문헌 (13)
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- Timpane, John, "May All Your Fences Have Gates: Essyas on the Drama of August Wilson", pp.67~85 (1993), U of Iowa P
- Wilson, August, "The Norton Anthology of Drama", pp.1358~1406 (2009), Norton