Aunt Ester S Children Redeemed

August Wilson (1945-2005) wrote one play for every decade of the twentieth century that explored black life in America for the descendants of slaves. All of his characters seek wholeness, identity, and reconstituted selves after the terror of 250 years chattel slavery and its terrifying legacy. Their history, culture, wisdom, joys, triumphs, pain, sufferings, victories, weaknesses, and strengths are all embodied in one character, Aunt Ester. She is as old as the number of years blacks have been on these shores. All of the characters in the ten-play cycle are her children. Their search is through circumstance and adventure, certainly. This author demonstrates how Wilson uses language--poetry, the blues--to bring each play's characters to a point of wholeness, redemption, and freedom, not from history, but ennobled and strengthened by it. Wilson employs fundamental theological doctrines to exhort Aunt Ester's children to remember by whom and how they were freed and made whole.

August Wilson (1945-2005) wrote one play for every decade of the twentieth century that explored black life in America for the descendants of slaves. All of his characters seek wholeness, identity, and reconstituted selves after the terror of 250 years chattel slavery and its terrifying legacy. Their history, culture, wisdom, joys, triumphs, pain, sufferings, victories, weaknesses, and strengths are all embodied in one character, Aunt Ester. She is as old as the number of years blacks have been on these shores. All of the characters in the ten-play cycle are her children. Their search is through circumstance and adventure, certainly. This author demonstrates how Wilson uses language--poetry, the blues--to bring each play's characters to a point of wholeness, redemption, and freedom, not from history, but ennobled and strengthened by it. Wilson employs fundamental theological doctrines to exhort Aunt Ester's children to remember by whom and how they were freed and made whole.

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.

One of America's most powerful and original dramatists, August Wilson offered an alternative history of the twentieth century, as seen from the perspective of black Americans. He celebrated the lives of those seemingly pushed to the margins of national life, but who were simultaneously protagonists of their own drama and evidence of a vital and compelling community. Decade by decade, he told the story of a people with a distinctive history who forged their own future, aware of their roots in another time and place, but doing something more than just survive. Wilson deliberately addressed black America, but in doing so discovered an international audience. Alongside chapters addressing Wilson's life and career, and the wider context of his plays, this Companion dedicates individual chapters to each play in his ten-play cycle, which are ordered chronologically, demonstrating Wilson's notion of an unfolding history of the twentieth century.

A major new history of the literary traditions, oral and print, of African-descended peoples in the United States.

DigiCat Publishing presents to you this special edition of "Children of the Ghetto: A Study of a Peculiar People" by Israel Zangwill. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Pulitzer-prizewinning playwright August Wilson, author of Fences, Ma Rainey's Black Bottom, and The Piano Lesson, among other dramatic works, is one of the most well respected American playwrights on the contemporary stage. The founder of the Black Horizon Theater Company, his self-defined dramatic project is to review twentieth-century African American history by creating a play for each decade. Theater scholar and critic Harry J. Elam examines Wilson's published plays within the context of contemporary African American literature and in relation to concepts of memory and history, culture and resistance, race and representation. Elam finds that each of Wilson's plays recaptures narratives lost, ignored, or avoided to create a new experience of the past that questions the historical categories of race and the meanings of blackness. Harry J. Elam, Jr. is Professor of Drama at Stanford University and author of Taking It to the Streets: The Social Protest Theater of Luis Valdez and Amiri Baraka (The University of Michigan Press).