A Fence, a Pair of Shoes and a Piano: The Legacy of Memory in Fences, Ma Rainey's Black Bottom, The Piano Lesson

Abstract

This study explores the importance of memory for African Americans in three major plays by the American playwright August Wilson. Central to Wilson’s theatre is the idea that it is possible to move forward into the future only after having remembered the past. However, the dissertation stresses that dealing with memory can be quite complicated. In fact, both its absence and presence can have far-reaching consequences. The thesis demonstrates that Wilson’s theatre offers a solution to the dilemma: you have to learn how to use the remembrance of the past in order to shake off its weight. By adopting the technique of close reading, I analyze the main passages of each play in order to highlight the relationship between the characters and their past. Each chapter is devoted to the analysis of a single play and they are arranged in the following order: Fences, Ma Rainey’s Black Bottom and The Piano Lesson. The analysis of Fences points out that the rejection of the past can turn into a haunting presence that troubles your existence. The Maxson sons, unable to negotiate with the memory of their fathers, become victims of their past compromising both their identity and familial unity. Only after accepting their father as part of their story, will they be able to re-member the scattered pieces of their lives. Shifting from a personal dimension to a collective one, the analysis of Ma Rainey’s Black Bottom points out that the absence of a cultural and historical past weakens the ties of the band in addition to weakening the identity of the characters. Each musician of Ma Rainey’s band corresponds to a different way of valuing black heritage. Eventually, the cacophony of voices facilitates their exploitation by the dominant (white) world. Even worse, the rejection of his origins makes the young musician, Levee, unable to bear the weight of discrimination. Tragically, his frustration is turned into the murder of one his own companions. Finally, the analysis of The Piano Lesson provides the ‘lesson’ underlying Wilson’s theatre: the past has to be acknowledged and “resized” in the present in order to heal the flawed identity, family and community. In this play, Wilson objectifies the past in an inherited piano. Berniece fights with all her strength to prevent her brother from selling the instrument. Nevertheless, its presence turns into an oppressive burden that prevents her from moving toward the future. Much as the characters who reject or disown their past, she falls victim of her own memories. The spell is broken when she finally learns what to do with her inherited piano. After comparing the plays, it has been possible to observe that the inability to deal with the past causes similar side effects in the characters: it destroys their own Self in addition to destroying the relationship with others. Only the characters who learn to enclose the past within their present, will be finally able to overcome such divisions. The dissertation shows that central to these plays is the idea that people have the responsibility not only of remembering but also of turning the past into a useful tool to create their present. Your inheritance can consist of a pair of old brogans, some Blues, an unfinished fence or an old piano: it is up to you to use them to illuminate your present. As Harry J. Elam observes, “one must go back in order to move forward” but “the past will lead us if we force it to”. Underneath Wilson’s project lies the belief that the disease affecting African Americans communities stems from an “unfinished business with the past”. Through the life of his characters, he provides a site of memory where the audience can confront and learn to value a historical and cultural legacy that concerns all Americans.