Churches, Factories, Fans And Failing Plans

Slaves were owned they were subhuman, and were worth less than the value of a piano, in the case of this family’s history.

“You give me that fine looking, trap, or house, and we’ve got a deal.” I smile place the house in the shade and wait for the leprechaun to tell me where the pot of gold is.

A recurring theme in American history has been that of the American Dream, the idea that anyone, regardless of race, can achieve success through hard work. In his stirring 1990 play The Piano Lesson, August Wilson uses African-American characters to embody the American Dream. Throughout the play, set in Pittsburgh in 1936, Wilson traces the economic successes of several African-American characters, such as Boy Willie and Lymon. However, Wilson’s portrayal of this apparent progress conflicts with the true historical setting. The reality between 1877 and the 1930s was that social barriers, such as Jim Crow laws and sharecropping, precluded economic progress for most African-Americans. A few black Americans such as Madam Walker, an Indiana businesswoman, made some progress, but in general there was stagnation in terms of pecuniary growth during this time period. August Wilson’s interpretation of African-American economic progress through fictional characters in The Piano Lesson is flawed because it represents a few economically successful African-Americans of the time, but fails to capture the lack of progress made by the majority between 1877 and 1930.

Mrs. Bains, Guitar’s grandmother, remarks on Macon Dead II decision on not to extend her rent due date. This demonstrates the early stages of his interest only being material objects. This affect’s the lower class community. She states, "A nigger in business is a terrible thing to see. A terrible, terrible thing to see." (22). Macon’s businessman methods have removed his humanity, his ability to understand Mrs. Bains while she is trying to raise two grandsons on her own. This displays the inequality Macon Dead II embraces due to his higher-class statues. He doesn’t show remorse or hesitate when Mrs. Bains from the lower class, attempted to get her rent extended. Macon Dead symbolizes the racial prejudice by exploiting his own race. He didn’t show generosity and cut her rent, since he is so wealthy. Instead he demonstrates no sympathy and compassion. Macon Dead II illustrates the greed from his past dealing with racism. White men tricked his father into giving away his land because he was a slave and couldn’t read. Afterwards the white men murdered his father. Macon believes white people are motivated by greed. He aspires this greed and money so much he values it more than people and his own family.

Certain elements of the story help the reader to understand the purpose of the this short story. The setting in the deep south of Memphis Tennessee plays an essential role in reinforcing racial inequality during the 1950s. The 1950s was a time of segregation. In fact, specifically in the state of Tennessee, the Jim Crow Laws were being implemented. These laws included segregation in schools, transportation, marriages, and public accommodations. Thus, racism was not only acceptable and legal, but expected in American culture. Additionally, Walker’s characters, The deacon and Traynor’s fans, reinforce the theme of the racism and exploitation. The deacon refers to African Americans as “you people” and “colored” (Walker). From the outset, the deacon exploits Gracie Mae by offering her a measly five hundred dollars for not just the recording rights, but for all of the records she made of the song. When Gracie Mae tries to get additional money for the purchase of her records, the deacon replies with a disparaging, “What white man—and don’t even need to mention colored—would give you more?” (Walker).

Slave songs, therefore, do not pardon the institution of slavery; in fact, they do just the opposite. They are indisputable affirmations of injustice, accentuating the oppressive cage that is slavery. They are the mode of communication of a living dead who yearn for the blessings of a life unfettered: for liberty, and the pursuit of happiness. Slaves sing of ideals that are not theirs to possess—ideals that their country and fellow men have denied them. The caged bird does not sing because it is happy; it sings because it is dreaming of happiness.

(1) The use of natural dialect can be seen throughout the slave narrative interviews through words and phrases used that were common during the period of slavery, but are not used today. One example can be seen in the dialect used by former slave Mama Duck, “Battlin stick, like dis. You doan know what a battling stick is? Well, dis here is one.” Through incomplete sentences and unknown words the natural dialect of the time can be seen. Unfamiliar words such as shin-plasters, meaning a piece of paper currency or a promissory note regarded as having little or no value. Also, geechees, used to describe a class of Negroes who spoke Gullah. Many examples can be seen throughout the “Slave Narratives”

Boy Willie states, “Papa Boy Charles brought that piano into the house. Now I’m supposed to build on what they left me. You can’t do nothing with that piano siting up here in the house” (Wilson 51). If he sells the piano, Boy Willie will be able to build a life for himself. Berniece says, “Money can’t buy what that piano cost. You can’t sell your soul for money” (Wilson 50). She believes if they sell the piano, she risks losing part of her identity. With tender sentiment, Berniece relishes the determination of her ancestors to appreciate life and the love they had for one another in the face of slavery. Boy Willie says, “See, you just looking at the sentimental value…You can sit up here and look at that piano for the next hundred years and it’s just gonna be a piano” (Wilson 51). Berniece’s pertinacious refusal to part with the piano emanates from her sentimental devotion to it and the memory of her ancestors. Therefore, Berniece characterizes herself through the piano as it brings the beauty of the past generations to their lives (Wilson 50, 52). Boy Willie defines himself as an African American who declares his equality as a man and seeks to enhance his self-worth by becoming a land owner (Wilson 51, 94). Therefore, he values the piano for its potential to raise his personal quality of life through a financial gain. The significance of the piano resides in the differing viewpoints of each sibling.

In the play The Piano Lesson by August Wilson, readers are introduced to an African American family that has faced a dark past regarding slavery. The conflict between Berniece and Boy Willie over a piano that holds the family’s history is the very premise of the story. However, Boy Willie is most deserving of the piano because it would be an opportunity for him to transition from being an African slave to becoming an African American land owner. Therefore, Boy Willie can pursue the American dream by selling the piano, buying land and using it to earn a living.

“You’re going to have so much fun!” He looked ecstatic, “Look on the bright side, you’ll make more friends now!”

“Wow, really? That is even more interesting than I thought it would be! Two friends who have planned to meet again on the exact same spot and the exact same time in twenty years! Very interesting, please go on.”

The performance of a Handel Oratorio such as Esther by former slaves, to a white audience must surely have been a significant event in the social history of African-Americans. Initially there was a mixed reaction to their performances, ranging from indifference to ridicule. However, an enthusiasm ensued which brought resounding success to the group both in America and in Europe. Audiences were not confined to members of the public, as the group performed before crowned heads in Europe and were entertained by political and noble figures such as Gladstone and the Earl of Shaftsbury, showing that the social change brought about by the singers spread far beyond the American shores. (Work, 1940, p.16) By 1878, The Fisk Jubilee Singers had raised one hundred and fifty thousand dollars. This was a huge achievement and ensured the continuation of Fisk University, but even more importantly ‘was the interest the Jubilee Singers had created over the world in Negro education and in the spirituals, known until recently by the name they gave them – Jubilee songs’ (Work, 1940, p.17). The Fisk Jubilee Singers marked

This play was an inspiring and motivational. I had a deep connection with this play by how they portray the Tuskegee airmen and the difficulties they faced in their time. They had to earn the respect from their peers. They have many challenges they have to face to accomplish this goal. many African Americans faced many government difficulties later on in the 1960’s leading to the Civil Right movement. Where many African Americans fought equality. In today’s society, there is much racial discrimination we face today. There are many tragic stories where cops killed innocent black teens. With a lot of killing of young African men, a group is developing for the protection for African Americans.

Upon answering with only eight words, George Johnson shifts the conversation towards the literacy of his father. He describes his father taking the chalk from his grandfather’s shop and writing on the sidewalk in front of Jeff Davis’ home. Once Davis discovered the hidden talent of George’s father, he set out and “got two teachers” from Richmond, Virginia. George Johnson continues to explain how his slave master proceeded to open a “nice” school for all the slaves and educate them, even making George’s father a civil engineer. George’s father was not the only African American Jeff Davis educated. Davis allowed all of his slaves from his five plantations to attend his school and get a formal education; he produced bookkeepers, farmers, carpenters, and other experienced professions. Contrary to historical evidence, George Johnson portrays his master as a considerate and benevolent man. This contradiction rises questions on the accuracy of the oral traditions passed down to him, and the context in which this event presents itself. First and foremost, George Johnson possesses a secondhand experience of the situation, having learned it through his father. Certainly, the telling and retelling of this story produces a

"To be serious, it is our twentieth anniversary this year and it would be rude not to celebrate so hopefully something will be happening pretty soon. I can't tell you what it is yet!"