August Wilson (Bloom's Modern Critical Views) by Harold Bloom

By Harold Bloom

In 1987 August Wilson used to be provided the Pulitzer prize for his play Fences. study this play besides Ma Rainey's Black backside, Joe Turner's Come and long past, and Trains working. This sequence is edited by means of Harold Bloom, Sterling Professor of the arts, Yale college; Henry W. and Albert A. Berg Professor of English, long island collage Graduate college; preeminent literary critic of our time. Titles current an important 20th-century feedback on significant works from The Odyssey via sleek literature reflecting a number of faculties of feedback. Texts additionally include 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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Powers 53. 7. Pierre Nora, “Between Memory and History,” in History and Memory in African American Culture ed. Geneviève Fabre and Robert O’Meally (New York: Oxford University Press, 1994), 285–286. 8. Nora 289. 9. Bill Moyers, A World of Ideas (New York: Doubleday, 1989), 172–174. 10. Following is the key to the list of play abbreviations used in this chapter: F JT JY MR PL SG TT Fences Joe Turner’s Come and Gone Jitney! Ma Rainey’s Black Bottom The Piano Lesson Seven Guitars Two Trains Running 11.

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.  . In terms of influence on my work, I have what I call my four B’s: Romare Bearden; Imamu Amiri Baraka, the writer; Jorge Luis Borges, the Argentine short-story writer; and the biggest B of all: the blues.

20. Gottschild 6. 21. This series of exaggerated and off-base assessments of Herald Loomis’s physical bout with the demons of his past come from the following reviews: David Richards, “The Tortured Spirit of ‘Joe Turner,’ ” Washington Post (9 Oct. 1987): B1, B12; David Stearn, “ ‘Turner’ Comes to a Near-Halt,” USA Today (29 Mar. 1988): 4D; and M. A. Scherer, “ ‘Turner’ Never Comes at All,” Evening Capital (13 Oct. 1987): B10. 22. JT 14. 23. ” What audiences needed, according to Richards, was a more emotionally rewarding catharsis after Loomis’s frustrated search for his wife for much of the play.

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