The Amen Corner
Encyclopedia
The Amen Corner is a three-act play
by James Baldwin
. It was Baldwin's first attempt at theater following Go Tell It on the Mountain
. It was first published in 1954, and inspired a short-lived 1983 Broadway musical adaptation with the slightly truncated title, Amen Corner
.
in the African-American family and the effect of a poverty born of racial prejudice on the African-American community.
The Amen Corner takes place in two settings: a ‘‘corner’’ church in Harlem and the apartment dwelling of Margaret Alexander, the church pastor, and of her son, David, and sister Odessa. After giving a fiery Sunday morning sermon, Margaret is confronted by the unexpected arrival of her long estranged husband, Luke, who collapses from illness shortly thereafter. Their son, David, along with several elders of the congregation, learn from Luke that, while Margaret had led everyone to believe that he had abandoned her with their son years ago, it was in fact Margaret who had left Luke in pursuit of a purely religious life. This information precipitates confrontations between Margaret and her son, her congregation, and her estranged husband, regarding what they see as the hypocritical nature of her religious convictions, which she uses to justify the breakup of her family.
After an important conversation with his dying father, David informs Margaret that he is leaving home to pursue his calling as a jazz musician. On his deathbed, Luke declares to Margaret that he has always loved her, and that she should not have left him. Finally, Margaret’s congregation decides to oust her, based on their perception that she unjustly ruined her own family in the name of religion. Only after losing her son, her husband, and her congregation, does Margaret finally realize that she should not have used religion as an excuse to escape the struggles of life and love, but that ‘‘To love the Lord is to love all His children—all of them, everyone!—and suffer with them and rejoice with them and never count the cost!’’
Play (theatre)
A play is a form of literature written by a playwright, usually consisting of scripted dialogue between characters, intended for theatrical performance rather than just reading. There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed...
by James Baldwin
James Baldwin (writer)
James Arthur Baldwin was an American novelist, essayist, playwright, poet, and social critic.Baldwin's essays, for instance "Notes of a Native Son" , explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th century America,...
. It was Baldwin's first attempt at theater following Go Tell It on the Mountain
Go Tell It on the Mountain (novel)
Go Tell It on the Mountain is a 1953 semi-autobiographical novel by James Baldwin. The novel examines the role of the Christian Church in the lives of African-Americans, both as a source of repression and moral hypocrisy and as a source of inspiration and community...
. It was first published in 1954, and inspired a short-lived 1983 Broadway musical adaptation with the slightly truncated title, Amen Corner
Amen Corner (musical)
Amen Corner is a musical with a book by Philip Rose and Peter Udell, lyrics by Udell, and music by Garry Sherman, based on the 1965 play of the same title by James Baldwin...
.
Plot introduction
The play addresses themes of the role of the churchChristian Church
The Christian Church is the assembly or association of followers of Jesus Christ. The Greek term ἐκκλησία that in its appearances in the New Testament is usually translated as "church" basically means "assembly"...
in the African-American family and the effect of a poverty born of racial prejudice on the African-American community.
The Amen Corner takes place in two settings: a ‘‘corner’’ church in Harlem and the apartment dwelling of Margaret Alexander, the church pastor, and of her son, David, and sister Odessa. After giving a fiery Sunday morning sermon, Margaret is confronted by the unexpected arrival of her long estranged husband, Luke, who collapses from illness shortly thereafter. Their son, David, along with several elders of the congregation, learn from Luke that, while Margaret had led everyone to believe that he had abandoned her with their son years ago, it was in fact Margaret who had left Luke in pursuit of a purely religious life. This information precipitates confrontations between Margaret and her son, her congregation, and her estranged husband, regarding what they see as the hypocritical nature of her religious convictions, which she uses to justify the breakup of her family.
After an important conversation with his dying father, David informs Margaret that he is leaving home to pursue his calling as a jazz musician. On his deathbed, Luke declares to Margaret that he has always loved her, and that she should not have left him. Finally, Margaret’s congregation decides to oust her, based on their perception that she unjustly ruined her own family in the name of religion. Only after losing her son, her husband, and her congregation, does Margaret finally realize that she should not have used religion as an excuse to escape the struggles of life and love, but that ‘‘To love the Lord is to love all His children—all of them, everyone!—and suffer with them and rejoice with them and never count the cost!’’