37 pages • 1 hour read
James BaldwinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Margaret, as a single mother, does her best to prove to herself that she made the right choice in leaving Luke. She says, “I praise my Redeemer that I got him raised right—even though I didn’t have no man—you think David missed Luke?” (18). Even though she is certain that she raised David well on her own and that women are better off leaving men who aren’t following God, there is a shred of doubt within her that propels conflict in the play.
The narrative implies that Margaret is the first woman preacher her congregation has had, at least for a long time. When the church members are discussing the previous pastor, Elder King, they remember his insistence on maintaining traditional gender roles within the church power structure. Sister Moore says, “He’d done got too high. He was too set in his ways. All that talk about not wanting women to preach. He didn’t want women to do nothing but just sit quiet” (22). Here, Baldwin uses dramatic irony, where the reader or audience is aware of something that the characters are not. He does this by having Sister Moore, a character who is also set in her ways, speak this line.
Both the men and the women in the play are quick to pick out faults in each other yet slow to realize that human flaws transcend gender. In the first act, Luke illustrates his perception of a gendered distinction between men and women. He compliments Margaret’s figure, saying, “You ever notice how men, they tend to lose weight in later life, while the women, they gain?” (27). There is the literal interpretation, which is that Margaret’s lifestyle led to more comfort, even without a man by her side, whereas Luke’s drinking led him to develop tuberculosis and lose weight. Figuratively, Luke is realizing that he’s lost so much over the years in terms of loved ones and a sense of community. Margaret, meanwhile, kept David and gained a friend in Odessa and a group of people who look up to her. The difference in their priorities led to vastly different outcomes.
After leaving Luke, Margaret has become bitter and lost sight of the value of partnership between men and women and the value of men in general. When the church members contemplate Margaret’s seeming apathy toward Luke’s illness, Brother Boxer tells his wife, “Well, you’s a woman, sugar, and quite natural, you want your man to come to heaven. But I believe in Sister Margaret’s heaven, ain’t going to be no men allowed” (37). Ultimately, Margaret learns that her partnership with Luke is not what makes her weak but in fact what gives her strength. She regrets not sharing her grief over their child with him. By the end of the play, it is implied that she is transformed by the experience of losing him and realizing what she’s lost.
Unlike traditional coming-of-age arcs, the play features even higher stakes that center around growing up in a religious home. As David begins to test the waters of adulthood, his home, his relationship with his mother, and the ideology he was raised to believe are all on the line. As the child of a single mother, David is weary of hurting Margaret; he knows that he is the only family she has. Ultimately, he has to put himself first and chooses to leave the church.
Margaret prides herself on having raised a Godly son on her own. Although Margaret doesn’t yet know the extent of David’s life outside the church walls, she knows that something is wrong. Lately, he has been sneaking out more often and not telling her where he’s been. In the following exchange, David is trying to give his mother a warning that he is preparing to fly the nest:
MARGARET. I don’t know what’s got into you lately, David.
DAVID. Well, Mama, I’m getting older. I’m not a little boy anymore.
MARGARET. I know you is getting older. But I hope you still got a mind stayed on the Lord (19).
Margaret won’t address David’s desire for autonomy. When being direct and asking for more independence doesn’t work, he resorts to lying to her.
The religious community exerts pressure on David, suffocating him. As the child of a preacher, David’s behavior is scrutinized. His “sinful” life is one of the reasons that the church feels entitled to fire Margaret. The church members frequently gossip about David, saying, “That boy had a cigarette between his lips and had his hand on one of them girls” (38). They always have eyes on David; there is no room or privacy to figure out what he wants out of life.
The strict, religious doctrine that David grew up in haunts him even outside of the church. His mother preaches that almost everything is a sin, which causes David to have a crisis about nearly everything he does. He tells Luke, “I didn’t know how to stay here and I didn’t know how to go—and—there wasn’t anybody I could talk to—I couldn’t do—nothing! Every time I—even when I tried to make it with a girl—something kept saying, Maybe this is a sin. I hated it!” (43). David feels trapped by religion. He longs to break away from it and see what he believes in for himself. Ironically, the very fire-and-brimstone theology Margaret used as an excuse to run away from her problems is what drives her son away from her life.
The play illustrates how gossip, a central feature of the church, is toxic and antithetical to the espoused teachings of the church. It causes harm, such as when not allowing David privacy. Multiple scenes between the various church members are centered around the group gossiping about Margaret’s life. Whenever they are called out for gossiping, they have a clever reply, such as: “God don’t want us to be ignorant. He want us to know what’s going on around us” (24). By excusing their actions in the name of God, they get away with it.
The church speaks “the truth” to get rid of Margaret. However, Baldwin shows the church members to be hypocrites. Even though they were once friends with Margaret, they are quick to turn on her in the name of holiness. As soon as they are dissatisfied with her preaching, they pick out her faults for all to see. Sister Moore tells Odessa, “But we’s supposed to bear witness, amen, to the truth. Don’t care who it cuts” (35). The group tries to convince Odessa that what they are doing is righteous, not a betrayal.
The church members weaponize gossip, cloaking it within the request for prayer. Brother Boxer tells the women about David’s life outside of church, giving only enough information to tease them. He says, “The Lord has allowed me to see, with my own eyes, how David’s done started straying from the Word. I ain’t going to say no more. But the brother needs prayer” (48). He, Sister Moore, and Sister Boxer plant seeds of doubt and concern among the rest of their church population, all in the name of religion.
Baldwin exposes the hypocrisy of the church and how easily members can tear themselves apart. The congregation, upset with Margaret for her holier-than-thou attitude, prove themselves to be no better. They gossip and spread rumors without shame and without knowing the entire story. By showing the church members to be insincere and self-righteous, Baldwin critiques the American church as an institution.
By James Baldwin