Place, No-Place, and the Transnational Stage: “Minor” Works by Eugene O’Neill and Tennessee WilliamsPosted: December 9, 2011
In his 1993 classic To Wake the Nations: Race in the Making of American Literature, Eric J. Sundquist pays careful attention to texts many critics view as “minor,” such as Charles Chesnutt’s The Marrow of Tradition and Mark Twain’s Pudd’nhead Wilson. As Sundquist reminds us, we miss much when we focus only on “major” works by canonical American writers, including, often, American literature’s insistent cultural heterogeneity and its fundamentally transnational character. It is in this light that I have been thinking about some plays I read recently.
In the 1940s, Tennessee Williams established his gift for rendering the local on stage: the characters and social dynamics he introduced in The Glass Menagerie and A Streetcar Named Desire continue to populate our imaginations when we think of the American South and New Orleans. His spatial metaphors still resonate: the streetcar that rushes us headlong through life; fragile characters trapped in a menagerie of societal constrictions. Written in the shadow of World War II, Williams’ highly successful family dramas might be seen (superficially) as reflecting a turn inward, a privileging of the domestic over the global at a moment of anxiety about America’s role abroad.
But Williams’ sense of place was more expansive than most remember. In Camino Real, first staged in 1953, Williams creates a surrealistic no-place that is alien yet familiar, fitting for this prescient allegory of American imperialism and state repression. In the first of sixteen “blocks,” Don Quixote and Sancho Panza, looking bedraggled, arrive in a Spanish-speaking town “that bears a confusing, but somehow harmonious, resemblance to such widely scattered ports as Tangiers, Havana, Veracruz, Casablanca, Shanghai, New Orleans.” After consulting a map, Sancho notes that the Camino Real (Anglicized) and the Camino Real (Spanish) meet in a dead end. Soon arrives the protagonist, an American named Kilroy who sports a jeweled belt spelling out “CHAMP” and a pair of golden boxing gloves. The audience follows Kilroy as he travels the Camino Real, encountering desperate characters of varying nationalities. In this play, unlike in Williams’ more well known works, tensions and contradictions within American society are projected vaguely outward onto the global stage (so to speak), resulting in a play filled with abstraction and symbols, rather than crystallizing into a concrete narrative of dysfunction in the domestic sphere.
Eugene O’Neill’s expressionist play The Emperor Jones, first staged in 1920, stands out as another allegory of empire and identity that has since been overshadowed by the playwright’s realist family dramas, which include Long Day’s Journey Into Night and The Iceman Cometh. Brutus Jones, an African American who speaks entirely in minstrel dialect, has made himself ruler of an unnamed Caribbean island, and now faces an uprising. He escapes into the forest, where he encounters a series of frightening, surreal scenes that reflect the traumatic history of race in America. Like Camino Real, this play also creates an unspecific foreign setting as a way to explore both the moral ambiguities of U.S. actions abroad and the deeply rooted conflicts that characterize American identity at home. Over the years, the play has been criticized for its racist imagery and characterization, but has also been interpreted by anti-racists as a cynical commentary on American race relations. It is a significant work insofar as it highlights the global or transnational aspects of American cultural history, particularly with respect to race.