Introduction: Race, Fences, and Family in “Fences”
Despite the lack of clear answers, authors consistently find solace in repeatedly addressing these issues of race, fences and family in “Fences,” his controversial play. The play not only illustrates racial discrimination against the backdrop of shaping or shattering a person’s entire life but also portrays female vulnerabilities and the struggles to maintain and preserve a family. Wilson endeavors to present the harsh reality of black lives in the United States through characters like Troy, Bono, and Cory.
Within the context of racial discrimination, broken families, and strained ties, conflicts arise between family members, particularly between husband and wife and son and father. The family becomes perplexed because, as stated in the play, “Everybody got different fathers and mothers” (Wilson 2030). This confusion is evident in Rose, the family’s mainstay, who expresses her bewilderment, stating that she cannot discern “who is who” within her home (2030). Similarly, Troy seeks acknowledgment as the head of the family, feeling overlooked by his son and wife. While there are other themes presented in the play, the exploration of race, fences, and family in “Fences” reveals patriarchal conflicts, racial discrimination, and their profound impacts. The use of the metaphorical “fence” symbolizes the effort to keep the family united despite challenges.
Themes of Race, Fences, and Family in “Fences”
Change is often considered the spice of life, but certain souls resist it out of fear that their existence will undergo a transformative shift, as depicted in the themes of race, fences, and family in “Fences.” This resistance may be rooted in the apprehension that change could challenge their dominance or lower their status. Troy, the patriarch of the Maxson family in “Fences,” exemplifies this reluctance to embrace change.
The play explores various interpretations of father-son relations, particularly the tumultuous dynamic between Troy and Cory, especially regarding Cory’s aspirations for a career in sports. Despite Cory securing a place on the school soccer team and the coach planning to visit their home, Troy, described as a “giant black nigger” by Bono, insists on steering his son towards a more practical career, such as joining A&P or acquiring a skill. Troy, drawing from his own experiences, believes that blacks have limited prospects in sports, and he dismisses Cory’s dreams.
When Cory attempts to challenge his father’s perspective or inform him about the changing times, Troy responds harshly, labeling him a fool. Troy’s stubbornness becomes evident when he asserts that “The colored guy got to be twice as good as he gets on the team” (2014). However, Cory sees a world evolving rapidly, and tensions escalate between father and son. Troy bluntly declares, “The white man ain’t gonna let you get nowhere with that football noway” (2020), but Cory rejects his father’s wisdom, leading to strained relations.
The power struggle between father and son is palpable, with Troy reluctant to relinquish his position, or it could be interpreted as a father’s stubborn concern for his son’s career. The themes of race, fences, and family in “Fences” vividly portray these complexities and conflicts within familial relationships.
Interwoven Themes of Race, Fences, and Family in “Fences”
The family is often considered the nucleus of society, but when a political class suppresses the underdog class, it profoundly impacts the family structure of the marginalized, as exemplified in various themes of race, fences, and family in “Fences.” Centuries of suppression have resulted in fractures within African-American families, manifested in strained relations, complaints of racial discrimination, and career obstacles, as depicted in the play.
August Wilson weaves the character of Troy by delving into his lineage, emphasizing that the struggle is not isolated to one individual but extends to the entire community and, ultimately, the family. Troy’s career as a garbageman symbolizes the limited opportunities available, where even a promotion to a driver’s position is deemed unacceptable. While the play suggests that age impedes Troy’s promotion, Wilson underscores this in the opening line of his song, “When the sins of our fathers visit us” (1997), suggesting a perpetuation of conditions from one generation to the next, although Cory strives to break this cycle.
Discrimination is ingrained even within the characters’ minds, as evidenced by Bono’s astonishment about indoor toilets, stating, “I thought only white folks had inside toilets and things” (2001). This reflects the dismal living conditions African Americans endured during the time Wilson wrote “Fences,” highlighting their plight. Wilson’s irony extends beyond race; he condemns institutional exploitation, revealing the whites’ supremacy not only in sports but also in banks, laws, and authorities. The play underscores the struggles faced by a poor garbageman attempting to secure a promotion to a driver’s position, illustrating how tactics employed by the upper class perpetuate poverty.
The cycle of poverty leads to the disintegration of families, a theme poignantly portrayed in the play. Despite these challenges, the head of the family bears the responsibility to strive for family unity, even in the face of societal injustices.
Family and Themes of Race, Fences, and Family in “Fences”
In “Fences,” the duty of preserving family unity is shouldered by Rose. Instinctively, she endeavors to keep her family connected by urging Troy and Cory to build a fence. August Wilson utilizes the metaphor of the fence to convey the idea that it is a woman’s responsibility to safeguard her household from both external and internal threats.
Despite Rose’s efforts, external threats manifest in Troy’s infidelity as he admits to “eye all the women” and claims, “I don’t miss nothing” (1999). Unaware of Troy’s actions, Rose is convinced that she is the one holding the home together. Subconsciously, she senses an impending crisis, prompting her to request Troy to build the fence. However, Troy remains oblivious to the deeper meaning behind Rose’s request, assuming it is solely about keeping the family secure.
Only a third party, like Bono, comprehends the situation, as he is aware of Troy’s involvement with Alberta. Bono articulates, “”Some people build fences to keep people [like Alberta] out … .and other people build fences to keep people [like Troy] in” (2027). Troy, however, fails to grasp the significance of Bono’s philosophy. His preoccupations revolve around his pursuit of promotion, financial concerns, and his relationship with Alberta. He leaves the responsibility of maintaining family unity to Rose, providing him the freedom to indulge in life’s pleasures.
Recognizing the importance of imparting family values to Cory, Rose encourages him to join Troy in building the fence. She also persuades Cory to attend Troy’s funeral, emphasizing his future role as the head of the family. Toward the play’s conclusion, Troy unconsciously reveals his realization in a monologue, stating, “I am gonna build me a fence around what belongs to me” (2036). This moment serves as his epiphany regarding the true purpose of building the fence. Unfortunately, this revelation comes too late, as he is unable to fulfill this objective in the earthly realm.
Conclusion: Race, Fences, and Family in “Fences”
While race, fences, and family are indeed prominent themes in “Fences,” they serve as major thematic strands that interweave to depict the life and racial discrimination experienced by African Americans in their social environment, with profound ramifications on their home lives. August Wilson skillfully portrays the consequences faced by impoverished households due to external threats resulting from racial segregation.
The play delves into the conflicts that arise among family members due to misunderstandings and differing perspectives on both external and internal changes. The persistent discord between Troy and Cory, particularly regarding Cory’s career choices and their perspectives on Troy’s evolving circumstances, exemplifies this thematic complexity. While the impact of racial discrimination on the lowly position and mindset of African Americans is acknowledged, Wilson also highlights a failure to comprehend the social dynamics that could facilitate individual improvement.
Troy’s character serves as a prime example of someone who lacks an understanding of the societal complexities that individuals like Cory can perceive. As houses begin to deteriorate over time, it becomes evident that women are the ones who step forward to preserve family unity. Rose, in particular, fulfills this role effectively by urging Troy to build a fence at home.
Beyond the specific racial context, Wilson skillfully touches on universal themes of domestic issues, racial animosity, and patriarchal conflicts. It is this multifaceted exploration of human experiences that elevates “Fences” to the status of a masterpiece, resonating with audiences on a broader and more profound level.
Works Cited: Race, Fences, and Family in “Fences”
- Wilson, August. “Fences.” An Introduction to Fiction, Poetry, Drama and Writing. Ed. Kennedy X. J. & Dana Gioia. 3rd ed. Vol. 10. New York: Pearson Longman, 2007. 1966-2035. Print.
Relevant Questions about Race, Fences, and Family in “Fences”
- How does the interplay between race, fences, and family in “Fences” contribute to the characters’ experiences and relationships, and what insights does the play offer into the African American struggle for equality during the 1950s?
- In “Fences,” how does the theme of race, fences, and family shape the character of Troy Maxson and his choices, and what does it reveal about the delicate balance between personal aspirations and familial responsibilities within the African American community?
- Within the context of “Fences,” how do the themes of race, fences, and family intersect to illustrate the challenges faced by African Americans in pursuing their dreams and aspirations within a racially segregated society, and what social commentary does the play provide on these themes?
