“Joe Turner’s Come and Gone” is a pivotal play in August Wilson’s renowned Pittsburgh Cycle, also known as the Century Cycle, a collection of ten plays that explore the African American experience in each decade of the 20th century. Set in 1911, “Joe Turner’s Come and Gone” delves into the complex interplay between religion and culture within the African American community during the Great Migration.
Religion plays a significant role in the lives of the characters in the play. The story unfolds at a boardinghouse in Pittsburgh owned by Seth and Bertha Holly, where a diverse group of individuals, representing various facets of the African American experience, come together. The character Bynum Walker, a mysterious and spiritual man, embodies the religious and mystical elements present in the play. Bynum is a practitioner of African spirituality, particularly the tradition of “binding” people to each other by nailing a shiny metal to a tree.
The juxtaposition of Christianity, as seen through the character of Martha Pentecost, and African spirituality, embodied by Bynum, highlights the diverse religious landscape within the African American community. This reflects the broader historical context of the Great Migration, during which African Americans moved from the rural South to urban centers in the North in search of better opportunities and freedom from racial oppression.
The boardinghouse becomes a microcosm of the broader cultural shifts occurring during the Great Migration. The characters grapple with questions of identity, belonging, and the preservation of cultural heritage in the face of a changing social landscape. Herald Loomis, a central character in the play, represents the trauma of slavery and the subsequent struggle for self-discovery. Loomis’s quest to find his wife, Martha, serves as a metaphor for the search for cultural roots and a sense of belonging in a society marked by displacement and dislocation.
The character of Loomis also introduces the audience to the powerful theme of the “shiny man.” This metaphorical figure represents the lure of material success and the impact of industrialization on African American identity. The shiny man embodies the external forces that threaten to erode cultural and spiritual connections within the community, emphasizing the tension between economic advancement and cultural preservation.
Wilson’s exploration of religion and culture in “Joe Turner’s Come and Gone” is deeply rooted in the African American experience, yet it transcends specific cultural boundaries. The play invites audiences to reflect on the universal themes of identity, spirituality, and community in the face of societal changes. Bynum’s rituals and the search for the “song of self” speak to the broader human experience of seeking meaning and connection in a world marked by upheaval.
Moreover, the play’s title itself, referencing the historical figure Joe Turner, adds layers of meaning to the exploration of culture and religion. Joe Turner, a white landowner in the South, symbolizes the oppressive forces that separated families during the era of Reconstruction and sharecropping. The characters in the play grapple with the legacy of slavery and the impact of systemic racism on their lives, adding a socio-political dimension to the cultural and religious themes.
In conclusion, August Wilson’s “Joe Turner’s Come and Gone” offers a rich tapestry of religious and cultural exploration within the African American community during the Great Migration. The characters’ diverse religious practices, the tension between Christianity and African spirituality, and the overarching themes of identity and displacement contribute to a nuanced portrayal of the complex interplay between religion and culture. The play invites audiences to reflect on the enduring quest for spiritual and cultural connection in the face of historical trauma and societal changes, making it a timeless and resonant work in the American theatrical canon.
