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Jermaine Singleton
Some Losses Remain with US: Impossible Mourning and the Prevelence of Ritual
in August Wilson's The Piano Lesson
Despite psychoanalytic criticism's universalizing, ahistorical, and imperialist inclinations, it nevertheless can prove indispensable for understanding The Piano Lesson's representation of post-emancipation African America's unclaimed cultural inheritance. This is the argument "Some Losses Remain with Us" makes as it puts psychoanalytic theorizations of Sigmund Freud's concept of melancholia and Jacques Derrida's post-structuralist reading of Karl Marx's work on specters in conversation with Wilson's play to uncover a paradigm for understanding a cultural melancholy. Wilson's play reveals how hidden affect is sustained as a result of and in resistance to an enduring struggle with racial oppression. In doing so, the play stages parallel trajectories of psychological restriction sustained by post-Emancipation black men and women through ritual practice as they struggle for inclusion in a segregationist society that has historically subjugated them.
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From slavery we have sublimated our feeling about white people. We have fought for our rights while hiding our feeling towards whites who tenaciously denied us those rights. We have even, I suspect, hidden those feeling from ourselves. It is how we have survived. Black folk of my time talk about white people and their predilections at least once daily. But never talk about or with anger. It seems unnatural. Where have we stored the pain and et what price? (Robinson 1998, 4)
Randall Robinson's observations in Defending the Spirit provide a corner-stone for the discussion of racial subjugation, resistance, and buried social memory throughout this essay. In addition to recognizing the hidden affect that claims a people subject to an enduring racial oppression, he attributes the unacknowledged claims of these repressed feelings to the social body's will to survive. Moreover, he invites us to explore more critically the price unclaimed pain exacts. In what follows, I take up Robinson's critical invitation by exploring August Wilson's rendering of the legacy of African America's disremembered past under racial slavery in The Piano Lesson (1990).