In 1988, when August Wilson’s play “The Piano Lesson” premiered at the Huntington Theatre in Boston, my mother, her friend Renée, and I were engrossed by the compelling story of a brother and sister grappling with the destiny of a family heirloom—an intricately carved piano created by their enslaved ancestor. The play’s vernacular dialogue, ethereal presence of ghosts, and touches of humor reminded me of the powerful impact I felt years earlier when watching Wilson’s “Joe Turner’s Come and Gone” at the same theater (where I even caught a glimpse of Wilson himself pacing in the lobby). However, “The Piano Lesson” seemed to transcend anything we had ever witnessed before.
After the play ended, we made our way to Slade’s, a historic restaurant and bar located in Roxbury, a predominantly Black neighborhood. The ambiance was dim and the music loud, and amidst the crowd, I spotted some of the cast members from the performance. It was as if they had seamlessly transitioned from the stage to this lively gathering place. While I didn’t see August Wilson himself that night, I couldn’t help but imagine him tucked away in a corner, engaging in animated storytelling banter—an activity known in Black English as “spinning big lies.” Slade’s had the perfect atmosphere for the cast to unwind after their powerful performance.
The 1980s and ’90s marked a cultural renaissance for African American artistic expression. In literature, Black women such as Alice Walker, Toni Morrison, and Paule Marshall emerged as prolific and influential writers, shedding light on the lives of earlier generations of neglected Black women in their stories. Hip-hop, born out of the postindustrial landscape in cities following the civil rights movement, thrived as an insurgent art form. With its brashness and defiance, and its lyrical dexterity and figurative language, hip-hop was celebrated as a form of popular literature, reminiscent of the early 20th-century blues.
August Wilson, who was born and raised in Pittsburgh’s Hill District in 1945, is renowned for his monumental 10-play cycle that explores Black life in the 20th century, mostly set in his hometown. His work delves into themes such as Jim Crow, incarceration, migration, and the civil rights era, offering a poignant portrayal of the resilience, heartbreak, beauty, and pathos of Black people. Wilson’s artistic vision defies categorization, blending elements of both literary and musical renaissances.
In her book “August Wilson: A Life,” Patti Hartigan thoroughly examines Wilson’s achievements within their broader context. Wilson embarked on his playwriting journey during the Black Arts movement of 1965-75, a time when poetic performance art emerged as a significant form of expression, serving as a precursor to hip-hop. Wilson embraced the community-focused artistic vision championed by figures like Amiri Baraka and Hoyt Fuller. Baraka’s influence stirred Wilson’s interest in mythic symbolism and the transformative power of theater. However, Wilson’s poetry was not met with the revolutionary fervor expected during the movement, leading him to feel somewhat detached. Similar to the Black women novelists of the time, Wilson sought to explore the inner lives of earlier generations who had endured the horrors of slavery and Jim Crow, finding solace in folk traditions and spirituality. His plays were rich with Black language, songs, and rituals, interweaving elements of hoodoo and history in truly unique ways. Against all odds, Wilson went on to leave an indelible mark on American theater long after his passing in 2005.
August Wilson was born Frederick August Kittel Jr., the fourth child of Daisy Wilson, who had migrated from North Carolina to Pittsburgh in 1937. His father, Frederick Kittel, was mostly absent from their lives, providing little financial support. Frederick Kittel was already married to a Polish woman, and his relationship with Daisy, who was 24 years younger, was tumultuous, to say the least. As a struggling single mother, Daisy took immense pride in Freddy, recognizing his early talent and passion for reading. Despite facing challenges such as a stutter and a fiery temper, Freddy excelled academically and gained admission to the prestigious, predominantly white Central Catholic High School. However, the racial harassment he endured there, combined with his experiences growing up in the diverse Hill District, led him to abandon the school before turning 15. He returned to public school briefly but faced accusations of plagiarism from a teacher, resulting in his departure from formal education altogether.
Nevertheless, Wilson’s thirst for knowledge remained unquenched. He spent countless hours devouring books at a nearby library, while his mother, upon learning of his decision to leave school, pushed him to join the Army. Wilson enlisted but left after a year, briefly visiting Los Angeles before returning to Pittsburgh. Back in his hometown, he immersed himself in the University of Pittsburgh library, reading works on Freud, history, and poetry. Wilson frequented local cafés, engaging with various characters, and nurturing his aspirations of becoming a writer. Hartigan’s depiction of Wilson’s eccentric, self-fashioned persona during his youth is a delightful testament to his uniqueness. With his penchant for classic fashion, including St. Vincent de Paul thrift shop coats and meticulously shined shoes, Wilson would stroll through the streets reciting poetry to himself, often clutching a stack of books. His image was that of a romantic poet in the making.
It is worth noting that, although Wilson was born to a mixed-race heritage, he identified unequivocally as a Black man raised by a Black woman who had migrated from the South. While this background was not uncommon for his generation, Wilson fully embraced his Black identity and made it official by changing his name. He began going by August, shedding both his given first and last names and adopting his mother’s surname. From that point on, he would be known as August Wilson.
Wilson’s journey of self-discovery was not without its challenges. Navigating the social and political upheavals of the 1960s and ’70s, he found himself straddling two worlds as he searched for his artistic voice. On one hand, he was deeply influenced by the Western canon and romantic themes, with a penchant for grandiloquence. On the other hand, his experiences growing up in the Hill District molded him into a true man of his neighborhood. Additionally, Wilson faced personal hardships, including a divorce, which devastated him. However, these trials and tribulations ultimately shaped his artistic sensibilities and paved the way for his future success in the theater world.
In 1978, Wilson ventured to St. Paul, Minnesota, to collaborate with the Penumbra Theatre Company. He had been working on poems and a play centered around a Black outlaw figure—a project that would eventually become his renowned play “Ma Rainey’s Black Bottom.” Despite facing setbacks and failures early on in his career, Wilson persisted. His time in St. Paul marked a turning point in his life, propelling him towards the path of success.
August Wilson’s life and artistic journey are a testament to the power of perseverance and self-determination. Despite humble beginnings and societal obstacles, Wilson emerged as one of the most influential playwrights of the 20th century, leaving an enduring legacy in American theater.
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