The Amen Corner, the first dramatic play by the now much-celebrated African-American novelist, essayist, and playwright James Baldwin, was written during the 1950s, first performed on the professional stage in 1965, and first published in 1968.
The Amen Corner takes place in two settings: a ‘‘corner’’ church in Harlem and the apartment dwelling of Margaret Anderson, the church pastor, and of her son, David, and sister Odessa. After giving a fiery Sunday morning sermon, Margaret is confronted by the unexpected arrival of her long estranged husband, Luke, who collapses from illness shortly thereafter. Their son, David, along with several elders of the congregation, learn from Luke that, while Margaret had led everyone to believe that he had abandoned her with their son years ago, it was in fact Margaret who had left Luke in pursuit of a purely religious life. This information precipitates confrontations between Margaret and her son, her congregation, and her estranged husband, regarding what they see as the hypocritical nature of her religious convictions, which she uses to justify the breakup of her family. After an important conversation with his dying father, David informs Margaret that he is leaving home to pursue his calling as a jazz musician. On his deathbed, Luke declares to Margaret that he has always loved her, and that she should not have left him. Finally, Margaret’s congregation decides to oust her, based on their perception that she unjustly ruined her own family in the name of religion. Only after losing her son, her husband, and her congregation, does Margaret finally realize that she should not have used religion as an excuse to escape the struggles of life and love, but that ‘‘To love the Lord is to love all His children—all of them, everyone!—and suffer with them and rejoice with them and never count the cost!’’
The Amen Corner addresses themes of the role of the church in the African-American family, the complex relationship between religion and earthly love, and the effect of a poverty born of racial prejudice on the African-American community.
Act I takes place ‘‘on a Sunday morning in Harlem.’’ It begins with a church service, led by Margaret Anderson, the pastor of a ‘‘corner’’ church. The singing of hymns, accompanied by Margaret’s eighteen-year-old son, David, on the piano, is an important element of the service. At one point, Mrs. Ida Jackson, a young woman, walks up to the pulpit holding her sick baby; she asks Margaret what she should do to save her baby, and Margaret advises her to leave her husband, but Mrs. Jackson asserts that she doesn’t want to leave her husband.
After the service, Margaret, her sister Odessa, David, and three elders of the church, Sister Moore, Sister Boxer, and Brother Boxer, congregate in Margaret’s apartment, which is attached to the church. Margaret’s long estranged husband, Luke, arrives unexpectedly at the apartment. In front of David and the church elders, Luke confronts Margaret with the fact that, while she had led everyone to believe that he had abandoned her with their son years earlier, it was in fact Margaret who had left Luke. After an infant of theirs had died, Margaret had blamed Luke for the tragedy, and had abandoned him to pursue a purely religious life. Luke then collapses from illness and is taken to lie down on a bed in Margaret’s apartment. Although David and the others plead with Margaret to stay and care for the dying Luke, Margaret leaves for a brief trip to Philadelphia for the purpose of aiding another church.
Act II is set the following Saturday afternoon. In the first scene, Odessa, Sister Boxer, and Sister Moore sit in the kitchen of the apartment, discussing Sister Margaret’s role in the church, given this new information that she had abandoned her own husband. The church elders express some discontent with Margaret’s use of the church funds and with her treatment of the congregation, as well as the hypocrisy they perceive in her years of lying about her relationship with her husband. In the next scene, David enters the room where his father, Luke, lies ill. David and Luke discuss David’s ambitions to...
(The entire section is 866 words.)