A powerful one-act drama, Dutchman brought immediate and lasting attention to poet Amiri Baraka. The play is a searing two-character confrontation that begins playfully but builds rapidly in suspense and symbolic resonance. Set on a New York subway train, Dutchman opens with a well-dressed, intellectual, young African American man named Clay absorbed in reading a magazine. He is interrupted by Lula—a flirtatious, beautiful white woman a bit older than he. As Lula suggestively slices and eats an apple, she and Clay tease each other with bantering talk that becomes more and more personal. She reveals little about herself, but Lula is clearly in control of the conversation and the situation as she perceptively and provokingly challenges Clay’s middle-class self image. Lula is, in fact, a bit cruel. “What right do you have to be wearing a three-button suit and striped tie?” she asks. “Your grandfather was a slave, he didn’t go to Harvard.” Aware of his insecurities, Lula dares Clay to pretend “that you are free of your own history.”
Clay’s insecurities about his race, social status, and masculine prowess—slowly revealed as his answers shift from machismo to defensiveness—become the targets for Lula’s increasingly direct taunts. Eventually, Lula’s attempt to force Clay to see in himself the negative stereotypes of the black male—as either oversexed stud or cringing Uncle Tom—goad him into an eloquently bitter tirade. Black music and African American culture, he tells her, are actually repressions of a justified rage that has kept African American people sane in the face of centuries of oppression. Clay seems as desperate to prove this to himself as he is to convince Lula. He does not seem to know whether the rage or the repression has taken the greater toll on African American sanity. The scene escalates in dramatic force until Lula unexpectedly stabs Clay to death.
Baraka has said that Dutchman “is about how difficult it is to become a man in the United States.” Nevertheless, the ancient symbolism of apple and temptation, and the myth of the ghostly pirate ship, The Flying Dutchman, used in Richard Wagner’s opera and other literary works, are carefully suggested in Baraka’s play and amplify the dimensions of racial conflict.
Scene 1. Clay and Lula exchange glances as Clay sits inside a subway car pulling into a station and Lula stands outside waiting to board. At first, Clay smiles at Lula “without a trace of self-consciousness,” but then he feels a growing sense of embarrassment. The smile that crosses Lula’s face is “premeditated.” After eating an apple, Lula offers one to Clay. She attempts to engage him in sexual banter, and she ridicules him for adopting the posture and dress of the white middle class, telling him, “You look like death eating a soda cracker.” At the same time that Lula makes explicit sexual overtures to Clay, she harasses him about his middle-class identity and his resulting status as a dislocated African American man in America: “Everything you say is wrong. . . . Boy, those narrow-shoulder clothes come from a tradition you ought to feel oppressed by. . . . Your grandfather was a slave, he didn’t go to Harvard.”
Scene 2. Clay and Lula decide to go to a party together. Lula verbally creates the scenario of a sexual encounter between them. As the conversation continues, Lula becomes more derogatory, her language more racial and aggressive, and she jumps up into a wild dance, shouting slurs at Clay and demanding that he get up to dance and to have sex with her.
Clay tries to calm her down. At first nervously bemused, he becomes more agitated and forceful. When Lula continues to holler epithets and slurs at...
(The entire section is 530 words.)
Dutchman, winner of the 1964 Obie Award for best Off-Broadway production, is a riveting dramatization of psychosexual, interracial tensions. The title bears mythical implications, supported by Baraka’s own stage directions, which indicate a subway setting filled with modern myth. Despite Baraka’s insistence that the two main characters are individuals, not allegorical creations, he confines them within this subterranean set. The Dutch sailed the first slave-bearing vessel to the American colonies. The legend of The Flying Dutchman is one of a ship cursed to sail the seas eternally without ever finding safe harbor. Even if the first were a simple allusion, together these suggest that white America has doomed itself through its nonrecognition of blacks as human. If so, Lula, as the white representative, will inhabit the subway, preying upon her black victims until one galvanizes himself into action, freeing himself and both races through her murder.
Lula, the protagonist, controls scene 1. She enters from behind Clay, initiates their confrontive conversation, and sits beside him. Even though he is uncomfortable, she makes seductive overtures. Her accurate assessment of his middle-class background and assimilationist behavioral mask also fascinates him into continuing their conversation. Lula, the oppressor, condescendingly sees Clay as a stereotype and commands the topics with which they essentially talk at each other. By admitting that she is a liar—and later, that she is insane—Lula forces him into the untenable situation of having to process each of her statements as fact or fiction. Furthermore, it is she who offers Clay an apple that he accepts; critics have made much of the possible Adam and Eve analogy. Lula is also the initiator of physical aggression, first running her hand along Clay’s leg and later harshly grabbing and shaking his wrist.
Clay, in suit and striped tie despite the summer heat, has assimilated into the white world. He does not wish to call attention to himself. Clay sees Lula also as a stereotype—of the liberal white woman fascinated by fantasies of interracial sexual intercourse. Momentarily excited by her, he allows himself to become vulnerable by adapting to her mercuric emotional shifts.
(The entire section is 931 words.)