Setting
In John Guare's evocative play, "The House of Blue Leaves," the setting plays a crucial role in shaping the aspirations and delusions of its characters. The narrative unfolds primarily in Queens, one of New York City's five boroughs, a place Guare imagines as lacking in elegance, heritage, and pride. Sunnyside, the neighborhood where the Shaughnessy family resides, epitomizes this sense of insufficiency, serving as a backdrop for the characters’ dreams and despairs. The protagonist, Artie Shaughnessy, a zookeeper with ambitions of songwriting fame, embodies the struggle to escape the mundane confines of his shabby apartment, which is devoid of both warmth and aesthetic appeal. This setting provides a stark contrast to Artie's extravagant dreams, highlighting the chasm between his fantasy and reality.
Central to the narrative is the "House of Blue Leaves," an imaginary sanatorium Artie concocts to assure Bananas, his mentally ill wife. He describes it as a place of tranquility, crowned by a tree with blue leaves, a vivid image that captures both the whimsical and melancholic atmosphere of his desired escape. The leaves, blown away to canopy another tree, symbolize Artie's longing for transformation and the empty promises he extends to his wife.
Meanwhile, California looms large in the dreams of the characters as a utopia of glamour and success, representing the ultimate escape from their dreary reality. In contrast to the starkness of Queens, California signifies the allure of the film industry and the seductive promise of achieving one's dreams. Guare deftly critiques the American fascination with superficial success and the conflation of celebrity and divinity, where movie stars and religious figures become interchangeable icons revered by the media. This satire extends to the depiction of television as a modern altar and assassins elevated to fame through sensational headlines.
Through these settings, Guare creates a rich tapestry that underscores the characters' yearning for more meaningful lives, juxtaposed against the absurdity of their aspirations. The contrasting images of Queens and California serve as poignant reminders of both the dream and the disillusionment that accompany the pursuit of a better life.
Historical Context
The 1970s marked a chaotic period in American history, significantly due to economic struggles. A global monetary crisis led to the devaluation of the U.S. dollar. The Vietnam War and the Cold War arms race heavily drained economic resources. The government spent exorbitant amounts on Vietnam, causing the national debt to soar into the hundreds of billions.
The U.S. economy faced stagflation, characterized by rapid inflation and struggling businesses. Between 1970 and 1971, the cost of living surged by 15%. In response, President Richard M. Nixon implemented measures to stabilize the economy. He imposed a ninety-day freeze on wages, prices, and rents. Later that year, he enacted a $90 million tax cut and removed the American dollar from the gold standard.
These initiatives were not entirely effective, partly due to the ongoing demands of the Vietnam War. Consequently, Nixon reduced U.S. involvement in Vietnam in 1971, gradually withdrawing troops until only 140,000 remained by the year's end.
The economic downturn led to the dismantling of many 1960s social programs, remnants of former President Lyndon B. Johnson’s "Great Society." Some taxpayers believed these programs were economically burdensome. However, as the economy worsened and these programs were cut, the gap between the rich and poor widened. Unemployment rose, leading to more individuals on welfare.
Responses to these challenges varied: some people became politically disengaged, while others demanded full legal protections. Consumer advocate Ralph Nader and his Center for the Study of Responsive Law raised funds in 1971 to challenge the food, automotive, and aviation industries. Federal, state, and local...
(This entire section contains 410 words.)
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governments addressed consumer complaints and concerns. Even the television industry had to adapt to new regulations, with parents advocating for improved children's programming.
In terms of entertainment, television was the dominant medium in the early 1970s, especially sitcoms and detective series. However, television also broadcasted the Vietnam War into homes, increasing public participation in the antiwar movement.
In mainstream film, theater, and art, few new ideas emerged; instead, the true artistic energy of the early 1970s was found in underground theater and film. Avant-garde art flourished, leading to experimentation across other genres like film, theater, and television.
The early 1970s also saw the rise of successful female singer-songwriters such as Carole King and Carly Simon. American society experienced significant changes for women. In 1971, a group of women successfully sued Time magazine for gender discrimination. Similarly, the Civil Service Commission prohibited gender-specific job titles. The women's liberation movement and feminism became influential, albeit controversial, forces in society.
Style and Technique
Setting and AtmosphereThe House of Blue Leaves unfolds against the backdrop of October 4, 1965, in New York City, setting its scene primarily within the confines of Artie's cramped apartment in Sunnyside, Queens. The narrative begins at the El Dorado Bar & Grill, a small, unassuming venue where Artie performs his songs to a largely indifferent audience. The focus swiftly shifts to his home, a space characterized by its disarray and the lingering impression that it is merely a temporary dwelling. The pervasive clutter and the prominent presence of a piano within both settings emphasize the stagnation and claustrophobia of Artie’s life, reflecting his entrapment in caring for Bananas and his mundane job at the zoo.
Breaking the Fourth Wall: Parabasis
A distinctive feature of the play is its use of parabasis—moments when
characters break the fourth wall to speak directly to the audience. In The
House of Blue Leaves, this technique transforms the audience from mere
observers into participants. As the play unfolds, nearly every main character
engages with the audience, sharing private thoughts and confessions. For
instance, in Act I, Bunny extends a welcome to the audience as though they were
guests in her home, despite it being Artie and Bananas’ residence. Artie
further deepens this connection by expressing a desire for more spoons so
everyone could partake in the communal meal. These interactions reveal intimate
secrets, such as Bunny's wish for Bananas' death and Corrinna's struggle with
her deafness, fostering a shared understanding between the characters and the
audience.
The Role of Irony
Irony threads through the narrative of The House of Blue Leaves,
intricately layering its themes with black humor. Artie's quest for success,
driven by a desire to appease Bunny, is ironically thwarted, while Bunny’s
ambition to achieve importance through Artie's success inadvertently leads her
to triumph by associating with Billy Einhorn, a prominent Hollywood director.
Furthermore, Bananas, perceived as unstable and overly medicated, frequently
offers keen insights into their chaotic lives. The tragicomic twist continues
with Corrinna, whose deafness results from a film set explosion, only to meet
her end through another blast, courtesy of Ronnie's bomb. Such ironic twists
not only intensify the play’s humor but also highlight the incongruities
between the characters’ aspirations and their realities.
Animal Imagery and Symbolism
Animal imagery permeates The House of Blue Leaves, symbolizing purity
amidst the characters' superficial pursuits. Bananas frequently behaves in an
animalistic manner, which, though seemingly bizarre, underscores her genuine
and virtuous nature amid the superficiality of Bunny and Artie. This is
exemplified when Billy Einhorn acknowledges the value of what Artie already
possesses, despite Artie's relentless quest for more. Artie’s occupation at the
zoo further entwines his life with the animal imagery, as he tries to escape
this association by attempting to strangle Bananas—a futile act that would
likely land him in a human "cage" of his own making. This symbolism critiques
the hollowness of the characters’ desires by contrasting them with the inherent
purity attributed to animals.
Compare and Contrast
1965: The United States escalates its involvement in Vietnam, and the bombing of North Vietnam becomes more intense. By year's end, 180,000 American troops are stationed in Vietnam, sparking the beginning of antiwar protests in the U.S.
1971: The U.S. starts to pull its troops out of Vietnam amid widespread antiwar demonstrations. By the end of the year, the number of American troops in Vietnam decreases to 140,000.
Today: The Vietnam War remains a significant and traumatic chapter in recent U.S. history, often used as a reference point for evaluating involvement in international conflicts.
1965: There are five million color TVs in the U.S., but viewers have only three networks to choose from.
1971: Television emerges as the leading cultural influence in the U.S., with four networks, including public television. Programming is increasingly tailored for specific audiences, such as children.
Today: The rise of cable and satellite TV has created fierce competition for major networks. Programming is highly specialized, with channels like the Golf Channel and the Food Network, alongside several dedicated to celebrity culture.
1965: The U.S. enjoys a low unemployment rate of 4.2%, with inflation remaining stable.
1971: Both unemployment and inflation rates climb, with the cost of living index rising by 15% compared to the previous year.
Today: The economy is thriving, leading to very low rates of unemployment and inflation.
1965: President Lyndon B. Johnson successfully advances much of his Great Society (anti-poverty) agenda through Congress.
1971: President Richard M. Nixon begins to dismantle several elements of the Great Society as the U.S. economy struggles.
Today: Despite a robust economy, there is opposition to increased social spending. A movement aims to reduce welfare dependency and cut back on social expenditure.
Media Adaptations
The House of Blue Leaves was adapted for television in 1987 and aired on PBS. Directed by Kirk Browning and Jerry Zaks, this adaptation stars John Mahoney as Artie, Swoozie Kurtz as Bananas, Christine Baranski as Bunny, and Ben Stiller as Ronnie.
Bibliography and Further Reading
Sources
Barnes, Clive. "Theater: John Guare’s House of Blue Leaves Opens," in
The New York Times, February 11, 1971, p. 54.
Brustein, Robert. A review of The House of Blue Leaves, in The New Republic, May 5, 1986, p. 27.
Clurman, Harold. A review of The House of Blue Leaves, in The Nation, March 1, 1971, p. 285.
Guare, John. The House of Blue Leaves, The Viking Press, 1972.
Henry, William A., III. A review of The House of Blue Leaves, in Time, March 31, 1986, p. 77.
Hewes, Henry. "Under the Rainbow," in Saturday Review of Literature, March 20, 1971, p. 10.
Malone, Michael. A review of The House of Blue Leaves, in The New York Times, June 7, 1986, p. 798.
Novick, Julius. "Very Funny-Or a Long Sick Joke," in The New York Times, February 21, 1971, Section 2, p. 9.
Oliver, Edith. A review of The House of Blue Leaves, in The New Yorker, February 20, 1971, p. 90.
Further Reading
Bernstein, Samuel. The Strands Entwined: A New Direction in American
Drama, Northeastern University Press, 1980, pp. 39-59. Bernstein provides
an overview of the themes and critical reactions to Guare’s work, including
The House of Blue Leaves.
Guare, John. A foreword to The House of Blue Leaves, Viking Press, 1972, pp. v-xi. Guare explores his inspirations for the play and its key themes.
Lyon, Warren. "No More Crying the ‘Blue Leaves’ Blues," in The New York Times, July 25, 1971, pp. 1, 5. Chronicles the lengthy journey of bringing the original production of The House of Blue Leaves to fruition. Written by one of the play’s producers.
Martin, Nicholas. "Chaos and Other Muses," in American Theatre, April 1, 1999. In this interview, Guare discusses his linguistic choices and the inspirations behind his plays.
"The Art of Theater IX: John Guare," Paris Review, Winter 1992, p. 69. This extensive interview examines Guare’s entire career, including a discussion on The House of Blue Leaves.
