C. J. provides an alternative mode of consciousness to Waters’s dichotomous vision of the races. Waters hates C. J. because C. J. represents what Waters thinks blacks must abandon to achieve success: southern roots, African American spiritualism, and the blues (Waters himself listens only to symphonies). The play shows that C. J. accepts his own identity; he is unashamed of his dialect, his music, his beliefs, and his background. Fuller places C. J. at the center of historical African American self-expression by making him a blues singer, and his songs inevitably draw a response from the company. His baseball heroics also function as an affirmation of community, for he is a true team player. In C. J., then, Fuller advocates pluralism, the acceptance of diversity as good in itself and as the only solution to the “madness of race in America.”