This paper is a critical analysis of Joe Turner’s "Come And Gone".
A vision-haunted father and his 11-year-old daughter stop at a boarding house in Pittsburgh on their quest for the mother who had wandered off after her husband had been confined by the mysterious Joe Turner for seven years. The theme of the play is the transformative experience, cleansing, and rebirth of the character of Loomis, a man on a quest, and thus, the emergence of the “shiny man.” This revelation ends the quest of another character, the conjure man Bynum, who has been looking for his messiah, this very “shiny man.”
In a boarding house, where everyone comes and goes (“They the only ones live here now. People come and go.” [Bertha to Loomis], a family is reunited by two forces (an African magician, and a realistic “scout” or “people finder,” both roomers at the place), only to split up again – for the man emerges reborn, becomes independent, and leaves mother and daughter.
Table of Contents
1. Title of Text and Author
2. Cast of Key Characters
3. Setting
4. Plotline
5. Theme
Research Objectives and Key Topics
This critical analysis explores the transformative journey of the protagonist Herald Loomis in August Wilson's "Joe Turner’s Come and Gone," focusing on themes of identity, ancestral memory, and spiritual rebirth against the backdrop of the Great Migration in 1911.
- Analysis of the "shiny man" archetype and its mythological roots.
- Examination of Bynum Walker's role as a spiritual "binder" and conjure man.
- Interpretation of the blood-cleansing ritual as a catalyst for self-actualization.
- Investigation into the historical context of peonage and African American identity.
- Exploration of how characters reconcile their past with the need for future independence.
Excerpt from the Book
The Architect: “You binding yourself. You bond onto your song. All you got to do is stand up and sing it, Herald Loomis. It’s right there kicking at our throat. All you got to do is sing it. Then you be free.” (131) [Bynum, giving his legacy to Loomis]
Bynum is an “architect” who creates something of lasting value: he reunites a split family. He also obviously brings happiness to Mattie. But the most important thing is that he leaves a legacy: only if you find and keep and sing your song, you are free. Otherwise, you are bound, like the African slaves who were people in bondage. Loomis accuses Bynum of having bound him to the road, to make him a restless wanderer, erring about like a zombie trying to find his lost wife: “It was you! All the time it was you that bind me up! You bound me to the road! (…) Everywhere I go people wanna bind me up. Joe Turner wanna bind me up! Reverend Tolliver wanna bind me up. You wanna bind me up. Everybody wanna bind me up. Well, Joe Turner’s come and gone and Herald Loomis ain’t for no binding. (…) I ain’t gonna let nobody bind me up!” (131)
Bynum wisely defends himself that you “can’t bind what don’t cling” (131), and states that he bound the little girl to her mother instead, thus unifying them through his mystical power.
Summary of Chapters
1. Title of Text and Author: Identifies the play and its author within the academic assignment framework.
2. Cast of Key Characters: Lists the central figures present in the boarding house environment.
3. Setting: Establishes the time and location as 1911 in a Pittsburgh boarding house.
4. Plotline: Provides a synopsis of a father’s quest for his missing wife and the spiritual interventions he encounters.
5. Theme: Analyzes the motif of transformation, the "shiny man," and the significance of ancestral song as a path to freedom.
Keywords
Joe Turner’s Come and Gone, August Wilson, Herald Loomis, Bynum Walker, African American, Great Migration, Ancestral memory, Identity, Transformation, Voodoo, Conjure man, Shiny man, Ritual, Binding, Self-sufficiency.
Frequently Asked Questions
What is the core subject of this critical analysis?
The analysis examines the thematic depth and character development in August Wilson's 1986 play "Joe Turner’s Come and Gone," specifically focusing on the struggle for identity and liberation during the early 20th century.
What are the primary themes discussed in the text?
The primary themes include the transformative power of the "shiny man" myth, the concept of "binding" versus individual freedom, and the importance of ancestral heritage in forming one's own "song."
What is the overarching research goal?
The goal is to demonstrate how the characters, particularly Loomis and Bynum, navigate their histories to overcome external and internal constraints to achieve personal independence.
Which methodology is utilized?
The analysis employs a literary critical approach, integrating character analysis, thematic interpretation, and historical contextualization of the Great Migration and African spiritual practices.
What does the main body of the work cover?
The work covers a detailed character study of Bynum, the symbolic importance of the boarding house setting, and the structural significance of rituals like the Juba dance and the blood-cleansing scene.
Which keywords define the scope of the paper?
Key terms include "Ancestral memory," "Conjure man," "Shiny man," "Great Migration," and "Identity," which capture the cultural and historical focus of the analysis.
How does the author interpret the character of Bynum?
The author views Bynum not as an eccentric, but as a "true African" mystic and architect of community, whose mission is to help others discover their true selves or "songs."
What is the significance of the "shiny man" archetype?
It represents a source of spiritual guidance and the promise of a "Secret of Life" that encourages individuals to reclaim their own predestined path and autonomy.
Why does Loomis slash his chest in the final act?
The act is interpreted as a symbolic ritual of self-cleansing and rebirth, where he relinquishes the influence of external forces and accepts responsibility for his own existence.
What is the author's final conclusion regarding the future of the characters?
The author concludes that the rituals performed lead to a redemptive outcome, where the characters are better positioned to face the future and create their own independent lives, leaving the past behind.
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- Christina Voss (married Lyons) (Autor:in), 2006, Critical Analysis of Joe Turner’s "Come And Gone", München, GRIN Verlag, https://www.grin.com/document/1133007
