A recently rediscovered play by Toni Morrison, Dreaming Emmett, written in 1986 to commemorate the 50th anniversary of Emmett Till's murder, offers new insights into her later masterpiece, Beloved. The play, centered on Till's ghost revisiting key figures in his life and the trial, grapples with themes of racial violence, memory, and the struggle for justice, all prominent in Beloved. Scholars see Dreaming Emmett as a crucial stepping stone in Morrison's exploration of historical trauma and its enduring impact, revealing how she developed her signature blend of realism and surrealism to give voice to the silenced. The play's emphasis on cyclical violence and the importance of remembering resonates powerfully with the themes of haunting and unresolved grief found in her iconic novel.
In a comprehensive exploration of Toni Morrison's lesser-known theatrical pursuits, Vulture's article, "Toni Morrison's Lost Play," delves into the fascinating history and lasting influence of Dreaming Emmett, a dramatic work penned by the esteemed Nobel laureate in response to the horrific 1955 lynching of Emmett Till. The piece meticulously details the play's genesis, originating from a commission by the New Federal Theatre in 1986 to commemorate the 30th anniversary of the tragic event. It further elucidates Morrison's deliberate artistic choices in crafting the play, highlighting her decision to eschew a realistic depiction of the brutal murder in favor of a more abstract, symbolic representation of Emmett Till's enduring presence and the pervasive racial injustice that fueled his demise.
The article meticulously outlines the play's structure and narrative trajectory, explaining how Morrison employs a dual timeline, juxtaposing scenes from Emmett's life with a contemporary setting three decades after his death. This temporal interplay, the article argues, serves to underscore the cyclical nature of racial violence and the haunting persistence of historical trauma in the African American consciousness. Furthermore, the piece emphasizes Morrison's innovative use of dream sequences and surreal elements to explore the psychological and emotional ramifications of racial oppression, offering a glimpse into the enduring pain and unresolved grief that lingers in the aftermath of such atrocities.
Moreover, the article posits a compelling connection between Dreaming Emmett and Morrison's celebrated novel, Beloved, suggesting that the play served as a crucial precursor to the novel's exploration of similar themes. It draws parallels between the spectral presence of Emmett in the play and the haunting figure of Beloved in the novel, highlighting how both works grapple with the lingering legacy of slavery and the pervasive impact of racial violence on individual and collective memory. The piece also explores the critical reception of Dreaming Emmett, noting its limited performances and subsequent obscurity despite its profound thematic resonance and undeniable literary merit.
Finally, the article concludes by lamenting the play's relative unavailability to contemporary audiences, emphasizing the significant loss this represents for scholars and enthusiasts of Morrison's oeuvre. It underscores the importance of rediscovering and re-examining Dreaming Emmett, not only for its intrinsic artistic value but also for its illuminating insights into the development of Morrison's literary genius and her enduring commitment to exploring the complexities of race, memory, and the enduring struggle for justice in America. By situating Dreaming Emmett within the broader context of Morrison's literary career and the sociopolitical landscape of its time, the article provides a rich and nuanced appreciation for this often-overlooked theatrical work.
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HN commenters discuss Toni Morrison's lost play, "Dreaming Emmett," and its influence on Beloved. Some highlight the play's focus on the cyclical nature of racial trauma and its exploration of Emmett Till's murder through different perspectives, including his mother's grief and the imagined responses of figures like Jackie Robinson. Others express excitement at the possibility of the play finally being produced and draw parallels between Morrison's theatrical approach and Greek tragedies. Several commenters also mention the poignant timing of the play's rediscovery amidst ongoing racial injustice and note the connection between historical trauma and present-day struggles. One commenter notes the irony of Morrison having called the play "unstageable" while others suggest that its experimental nature might have made it challenging for audiences of that era.
The Hacker News post titled "Toni Morrison's Lost Play" links to a Vulture article about the discovery and upcoming production of Morrison's play, "Dreaming Emmett." The comments section on Hacker News is relatively sparse, with only a handful of comments focusing more on the logistics of the play's production than deep analysis of its themes or connection to Morrison's other work.
One commenter notes that the play's run is quite short, just a couple of weeks, and expresses hope that a recording will be made available for a wider audience. This reflects a common sentiment on Hacker News regarding access to information and preference for asynchronous consumption.
Another commenter questions the use of the term "lost" to describe the play, given that it seems it was known to scholars. They link to an academic database entry for the play, suggesting a degree of prior awareness within certain circles. This comment highlights a discussion about the definition of "lost" in the context of artistic works and the differing levels of public and academic knowledge.
A third commenter briefly speculates on the reasons behind the play not being published or widely produced earlier, mentioning potential legal complexities related to Emmett Till's family. This introduces a possible explanation for the play's limited prior exposure, touching upon sensitive issues of copyright and rights related to real-life tragedies.
The remaining comments are brief and mostly express interest in seeing the play or learning more about it. Overall, the comments section lacks extensive discussion or debate. The focus remains primarily on the practicalities of accessing the play, clarifying its historical status, and briefly speculating on the reasons for its limited prior availability. No comments delve into deeper literary analysis or connect it extensively to Morrison's broader body of work, likely because the play itself was newly rediscovered and not yet widely accessible at the time of the comments.