01988    a2200325   4500001001100000005001700011008003900028020001800067037003500085040000700120041000800127072001500135072001500150072001200165072001300177072002100190072002100211072002100232072002100253072002100274072002100295072002100316072001800337100002400355245004700379250000600426260003200432300000900464520118900473113821009920250317100351.0250312042020GB                   eng    a9781138210097  bTaylor & FranciscGBP 8.99fBB  a01  aeng7 aATD2thema7 aDSG2thema7 aAN2bic7 aDSG2bic7 aART0000002bisac7 aDRA0010002bisac7 aDRA0010102bisac7 aPER0100902bisac7 aPER0110002bisac7 aPER0110202bisac7 aPER0110302bisac7 a812.542bisac1 aLadrica Menson-Furr10aAugust Wilson's Joe Turner's Come and Gone  a1  aOxfordbRoutledgec20200603  a78 p  b"Herald Loomis, you shining! You shining like new money!" - Bynum Walker August Wilson considered Joe Turner’s Come and Gone (1984) to be his favourite play of the ten in his award-winning Pittsburgh Cycle. It is a drama that truly examines the roots, crossroads, and intersections of African, American, and African American culture. Its characters and choral griots interweave the intricate tropes of migration from the south to the north, the effects of slavery, black feminism and masculinity, and Wilson's theme of finding one's "song" or identity. This book gives readers an overview of the work from its inception on through its revisions and stagings in regional theatres and on Broadway, exploring its use of African American vernacular genres—blues music, folk songs, folk tales, and dance—and nineteenth-century southern post-Reconstruction history. Ladrica Menson-Furr presents Joe Turner's Come and Gone as a historical drama, a blues drama, an American drama, a Great Migration drama, and the finest example of Wilson's gift for relocating the African American experience in urban southern cities at the beginning and not the end of the African American experience.