Random topics I may or may not have covered in earlier sessions.
The play’s structure with the end up front, followed by the action in the middle and the end at the end is both standard structure for Greek tragedy and a shoutout to Borges, one of Wilson’s principle influencers. Wilson pointed out how Borges tells his readers what is going to happen in advance, yet there is still a sense of suspense. Then it comes about. No doubt this is Wilson’s Greek tragedy play with Borges hints. See more on Wilson’s Greek tragedy structure in Session #4.
We have instances of Floyd’s functional illiteracy throughout the play. While in prison he paid someone to write letters to Vera. He didn’t understand the words in a letter from the prison detailing the procedure for claiming his pay for each day he was imprisoned. Even Red Carter accuses Floyd of not being able to read. It is not a huge leap to reason that Floyd’s issues with his early recording contract could have stemmed from his inability to read. I wonder how he made it through his enlistment in the Army and how he survived the war without being able to read. We see this issue of the impediments of illiteracy in other characters in the Wilson Cycle.
(Note: 4% of Americans are non-literate and 14% are below basic literacy levels. 34% are at the basic literacy level. 52% read under the 8th grade level. These are 2013 levels, from data collected by the OECD every ten years, but levels of illiteracy are sure to rise with the present influx of non-English speakers across the southern border. https://www.wyliecomm.com/2020/11/whats-the-latest-u-s-literacy-rate/)
Vera describes a dress she was wearing when she met Floyd as two shades of blue or, to be precise, “two different kinds of blue.” I saw this initially as a distinction between the blues of Buddy Bolden, for whom Hedley was named, and the blues of Muddy Waters, the mentor for our bluesman, Floyd Barton. Extending the frame of reference to another Wilson play, there was the “jug-bucket” blues of Ma Rainey vs. the dance music blues of Levee. A short search yields a multiplicity of different kinds and types of blues music, including Memphis Blues, New Orleans Blues, Chicago Blues, Delta Blues, and Texas Blues. Each has its own peculiar sound and its unique performers.
Throughout the play there are various lists of things, recipes with various steps, and categories of things. Included are types of beer, brands of cigarettes, types of card games, little rhymes, types of weapons, a blow-by-blow boxing match final round, types of roosters, and a recipe for cooking greens. Floyd lists seven ways to go.
I was struck by the similarities between Hedley’s tuberculosis condition, the testing and treatment of it, etc., and current concerns about COVID. Sort of brings it up to date. Tuberculosis, like COVID, was not extremely understood in its early days and often patients were “herded” together in sanitoriums to die, much like the nursing home scandals in New York and Michigan. Eventually, the nature of the disease became better understood and medications were developed that eradicated it. We can only surmise what happens in Hedley’s case, though Louise’s descriptions make it sound like it is already in its advanced stages.
Speaking of Hedley, he is the first person we’ve come across who is not from the south like so many other migrants to Pittsburgh. It sets up a different dynamic in personal relations that we see playing out in Hedley’s interactions with other members of the ensemble. This reflects what actually happened with so many black Caribbean immigrants moving to Northern cities and having to interact with a new country, a new black society unlike what was most prevalent in the south, and in many cases, a new religious order. In effect they, these immigrants from the Caribbean faced separate challenges than southern migrants of a completely new society. Hedley makes Seven Guitars a special case for studying the great migration. Another aspect of the great migration not covered in the American Century Cycle, however, is the rural to urban migration that took place within the south and never crossed into northern states.
Louise explains to Vera multiple times that Floyd “just doesn’t know how to do.” Also known as “savior faire,” Louise says that Floyd lacks basic knowledge and information about the way things work. Of course Vera ignores Louise’s warning because she has a pipe dream of “being a different person” at her new destination that matches Floyd’s pipe dream of “making it” in Chicago. Similarly, Hedley has a pipe dream about a future life on a plantation he will be able to buy with money from his dead father’s ghost.
And what is up with Red Carter claiming he once dated seven women at the same time? Red Carter is lying and he knows it. Perhaps this “locker room talk” adds to the flow of the plot. A monologue for the boys in the band, Canewell, Red Carter, and Floyd. Wilson has said in interviews that nothing in his plays is superfluous and everything ties to something else in building the plot.
Ruby arrives and all the men go crazy. All the men. I could only shake my head. We will discuss, perhaps.
Wilson makes a big deal about Highway 61. I didn’t get it until I looked it up. Highway 61 runs along the Mississippi River from New Orleans to Minnesota. It was a major thoroughfare out of the deep south and the subject of many blues songs. In fact, Bob Dylan made a complete album in 1965, Highway 61 Revisited, that included much of the music and blues tradition. See the playlist for other examples. Interesting that the earliest blues pieces describe trains and railroads, because railroads were the primary method of conveyance. Later, with the development of interstate highway systems, automobiles and highways become the underpinning subject of blues. (Note: Upon reflection, the earliest blues pieces may have focused on walking and shoes and we have certainly seem those themes in plays in the Cycle.)
A subplot within the plot, Hedley kills the neighborhood rooster as a signal that he will kill again, and soon. Hedley confesses to Ruby that he once killed a man who would not call him by his given name, King, a sign of things to come for his (alleged) and Ruby’s offspring in the future.