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"Cleage, Pearl."
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Things I should have told my daughter : lies, lessons & love affairs
\"In this inspiring memoir, the award-winning playwright and bestselling author of What Looks Like Crazy on an Ordinary Day reminisces on the art of juggling marriage, motherhood, and politics while working to become a successful writer. In addition to being one of the most popular living playwrights in America, Pearl Cleage is a bestselling author with an Oprah Book Club pick and multiple awards to her credit. But there was a time when such stellar success seemed like a dream. In this revelatory and deeply personal work, Cleage takes readers back to the 1970s and '80s, retracing her struggles to hone her craft amidst personal and professional tumult. Though born and raised in Detroit, it was in Atlanta that Cleage encountered the forces that would most shape her experience. Married to Michael Lomax, now head of the United Negro College Fund, she worked with Maynard Jackson, Atlanta's first African-American mayor. Lies, Lessons & Love Affairs charts not only the political fights, but also the pull she began to feel to focus on her own passions, including writing--a pull that led her away from Lomax as she grappled with ideas of feminism and self-fulfillment. This fascinating memoir follows her journey from a columnist for a local weekly (bought by Larry Flynt) to a playwright and Hollywood script writer, an artist at the crossroads of culture and politics whose circle came to include luminaries like Richard Pryor, Avery Brooks, Phylicia Rashad, Shirley Franklin, and Jesse Jackson. By the time Oprah Winfrey picked What Looks Like Crazy on an Ordinary Day as a favorite, Cleage had long since arrived as a writer of renown. In the tradition of greats like Susan Sontag, Joan Didion, and Nora Ephron, Cleage's self-portrait raises women's confessional writing to the level of great literature\"-- Provided by publisher.
Book
Flyin’ High in Flyin’ West
Pearl Cleage’s Flyin’ West (1994) is widely produced in university and professional theaters. The play, originally commissioned by the Alliance Theatre in 1992, is a work of historical fiction that focuses on the lives of African American women homesteaders in the late 1800s. In this article, I argue that a thorough comprehension of Black feminist and womanist aesthetics is essential to producing an affecting and accurate representation of this story of survival and the pursuit of joy. I illustrate how this perspective informed the concept, casting, and design of my 2014 production of the play at the University of Georgia. By highlighting intersecting themes at the center of the story—woman kinship, Blackness, whiteness, racism, sexism, domestic abuse, landownership, and freedom—I argue that a Black feminist and womanist praxis is necessary to best produce Cleage’s popular melodrama.
Journal Article
Tryin' to Scrub that \Death Pussy\ Clean Again: The Pleasures of Domesticating HIV / AIDS in Pearl Cleage's Fiction
Examining Pearl Cleage's What Looks Like Crazy on an Ordinary Day (1997), I read through pleasure and politics to explore how HIV/AIDS enters into the lives of black heterosexual women in narrative discourse. Threading disability studies and black \"quare\" theory, I investigate the pleasures of domesticating and converting the \"threatening\" poz character-integrating a perceived threat back into the social order as a mouthpiece for heterosexual, able-bodied normality. Because this domestication is not narratively casual or politically neutral, I highlight the investments, benefits, pleasures, and dangers of these narratives and discuss how they impact our understandings of blackness and disability.
Journal Article
Pearl Cleage: entre la esperanza y la desesperación / Pearl Cleage: Torn Between Hope and Despair
El presente artículo analiza el desarrollo que Pearl Cleage hace de la oposición binaria esperanza-desesperación en su obra teatral. Se describe brevemente la vida de esta dramaturga negra contemporánea y se estudian una a una sus cuatro obras teatrales más importantes: Chain, Blues for an Alabama Sky, Bourbon at the Border y Flyin’ West. Además, se mencionan varias de sus obras menores, como son Late Bus to Mecca, A Song for Coretta y The Nacirema Society Requests the Honor of Your Presence at a Celebration of Their First One Hundred Years. El estudio de la obra de Cleage se hace desde el marco teórico generado por el feminismo afroamericano contemporáneo y se contrasta su obra teatral con la de otras dramaturgas negras actuales.
Journal Article
Summer on Olympia Street
Humbly Athena approaches her mother’s home caring the baggage of broken promises, a failing partnership, and her two-year old son. Athena’s move back home sends her into a dark place of depression, anxiety, and co-dependency that stifles her life for longer than her mother can allow. With an October move out deadline to get her life in order. Athena must find strength, a daycare, new job, and an apartment. Through the thick of depression and hopelessness she finds traditions and rituals that help to bring life back into her. Through these rituals of self-discovery, she learns how to mend, repair and create relationships. However, Athena must learn that once she loses the control she once had on life, she can actually start living. Now open to the new possibilities of life she can embark on a journey to become person that she wants to be for her son but also most importantly herself.
Dissertation
Acting without expectations
This thesis examines my preparation for performing Leland Cunningham in Blues for an Alabama Sky by Pearl Cleage. Using the motif of personal expectations, I explore how my ideas of performance have become unbalanced. I evaluate the origin of these performance expectations and discuss how they influenced this particular process. After considering my early career, graduate school experience, and character preparation, I use the final chapter to explore the debilitating nature of these expectations. I consider how and why I can no longer accept this frame work of unrealistic performance expectations; and how through this process I have reconsidered pursuing acting as a primary career but as meaningful art.
Dissertation
Southern History in Periodicals, 2015: A Selected Bibliography
Standing the Test of Time: Embankment Investigations, Their Implications for African Technology Transfer and Effect on African American Archaeology in South Carolina. Black Studies, v. 46, May, 363-83. \"Ours Is a Business of Loyalty\": African American Funeral Home Owners in Southern Cities. Missiles Have No Colour: African Americans' Reactions to the Cuban Missile Crisis. Black Studies, v. 46, Sept., 626-49. Not to Ask 'Nasty' Questions Again\": African American Women and Sex and Marriage Education in the 1940s.
Journal Article
Douglas Turner Ward Archives at Emory University
Emory University's Stuart A. Rose Manuscript, Archives and Rare Book Library (http://rose.library.emory.edu/index.html) which collects and connects stories of human experience, promotes access and learning, and offers opportunities for dialogue for all wise hearts who seek knowledge by preserving distinctive collections; fostering original research; bridging content and context; and engaging diverse communities through innovative outreach, programming, and exhibitions has obtained the archives of playwright Douglas Turner Ward, cofounder of the groundbreaking Negro Ensemble Company (NEC), which provided a platform and carved space for Black actors and playwrights in American theater.In 1967, Ward joined with Hooks and theater manager Gerald Krone to create the NEC, a theater with the aim to bring the themes of Black life to the stage.[...]the 1960s, American theater didn't make space for Black actors and playwrights.With money from the Ford Foundation and a home at the St. Marks Playhouse, the Negro Ensemble Company officially formed.Since its founding, the NEC has produced more than 200 new plays and provided a theatrical home for more than 4,000 cast and crew members.
Journal Article