Your demons will cause your angels to sing. Use the pain as fuel.
August WilsonRead
My plays are ultimately about love, honor, duty, betrayal.
Interpretation
The quote reflects the central themes of human experiences explored in August Wilson's plays.
August Wilson's quote suggests that his plays delve into the complex emotions and moral dilemmas that define human relationships. By highlighting concepts such as love, honor, duty, and betrayal, he emphasizes the depth of character and the rich tapestry of life experiences that his works aim to portray.
In practice
In a discussion about the motivations behind character development in plays, one might use this quote to emphasize the significance of emotional stakes.
Your demons will cause your angels to sing. Use the pain as fuel.
I think the blues is the best literature that we as blacks have created since we've been here. I call it our 'sacred book.' What I've attempted to do is to mine that field, to mine those cultural ideas and attitudes and give them to my characters.
All you need in the world is love and laughter. That's all anybody needs. To have love in one hand and laughter in the other.
I do - very specifically, I remember Bessie Smith; I used to collect 78 records that I would buy from the St Vincent de Paul store at five cents apiece, and I did this indiscriminately. I would just take whatever was there. And I listened to Patti Page and Walter Huston, 'September Song.'
I know some things when I start. I know, let's say, that the play is going to be a 1970s or a 1930s play, and it's going to be about a piano, but that's it. I slowly discover who the characters are as I go along.
When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.
Perhaps creating something is nothing but an act of profound remembrance.
I had just arrived in New York from California. I was nineteen years old and excited beyond belief. I was an art student and an acting student and behaved as most young actors did - meaning that there was no such thing as a good actor, 'cause you yourself hadn't shown up yet.
The contemporary American novelist benefits in a way from being ignored. It makes you angrier and makes you want to go into all of those places where you shouldn't.
I don't think the goal is, 'How big a star did you ever become?' I think the goal is, 'Were you able to express yourself?' And if you're able to say yes, in any field, you've won. If you paint, write, do mosaics, knit - if it's solving that part of your brain saying, 'I need to do this,' you've won.
At the point where I'm trying to force something and it's not happening, and I'm getting frustrated with, say, writing a poem, I can go and pick up the brushes and start painting. At the point where the painting seems to not be going anywhere, I go and pick up the guitar.
Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.
Subscribe for the occasional hand-picked quote. No noise.