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The Pimp and Coward
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This chapter demonstrates that, as a genre, lynching drama challenges the assumption that men establish literary traditions and women revise them. Black male authors entered the genre in 1925, and they revised the conventions being developed by women. Women's plays present the home as the lynch victim, portraying its “castration” as the moment when the honorable black man is removed. However, male dramatists depict homes that seem “castrated” even when husbands, fathers, and uncles survive because they become immoral and cowardly to avoid the mob's wrath. The chapter argues that the pimp and coward emerge to mark the community conversation's acknowledgement that their perspectives matter as African Americans grapple with the contradictions of living with lynching.
Title: The Pimp and Coward
Description:
This chapter demonstrates that, as a genre, lynching drama challenges the assumption that men establish literary traditions and women revise them.
Black male authors entered the genre in 1925, and they revised the conventions being developed by women.
Women's plays present the home as the lynch victim, portraying its “castration” as the moment when the honorable black man is removed.
However, male dramatists depict homes that seem “castrated” even when husbands, fathers, and uncles survive because they become immoral and cowardly to avoid the mob's wrath.
The chapter argues that the pimp and coward emerge to mark the community conversation's acknowledgement that their perspectives matter as African Americans grapple with the contradictions of living with lynching.
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