This Is a very interesting read about Black families and their specific struggles and connection to enslavement. This story follows a family who finds an interesting marking from an enslaved family member. This story definitely has strong works and interesting themes. This story is a strong read for African-American students if they would like stories that specifically follow black households and their struggles with classifications and issues that may arise when it come to race and identity. ( )

Holy wow! That was a helluva an ending! I'm to rearrange my ranking of these ten plays to date: though this is not an apples to apple comparison, I'm putting The Piano Lesson up near the top. ( )

Ever since I saw the film of Wilson's play Fences, I have wanted to explore his other work. Part of Wilson's 10-play "Pittsburgh (or Century) Cycle", this play is every bit as powerful, and I would love to see it performed. Berniece and her 11-year-old daughter live with Berniece's Uncle Doaker since her husband Crawley was shot and killed three years ago. A piano with elaborate carvings documents her family's slave history, and she treasures it as a link to her past, although it is also a constant reminder of subjugation and loss. When Berniece's brother Boy Willie shows up with a plan to sell the piano so he can buy the Mississippi land where their family was once enslaved, he meets total resistance. Reading this one just made me want more. ( )

3.75 stars. this was super interesting. there is a lot covered, a lot to think on, and a lot of depth in such a short little play. i guess there's room for more because there is virtually no stage direction; nearly the entire thing is dialogue, so we have time to work through some stuff. (i want more stage direction in general when reading a play. i had a little trouble picturing everything, but i guess that adds to the fun when watching it performed because it could certainly be interpreted in different ways as almost everything is left open.)

i really liked how both berniece and willie boy, coming from opposite perspectives, both made totally logical and compelling cases for what to do with the piano that is the centerpiece of the play. keep it (and the past, and the family, and the history, and the memories, and the pain) like she wants, or sell it (and use the pain as a footstool to better things and become independent and prosperous) like he wants. this piano haunts them both figuratively as it comes between their sibling relationship (which doesn't seem all that solid anyway) and literally as the ghost of their family's slave master is attached to it. they have to work through what this legacy - the piano, slavery - leaves them and how to use it or come out on the other side from it, how to shape their future with this as their past.

it's kind of fascinating and leaves a lot to think about. i wanted a bit quicker of a start, more stage direction, and a little more detail. (so i wanted it to be a little longer.) i wasn't as interested in the ghost theme that works its way through, and i need to give more thought to the train/moving on theme that's there as well, just not as prominently. it was this idea of how the past shapes your future, but also how you let it, how you hold on to it and let it mold the future, that i really find interesting.

i loved this whole passage from berniece:
"You trying to tell me a woman can't be nothing without a man. But you alright, huh? You can just walk out of here without me - without a woman - and still be a man. That's alright. Ain't nobody gonna ask you, 'Avery, who you got to love you?' That's alright for you. But everybody gonna be worried about Berniece. 'How Berniece gonna take care of herself? How she gonna raise that child without a man? Wonder what she do with herself. How she gonna live like that?' Everybody got all kinds of questions for Berniece. Everybody telling me I can't be a woman unless I got a man."

"Everybody got stones in their passway. You got to step over them or walk around them. You picking them up and carrying them with you. All you got to do is set them down by the side of the road. You ain't got to carry them with you." ( )

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