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The Comedy of Wilson's Fences     

 

In his article "Wilson's Fences," Joseph Wessling believes August Wilson's play is a metacomedy detailing the human condition, while the most complex character is the simple-minded Gabe who represents Christian values.

 

Wessling says the greatest error one makes when reading "Fences" is to believe it is a tragedy. He admits that while Troy Maxson is a tragic figure, he is still heroic because he is a flawed individual who is "in need of grace and forgiveness" (123). It is these characteristics, Wessling contends, that "are the spirit of true comedy" (123). He defines metacomedy as a "vision that transcends the immediately comic or tragic. It is not evasive," having "room for pain, for heartache, for alienation, even for death, because it affirms the values of mercy, forgiveness, and sacrifice, which adversity calls forth" (123). But the true purpose behind metacomedy is the need for hope (123). Despite his flaws, Wessling believes there is hope, making "Fences" a "forward looking" comedy even after Troy's death (133).

 

In his article, Wessling also states that Gabe "is central to the metacomedy" because he exposes not only his strengths but also his weaknesses (133). While Troy is important to the plot, Gabe "is central to Wilson's vision and paradoxically his most complex character. The simpleton is simultaneously scapegoat, wise fool, shaman, Christian mystic, and an angel awakening the dead to life" (134).

 

Before reading Wessling's essay, I had never considered "Fences" to be a comedy. While there were humourous moments, the tone of the play was often serious and realistic when dealing with the family's problems. But after reading his article on "Fences", I agreed with Wessling's definition of metacomedy because he believes comedy must be realistic, involving the good and the bad. For this play to be truly comedic though, the author must understand the human condition. "Fences" fits this definition because it realistically portrays life and the dynamics of familial relationships. There is both humor and tragedy in the relationships Troy develops with each member of his family.

 

While I did agree wtth Wessling's initial thesis, I did not agree with his description of Gabe. I thought Wessling was giving Gabe too great of a role in Wilson's play. While Gabe is a vital character, I do not believe he is the most important. The audience rarely sees Gabe, and when they do, he is often used to emphasize Troy's humanity or inhumanity. I think Wessling takes it a step too far when he says Gabe is a "Christian mystic" (126). While it is true Gabe sees himself as a friend of St. Peter at the gates of heaven, his purpose in the play is not to serve as a reminder for Christian values, but to fuel Troy's own ideas and presuppositions of death.

 

While Wessling does make a strong argument in favor of Wilson's play as being a metacomedy detailing the human condition, he goes too far in arguing that the simple-minded Gabe is the most complex character of the play representing Christian values.

 

Works Cited

Wessling, Joseph H. "Wilson's 'Fences.'" The Explicator 57.2 (1999): 123-126.