August Wilson Quotes

Confront the dark parts of yourself, and work to banish them with illumination and forgiveness. Your willingness to wrestle with your demons will cause your angels to sing.

I believe in the American theatre. I believe in its power to inform about the human condition, its power to heal ... its power to uncover the truths we wrestle from uncertain and sometimes unyielding realities.

You are responsible for the world that you live in. It is not government's responsibility. It is not your school's or your social club's or your church's or your neighbor's or your fellow citizen's. It is yours, utterly and singularly yours.

Have a belief in yourself that is bigger than anyone's disbelief.

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.

All of art is a search for ways of being, of living life more fully.

I think all in all, one thing a lot of plays seem to be saying is that we need to, as black Americans, to make a connection with our past in order to determine the kind of future we're going to have. In other words, we simply need to know who we are in relation to our historical presence in America.

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.

I think the play offers (white Americans) a different way to look at black Americans For instance, in 'Fences' they see a garbageman, a person they don't really look at, although they see a garbageman every day. By looking at Troy's life, white people find out that the content of this black garbageman's life is affected by the same things- love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with black people in their lives.

Your demons will cause your angels to sing. Use the pain as fuel.

You get to the point where your demons, which are terrifying, get smaller and smaller and you get bigger and bigger.

I'm trying to take culture and put it onstage, demonstrate it is capable of sustaining you. There is no idea that can't be contained by life: Asian life, European life, certainly black life. My plays are about love, honor, duty, betrayal - things humans have written about since the beginning of time.

The simpler you say it, the more eloquent it is.

Freedom is heavy. You got to put your shoulder to freedom. Put your shoulder to it and hope your back holds up.

Use the pain as fuel, as a reminder of your strength.

There's no reason why you can't say "August Wilson, playwright" even though all of my work, every single play, is about black Americans, about black American culture, about the black experience in America. I write about the black experience of men, or I write about black folks. That's who I am. In the same manner that Chekhov wrote about the Russians, I write about blacks. I couldn't do anything else. I wouldn't do anything else.

Blues is the bedrock of everything I do. All the characters in my plays, their ideas and their attitudes, the stance that they adopt in the world, are all ideas and attitudes that are expressed in the blues.

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.

You got to be right with yourself before you can be right with anybody else.

What do you do with your legacy, and how do you best put it to use?

I may be personable, but I assure you I am a lion.

Blacks have traditionally had to operate in a situation where whites have set themselves up as the custodians of the black experience.

I am not a historian. I happen to think that the content of my mother's life - her myths, her superstitions, her prayers, the contents of her pantry, the smell of her kitchen, the song that escaped from her sometimes parched lips, her thoughtful repose and pregnant laughter - are all worthy of art.

All art is political in the sense that it serves someone's politics.

I write for myself and my goal is bringing that world and that experience of black Americans to life on the stage and giving it a space there.

What comes forth from you as an artist cannot be controlled. But you have responsibilities as a global citizen. Your history dictates your duty. And by writing about black people, you are not limiting yourself. The experiences of African-Americans are as wide open as God's closet.

My greatest influence has been the blues. And that's a literary influence, because I think the blues is the best literature that we as black Americans have.

I'm a black American playwright. I couldn't be anything else. I make my art out of black American culture; they're all cut out of the same cloth. That's who I am; that's who I write about.

I think that's the core of black aesthetics: the ability to improvise. That is what has enabled our [black people's] survival.

I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.

Life don't owe you nothing.

I don't write for a particular audience.

I think that as a playwright, if I detail that environment, then I'm taking away something from them [designers]. I'm taking away their creativity and their ability to have input themselves, not just to follow what the playwright has written. So I do a minimum set description and let the designers create within that.

My influences have been what I call my four Bs - the primary one being the blues, then Borges, Baraka, and Bearden.

I dont write particularly to effect social change. I believe writing can do that, but thats not why I write.

I don't go by what the law say. The law's liable to say anything. I go by if it's right or not. It don't matter what the law say. I take and look at it for myself.

Style ain't nothing but keeping the same idea from beginning to end. Everybody got it.

There are always and only two trains running. There is life and there is death. Each of us rides them both. To live life with dignity, to celebrate and accept responsibility for your presence in the world is all that can be asked of anyone.

You are responsible for the world that you live in.

I first got involved in theater in 1968, at the height of a social tumult. I was a poet.

So somehow, things that seem extraneous to the play in reality are not. The scene lasts 37 minutes, and you only need 12 minutes of that for the plot. But if you pull the rest of it out, it's not my play.

Death ain't nothing but a fastball on the outside corner.

We were land-based agrarian people from Africa. We were uprooted from Africa, and we spent 200 years developing our culture as black Americans. And then we left the South. We uprooted ourselves and attempted to transplant this culture to the pavements of the industrialized North. And it was a transplant that did not take. I think if we had stayed in the South, we would have been a stronger people. And because the connection between the South of the 20's, 30's and 40's has been broken, it's very difficult to understand who we are.

There's no idea in the world that is not contained by black life. I could write forever about the black experience in America.

I ain't never found no place for me to fit. Seem like all I do is start over. It ain't nothing to find no starting place in the world. You just start from where you find yourself.

Between speeches and awards, you can find something to do every other week. It's hard to write. Your focus gets splintered. Once you put one thing in your calendar, that month is gone.

Jazz in itself is not struggling. That is, the music itself is not struggling... It's the attitude that's in trouble. My plays insist that we should not forget or toss away our history.

I cried a river of tears but he was too heavy to float on them. So I dragged him with me these years across an ocean.

A novelist writes a novel, and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.

I been with strangers all day and they treated me like family. I come in here to family and you treat me like a stranger.