LitWiki - User contributions [en]

Norman Arriaga

2006-04-26T23:50:47Z

Bpoulin:

A former drag queen and former lover of Prior's. Belize name was originally Norman Arriaga. Belize is a registerd nurse. He is the actor playing Mr. Lies .

[[image:belize.jpg]]

Norman Arriaga

2006-04-26T23:49:51Z

Bpoulin:

A former drag queen and former lover of Prior's. Belize name was originally Norman Arriaga. Belize is a registerd nurse. He is the actor playing Mr. Lies .

Perestroika 5.10

2006-04-26T23:49:01Z

Bpoulin:

This is really an extension of [[Perestroika 5.8|Act Five, Scene 8]] where [[Harper Amaty Pitt]] decides to move on with her life and leave [[Joseph Porter Pitt]]. Harper is on a night flight to San Francisco, and when her plane reaches thirty-five thousand feet, she can see spirits rising up from the earth and repairing the ozone layer. Harper also realizes that progress may be painful but it needs to be done.
----
[[Angels in America]]

Perestroika Epilogue

2006-04-26T23:48:28Z

Bpoulin:

Perestroika Epilogue

2006-04-26T23:47:34Z

Bpoulin:

Perestroika Epilogue

2006-04-26T23:45:50Z

Bpoulin:

This is really an extension of [[Act Five, Scene 8]] where [[Harper Amaty Pitt]] decides to move on with her life and leave [[Joseph Porter Pitt]]. Harper is on a night flight to San Francisco, and when her plane reaches thirty-five thousand feet, she can see spirits rising up from the earth and repairing the ozone layer. Harper also realizes that progress may be painful but it needs to be done.
----
[[Angels in America]]

Mr. Lies

2006-04-26T22:38:14Z

Bpoulin:

[[Harper Amaty Pitt]]'s imaginary friend. He is a travel agent who sold Joe and Harper their plane tickets to Brooklyn, NY. In Harper's mind, Mr. Lies is able to take her away from her problems and shield her from the reality of life. [[Image:Photo antarctica.jpg|thumb|Right|Mr. Lies and Harper]]

There is an underlying conflict between what Mr. Lies is telling Harper, and what the Angel is telling [[Prior Walter]]. [[The Angel]] is saying that progress and moving foward has removed us from God and, if we continue along this path, distruction will come. In contrast to that Mr. Lies says "It's the price of rootlessness. Motion sickness. The only cure: to keep moving." This statement makes us question Mr. Lies true agenda. What Mr. Lies is telling Harper is very interesting because in the Bible Satan is referred to as the Father of Lies. If Mr. Lies is an incarnation of the Devil then he would know that God had left. He would be trying to keep as many people as possible moving and progressing.
----
[[Angels in America]]

Perestroika 5.8

2006-04-26T22:36:49Z

Bpoulin:

Here we start to see how [[Harper Amaty Pitt]] has become a stronger character. Previous to this Harper always ran away from her problems, often using valium as an escape. This time she faces [[Joseph Porter Pitt]], whom she has come to realize is her true problem in life. Joe asks Harper to forgive him and to take him back. Harper ends up slapping Joe, just to let him know what kind of pain Joe put her through. Harper decides to go off on her own and start her life over. Harper takes Joe’s credit card and tells him, if he wants to keep track of her, he can track the credit card information. Joe asks if Harper can call, and Harper says “No. Probably never again.” (273) At this point Harper tells Joe he needs to “get lost. . . (and) Go exploring.” (273) Harper then gives Joe some valium, and a glass of water.

----
[[Angels in America]]

File:Photo antarctica.jpg

2006-04-26T22:35:37Z

Bpoulin:

Emily

2006-04-26T18:57:10Z

Bpoulin:

[[Image:Photo emily prior.jpg|thumb|right|Emily]]
The nurse practitioner who looks after [[Prior Walter]] while he is in the hospital. Also does the checkups for Prior after he is released from the hospital. Emily tries to act like she cares however she has too many patients to look after, wich is evident when she says "Look, I'm sorry, I have a waiting room full of..." She continues on to console him about his mental state, but this shows she can only show so much empathy before she has to move on to the next patient.

----
[[Angels in America]]

File:Photo emily prior.jpg

2006-04-26T18:54:27Z

Bpoulin:

The Woman in the South Bronx

2006-04-26T18:50:39Z

Bpoulin:

[[Image:Photo homeless wom.jpg|thumb|right|Homeless woman from the HBO production]]
As small of a part as she was, she served a purpose. The woman in the south Bronx served as a cross section of what life in New York is like. She is incorporated into the play to show [[Hannah Porter Pitt]] that life is not perfect, not everyone is perfect, and not to under estimate people. When Hannah is lost and looking for the the mormon welcome center, she is shocked at how the homeless woman, who can barely complete a sentence, could possibly know where it is.
----
[[Angels in America]]

File:Photo homeless wom.jpg

2006-04-26T18:49:36Z

Bpoulin:

Perestroika 5.9

2006-04-26T18:48:55Z

Bpoulin:

Scene 9 is very short but important. It deals with [[Roy Cohn]] making a deal with God, or as the play puts it, “a great flaming [[Aleph]].” God is consulting, and making a deal, with Roy over a family court issue, a paternity, and abandonment suit. As Roy puts it, God is “guilty as hell, no question." Roy also tells God "not to worry, darling, I will make something up.”
==Study Questions==
#Why is God consulting Roy?
#Where are God, and Roy durring this scene?
----
[[Angels in America]]

Perestroika 5.9

2006-04-26T18:48:08Z

Bpoulin:

Aleph

2006-04-26T18:27:09Z

Bpoulin:

First letter in the Hebrew Alphabet.

Prior II

2006-04-26T18:18:16Z

Bpoulin:

Prior II is introduced in the same scene as [[Prior I]] Prior II is seventeen generations (counting bastards) from [[Prior Walter]]. Prior II delivers the information on what both Prior's are doing there. Prior II was also killed by a plague called “Black Jack,” it came from the water system in London.
[[Image:PriorII.jpg|thumb|center|Prior 2 in the HBO production]]
----
[[Angels in America]]

File:PriorII.jpg

2006-04-26T18:16:37Z

Bpoulin:

Prior I

2006-04-26T17:55:59Z

Bpoulin:

Prior 1 pops into Act 3 Scene 1. Prior 1 is Prior's ancestor. He was the great-great grandson of the The Bayeux tapestry Prior Walter. The fith of the name. He died from the plague. He doesn't believe in counting the bastards. He comes as a messenger and to prepare the way.

[[Image:Prior 1.jpg]]
----
[[Angels in America]]

[[Prior II]]

[[Prior Walter]]

The Angel

2006-04-25T04:23:24Z

Bpoulin:

[[Image:Angels-in-america01.jpg|thumb|From the HBO film Angels in America]]
----
[[Angels in America]]

The Angel

2006-04-25T04:22:43Z

Bpoulin:

[[Image:Angels-in-america01.jpg|thumb|From the HBO film Angels in America]]

File:Angels-in-america01.jpg

2006-04-25T04:16:27Z

Bpoulin:

Angels in America

2006-04-25T04:13:52Z

Bpoulin: /* Study Questions */

[[Image:Angels-in-america-04.jpg|thumb|Angels in America]]

==Factual Information==
==Biography==

==Study Guide==

===Part One: Millennium Approaches===
====Act One: Bad News====
#[[Millennium Approaches 1.1|Act One, Scene 1]]
#[[Millennium Approaches 1.2|Act One, Scene 2]]
#[[Millennium Approaches 1.3|Act One, Scene 3]]
#[[Millennium Approaches 1.4|Act One, Scene 4]]
#[[Millennium Approaches 1.5|Act One, Scene 5]]
#[[Millennium Approaches 1.6|Act One, Scene 6]]
#[[Millennium Approaches 1.7|Act One, Scene 7]]
#[[Millennium Approaches 1.8|Act One, Scene 8]]
#[[Millennium Approaches 1.9|Act One, Scene 9]]
====Act Two: In Vitro====
#[[Millennium Approaches 2.1|Act Two, Scene 1]]
#[[Millennium Approaches 2.2|Act Two, Scene 2]]
#[[Millennium Approaches 2.3|Act Two, Scene 3]]
#[[Millennium Approaches 2.4|Act Two, Scene 4]]
#[[Millennium Approaches 2.5|Act Two, Scene 5]]
#[[Millennium Approaches 2.6|Act Two, Scene 6]]
#[[Millennium Approaches 2.7|Act Two, Scene 7]]
#[[Millennium Approaches 2.8|Act Two, Scene 8]]
#[[Millennium Approaches 2.9|Act Two, Scene 9]]
#[[Millennium Approaches 2.10|Act Two, Scene 10]]
====Act Three: Not-Yet-Conscious, Foward Dawning====
#[[Millennium Approaches 3.1|Act Three, Scene 1]]
#[[Millennium Approaches 3.2|Act Three, Scene 2]]
#[[Millennium Approaches 3.3|Act Three, Scene 3]]
#[[Millennium Approaches 3.4|Act Three, Scene 4]]
#[[Millennium Approaches 3.5|Act Three, Scene 5]]
#[[Millennium Approaches 3.6|Act Three, Scene 6]]
#[[Millennium Approaches 3.7|Act Three, Scene 7]]

===Part Two: Perestroika===
====Act One: Spooj====
#[[Perestroika 1.1|Act One, Scene 1]]
#[[Perestroika 1.2|Act One, Scene 2]]
#[[Perestroika 1.3|Act One, Scene 3]]
#[[Perestroika 1.4|Act One, Scene 4]]
#[[Perestroika 1.5|Act One, Scene 5]]
#[[Perestroika 1.6|Act One, Scene 6]]
====Act Two: The Epistle====
#[[Perestroika 2.1|Act Two, Scene 1]]
====Act Three: Borborygmi====
#[[Perestroika 3.1|Act Three, Scene 1]]
#[[Perestroika 3.2|Act Three, Scene 2]]
#[[Perestroika 3.3|Act Three, Scene 3]]
#[[Perestroika 3.4|Act Three, Scene 4]]
#[[Perestroika 3.5|Act Three, Scene 5]]
====Act Four: John Brown's Body====
#[[Perestroika 4.1|Act Four, Scene 1]]
#[[Perestroika 4.2|Act Four, Scene 2]]
#[[Perestroika 4.3|Act Four, Scene 3]]
#[[Perestroika 4.4|Act Four, Scene 4]]
#[[Perestroika 4.5|Act Four, Scene 5]]
#[[Perestroika 4.6|Act Four, Scene 6]]
#[[Perestroika 4.7|Act Four, Scene 7]]
#[[Perestroika 4.8|Act Four, Scene 8]]
#[[Perestroika 4.9|Act Four, Scene 9]]
====Act Five: Heaven, I'm in Heaven====
#[[Perestroika 5.1|Act Five, Scene 1]]
#[[Perestroika 5.2|Act Five, Scene 2]]
#[[Perestroika 5.3|Act Five, Scene 3]]
#[[Perestroika 5.4|Act Five, Scene 4]]
#[[Perestroika 5.5|Act Five, Scene 5]]
#[[Perestroika 5.6|Act Five, Scene 6]]
#[[Perestroika 5.7|Act Five, Scene 7]]
#[[Perestroika 5.8|Act Five, Scene 8]]
#[[Perestroika 5.9|Act Five, Scene 9]]
#[[Perestroika 5.10|Act Five, Scene 10]]
====Epilogue: Bethesda====
#[[Perestroika Epilogue]]

==Characters==

[[The Angel]]

[[Emily]]

[[The Eskimo]]

[[Ethel Rosenberg]]

[[Hannah Porter Pitt]]

[[Harper Amaty Pitt]]

[[Henry]]

[[Joseph Porter Pitt]]

[[Louis Ironson]]

[[The Man in the Park]]

[[Martin Heller]]

[[Mr. Lies]]

[[Norman Arriaga]] AKA: Belize

[[Prior I]]

[[Prior II]]

[[Prior Walter]]

[[Rabbi Isidor Chemelwitz]]

[[Roy Cohn]]

[[Sister Ella Chapter]]

[[The Voice]]

[[The Woman in the South Bronx]]

==Major Themes==
''Angels in America'' is in many ways a play about conversion.The experience of HIV illness is often conceived as involving a conversion of the self, and Prior's discovery that he has AIDS is depicted in part as making him a new person: I'm a lessionnaire". The Angel's visitation to Prior takes the form of a mission of conversion:given a new identity, Prior is like Joseph Smith, to become Prophet of a new dispensation. Indeed, in the course of the play all its characters undergo startling shifts in identity. Hannah is not only physically transplanted to New York but becomes ''"noticeably different--she looks like a New Yorker''. Roy , who clings tenaciously to his professional status a a lawyer,is disbarred just before his death. Harper moves through a period of dysfunction to strike out on her own, choosing "the real San Francisco, on earth," with its "unspeakable beauty" (Kruger 4).

Kushner uses split scenes to make more explicit the contrapuntal relationship between these seemingly disconnected narrative worlds. Roy's meeting with Joe, to discuss the junior attorney's future as a "Roy-Boy" in Washington, occurs alongside the scene in which Louis is sodomized in the Central Park Rambles by a leather clad mama's boy.Louis's mini-symposium at the coffee shop is simultaneous with Prior's medical checkup at an outpatient clinic. Dreams,ghosts, and a flock of dithering, hermaphroditic angels are also used to break through the play's realistic structure, to conjoin seemingly disparate characters, and to reveal the poetic resonances and interconnectedness of everyday life (McNulty 4).

==Major Symbols==

==Influences==

==Study Questions==
#Many of the gay characters struggle with the question of how their sexuality should be, and several come out in different ways during the course of the play. Discuss the meaning of the ''closet'' — are closeted characters different from uncloseted ones? What implications does coming out have for self and community?
#"It's law not justice," Joe tells Louis during their final breakup. Discuss the themes of law and justice as they appear in the play. Is Joe correct that the two are separate entities? Or does the play encourage a more visionary potential of the law?
#Belize stands out as exceptionally compassionate and good, yet at times seems two-dimensional. Which view is correct? Is Belize a virtuous stereotype or a complex moral authority?
#What does the subtitle "A Gay Fantasia on National Themes" suggest? What national themes are evident in the plays? What is the relationship between "gay" and "national"?
#[http://en.wikipedia.org/wiki/Perestroika Perestroika] was the term for Mikhail Gorbachev's policy of political and economic reform in the Soviet Union. In what ways does the play represent the possibility of ''perestroika'' in America? Is this an appropriate title for part two?
#Choosing at least two examples ([http://en.wikipedia.org/wiki/Ethel_Rosenberg The Rosenberg Trial], [http://en.wikipedia.org/wiki/1906_earthquake The San Francisco Earthquake], [http://en.wikipedia.org/wiki/Chernobyl Chernobyl], [http://en.wikipedia.org/wiki/Reagan_administration The Reagan Administration]), analyze the role of history in the plays. Does Kushner more or less depict events as they happened? If not, what dramatic and thematic purposes does he serve by shading the facts?
#As a "fantasia," ''Angels in America'' is a major departure from prevailing theatrical realism, with detours into the religious and the supernatural — angels, ghosts, apparitions, and visions appear over and over. What effect do these fantastical elements have on the play as a whole? Go beyond a simple analysis of plot to consider the implications for characters, messages, and themes.
#Is there any connection between [[the Angel]], and [[Mr. Lies]].

==Additional Resources==
*[http://www.januarymagazine.com/artcult/angelsinam.html Larger Than Life] - A review of'' Angels in America'' by Tony Buchsbaum.
*[http://www.hbo.com/films/angelsinamerica/cast/kushner_interview.html HBO Interview with Tony Kusher]

==Works Cited==

* Garner, Stanton B. ''"Angels in America: The Millennium and Postmodern Memory," in Approaching the Millenium, Essays on Angels in America,'' edited by Deborah R. Geis and Steven F. Kruger, University of Michigan Press, 1987: pp.173-84.

* Glenn, Lane A.. "Angels in America." ''Drama for Students''. Gale, 1999.

* Kruger, Steven F. ''"Identity and Conversion in Angels in America."in Approaching the Millennium: Essays on "Angels in America."'' edited by Deborah R. Geis and Steven F.Kruger, University of Michigan Press, 1997: pp. 151-69.

* Layman, Bruccoli Clark. ''"Tony Kushner,"in Dictionary of Literary Biography,'' Volume 228: Twentienth Century American Dramatists, Second Series. Edited by Christopher J. Wheatley.

* McNutty, Charles. ''"Angels in America: Tony Kushner's Theses on the Philosophy of History."'' Modern Drama 39,no.1 (Spring 1996): 84-96.

* Meisner, Natalie. ''Messing with the Idyllic: The Performance of Femininity in Kushner's Angels in America''. ''The Yale Journal of Criticism'' 16,no.1 (2003): 177-189.

* Quinn, John R. ''"Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America."'' Theatre Journal 48,no.1 (March 1996): 79-90.

* Trilling, Lionel, et. al. ''Bloom’s Period Studies: Modern American Drama''. Chelsea House Publishers, 2005.

* Kushner, Tony. ''Angels in America''. New York: Theatre Communications Group, 1995.

[[Category:Literature]]

Harper Amaty Pitt

2006-04-25T04:10:06Z

Bpoulin:

Harper Pitt is (Joe) [[Joseph Porter Pitt]]'s wife. She is addicted to [http://www.rocheusa.com/products/valium/ valium] which frequently makes her hallucinate. She has [http://www.websters-online-dictionary.org/definition/english/Ag/Agoraphobia.html agoraphobia], and creates an imaginary friend to avoid bad situations. [[Prior Walter]] and Harper cross over into one another's hallucination. During this hallucination, she learns that her husband (Joe) is a homosexual. Harper appearing as a sexually frustrated and politically detached female, learns to manage these weaknesses she has and reshapes her life by leaving Joe and moving away from New York (Meisner 178). Though she appears as a weak character in the beginning of the play, she ends the play as a changed person. According to Bloom, Kushner’s women are stronger than the men (with the exception of [[Roy Cohn]]), especially Harper (299).

[[Image:Harper.jpg]]
----
[[Angels in America]]

Harper Amaty Pitt

2006-04-25T04:09:52Z

Bpoulin:

Harper Amaty Pitt

2006-04-25T04:09:13Z

Bpoulin:

Angels in America

2006-04-25T02:28:05Z

Bpoulin:

[[Image:Angels-in-america-04.jpg|thumb|Angels in America]]

==Factual Information==
==Biography==

==Study Guide==

===Part One: Millennium Approaches===
====Act One: Bad News====
#[[Millennium Approaches 1.1|Act One, Scene 1]]
#[[Millennium Approaches 1.2|Act One, Scene 2]]
#[[Millennium Approaches 1.3|Act One, Scene 3]]
#[[Millennium Approaches 1.4|Act One, Scene 4]]
#[[Millennium Approaches 1.5|Act One, Scene 5]]
#[[Millennium Approaches 1.6|Act One, Scene 6]]
#[[Millennium Approaches 1.7|Act One, Scene 7]]
#[[Millennium Approaches 1.8|Act One, Scene 8]]
#[[Millennium Approaches 1.9|Act One, Scene 9]]
====Act Two: In Vitro====
#[[Millennium Approaches 2.1|Act Two, Scene 1]]
#[[Millennium Approaches 2.2|Act Two, Scene 2]]
#[[Millennium Approaches 2.3|Act Two, Scene 3]]
#[[Millennium Approaches 2.4|Act Two, Scene 4]]
#[[Millennium Approaches 2.5|Act Two, Scene 5]]
#[[Millennium Approaches 2.6|Act Two, Scene 6]]
#[[Millennium Approaches 2.7|Act Two, Scene 7]]
#[[Millennium Approaches 2.8|Act Two, Scene 8]]
#[[Millennium Approaches 2.9|Act Two, Scene 9]]
#[[Millennium Approaches 2.10|Act Two, Scene 10]]
====Act Three: Not-Yet-Conscious, Foward Dawning====
#[[Millennium Approaches 3.1|Act Three, Scene 1]]
#[[Millennium Approaches 3.2|Act Three, Scene 2]]
#[[Millennium Approaches 3.3|Act Three, Scene 3]]
#[[Millennium Approaches 3.4|Act Three, Scene 4]]
#[[Millennium Approaches 3.5|Act Three, Scene 5]]
#[[Millennium Approaches 3.6|Act Three, Scene 6]]
#[[Millennium Approaches 3.7|Act Three, Scene 7]]

===Part Two: Perestroika===
====Act One: Spooj====
#[[Perestroika 1.1|Act One, Scene 1]]
#[[Perestroika 1.2|Act One, Scene 2]]
#[[Perestroika 1.3|Act One, Scene 3]]
#[[Perestroika 1.4|Act One, Scene 4]]
#[[Perestroika 1.5|Act One, Scene 5]]
#[[Perestroika 1.6|Act One, Scene 6]]
====Act Two: The Epistle====
#[[Perestroika 2.1|Act Two, Scene 1]]
====Act Three: Borborygmi====
#[[Perestroika 3.1|Act Three, Scene 1]]
#[[Perestroika 3.2|Act Three, Scene 2]]
#[[Perestroika 3.3|Act Three, Scene 3]]
#[[Perestroika 3.4|Act Three, Scene 4]]
#[[Perestroika 3.5|Act Three, Scene 5]]
====Act Four: John Brown's Body====
#[[Perestroika 4.1|Act Four, Scene 1]]
#[[Perestroika 4.2|Act Four, Scene 2]]
#[[Perestroika 4.3|Act Four, Scene 3]]
#[[Perestroika 4.4|Act Four, Scene 4]]
#[[Perestroika 4.5|Act Four, Scene 5]]
#[[Perestroika 4.6|Act Four, Scene 6]]
#[[Perestroika 4.7|Act Four, Scene 7]]
#[[Perestroika 4.8|Act Four, Scene 8]]
#[[Perestroika 4.9|Act Four, Scene 9]]
====Act Five: Heaven, I'm in Heaven====
#[[Perestroika 5.1|Act Five, Scene 1]]
#[[Perestroika 5.2|Act Five, Scene 2]]
#[[Perestroika 5.3|Act Five, Scene 3]]
#[[Perestroika 5.4|Act Five, Scene 4]]
#[[Perestroika 5.5|Act Five, Scene 5]]
#[[Perestroika 5.6|Act Five, Scene 6]]
#[[Perestroika 5.7|Act Five, Scene 7]]
#[[Perestroika 5.8|Act Five, Scene 8]]
#[[Perestroika 5.9|Act Five, Scene 9]]
#[[Perestroika 5.10|Act Five, Scene 10]]
====Epilogue: Bethesda====
#[[Perestroika Epilogue]]

==Characters==

[[The Angel]]

[[Emily]]

[[The Eskimo]]

[[Ethel Rosenberg]]

[[Hannah Porter Pitt]]

[[Harper Amaty Pitt]]

[[Henry]]

[[Joseph Porter Pitt]]

[[Louis Ironson]]

[[The Man in the Park]]

[[Martin Heller]]

[[Mr. Lies]]

[[Norman Arriaga]] AKA: Belize

[[Prior I]]

[[Prior II]]

[[Prior Walter]]

[[Rabbi Isidor Chemelwitz]]

[[Roy Cohn]]

[[Sister Ella Chapter]]

[[The Voice]]

[[The Woman in the South Bronx]]

==Major Themes==
''Angels in America'' is in many ways a play about conversion.The experience of HIV illness is often conceived as involving a conversion of the self, and Prior's discovery that he has AIDS is depicted in part as making him a new person: I'm a lessionnaire". The Angel's visitation to Prior takes the form of a mission of conversion:given a new identity, Prior is like Joseph Smith, to become Prophet of a new dispensation. Indeed, in the course of the play all its characters undergo startling shifts in identity. Hannah is not only physically transplanted to New York but becomes ''"noticeably different--she looks like a New Yorker''. Roy , who clings tenaciously to his professional status a a lawyer,is disbarred just before his death. Harper moves through a period of dysfunction to strike out on her own, choosing "the real San Francisco, on earth," with its "unspeakable beauty" (Kruger 4).

Kushner uses split scenes to make more explicit the contrapuntal relationship between these seemingly disconnected narrative worlds. Roy's meeting with Joe, to discuss the junior attorney's future as a "Roy-Boy" in Washington, occurs alongside the scene in which Louis is sodomized in the Central Park Rambles by a leather clad mama's boy.Louis's mini-symposium at the coffee shop is simultaneous with Prior's medical checkup at an outpatient clinic. Dreams,ghosts, and a flock of dithering, hermaphroditic angels are also used to break through the play's realistic structure, to conjoin seemingly disparate characters, and to reveal the poetic resonances and interconnectedness of everyday life (McNulty 4).

==Major Symbols==

==Influences==

==Study Questions==
#Many of the gay characters struggle with the question of how their sexuality should be, and several come out in different ways during the course of the play. Discuss the meaning of the ''closet'' — are closeted characters different from uncloseted ones? What implications does coming out have for self and community?
#"It's law not justice," Joe tells Louis during their final breakup. Discuss the themes of law and justice as they appear in the play. Is Joe correct that the two are separate entities? Or does the play encourage a more visionary potential of the law?
#Belize stands out as exceptionally compassionate and good, yet at times seems two-dimensional. Which view is correct? Is Belize a virtuous stereotype or a complex moral authority?
#What does the subtitle "A Gay Fantasia on National Themes" suggest? What national themes are evident in the plays? What is the relationship between "gay" and "national"?
#[http://en.wikipedia.org/wiki/Perestroika Perestroika] was the term for Mikhail Gorbachev's policy of political and economic reform in the Soviet Union. In what ways does the play represent the possibility of ''perestroika'' in America? Is this an appropriate title for part two?
#Choosing at least two examples ([http://en.wikipedia.org/wiki/Ethel_Rosenberg The Rosenberg Trial], [http://en.wikipedia.org/wiki/1906_earthquake The San Francisco Earthquake], [http://en.wikipedia.org/wiki/Chernobyl Chernobyl], [http://en.wikipedia.org/wiki/Reagan_administration The Reagan Administration]), analyze the role of history in the plays. Does Kushner more or less depict events as they happened? If not, what dramatic and thematic purposes does he serve by shading the facts?
#As a "fantasia," ''Angels in America'' is a major departure from prevailing theatrical realism, with detours into the religious and the supernatural — angels, ghosts, apparitions, and visions appear over and over. What effect do these fantastical elements have on the play as a whole? Go beyond a simple analysis of plot to consider the implications for characters, messages, and themes.

==Additional Resources==
*[http://www.januarymagazine.com/artcult/angelsinam.html Larger Than Life] - A review of'' Angels in America'' by Tony Buchsbaum.
*[http://www.hbo.com/films/angelsinamerica/cast/kushner_interview.html HBO Interview with Tony Kusher]

==Works Cited==

* Garner, Stanton B. ''"Angels in America: The Millennium and Postmodern Memory," in Approaching the Millenium, Essays on Angels in America,'' edited by Deborah R. Geis and Steven F. Kruger, University of Michigan Press, 1987: pp.173-84.

* Glenn, Lane A.. "Angels in America." ''Drama for Students''. Gale, 1999.

* Kruger, Steven F. ''"Identity and Conversion in Angels in America."in Approaching the Millennium: Essays on "Angels in America."'' edited by Deborah R. Geis and Steven F.Kruger, University of Michigan Press, 1997: pp. 151-69.

* Layman, Bruccoli Clark. ''"Tony Kushner,"in Dictionary of Literary Biography,'' Volume 228: Twentienth Century American Dramatists, Second Series. Edited by Christopher J. Wheatley.

* McNutty, Charles. ''"Angels in America: Tony Kushner's Theses on the Philosophy of History."'' Modern Drama 39,no.1 (Spring 1996): 84-96.

* Meisner, Natalie. ''Messing with the Idyllic: The Performance of Femininity in Kushner's Angels in America''. ''The Yale Journal of Criticism'' 16,no.1 (2003): 177-189.

* Quinn, John R. ''"Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America."'' Theatre Journal 48,no.1 (March 1996): 79-90.

* Trilling, Lionel, et. al. ''Bloom’s Period Studies: Modern American Drama''. Chelsea House Publishers, 2005.

* Kushner, Tony. ''Angels in America''. New York: Theatre Communications Group, 1995.

[[Category:Literature]]

Angels in America

2006-04-25T02:21:49Z

Bpoulin: /* Characters */

[[Image:Angels-in-america-04.jpg|thumb|Angels in America]]

==Factual Information==

==Study Guide==

===Part One: Millennium Approaches===
====Act One: Bad News====
#[[Millennium Approaches 1.1|Act One, Scene 1]]
#[[Millennium Approaches 1.2|Act One, Scene 2]]
#[[Millennium Approaches 1.3|Act One, Scene 3]]
#[[Millennium Approaches 1.4|Act One, Scene 4]]
#[[Millennium Approaches 1.5|Act One, Scene 5]]
#[[Millennium Approaches 1.6|Act One, Scene 6]]
#[[Millennium Approaches 1.7|Act One, Scene 7]]
#[[Millennium Approaches 1.8|Act One, Scene 8]]
#[[Millennium Approaches 1.9|Act One, Scene 9]]
====Act Two: In Vitro====
#[[Millennium Approaches 2.1|Act Two, Scene 1]]
#[[Millennium Approaches 2.2|Act Two, Scene 2]]
#[[Millennium Approaches 2.3|Act Two, Scene 3]]
#[[Millennium Approaches 2.4|Act Two, Scene 4]]
#[[Millennium Approaches 2.5|Act Two, Scene 5]]
#[[Millennium Approaches 2.6|Act Two, Scene 6]]
#[[Millennium Approaches 2.7|Act Two, Scene 7]]
#[[Millennium Approaches 2.8|Act Two, Scene 8]]
#[[Millennium Approaches 2.9|Act Two, Scene 9]]
#[[Millennium Approaches 2.10|Act Two, Scene 10]]
====Act Three: Not-Yet-Conscious, Foward Dawning====
#[[Millennium Approaches 3.1|Act Three, Scene 1]]
#[[Millennium Approaches 3.2|Act Three, Scene 2]]
#[[Millennium Approaches 3.3|Act Three, Scene 3]]
#[[Millennium Approaches 3.4|Act Three, Scene 4]]
#[[Millennium Approaches 3.5|Act Three, Scene 5]]
#[[Millennium Approaches 3.6|Act Three, Scene 6]]
#[[Millennium Approaches 3.7|Act Three, Scene 7]]

===Part Two: Perestroika===
====Act One: Spooj====
#[[Perestroika 1.1|Act One, Scene 1]]
#[[Perestroika 1.2|Act One, Scene 2]]
#[[Perestroika 1.3|Act One, Scene 3]]
#[[Perestroika 1.4|Act One, Scene 4]]
#[[Perestroika 1.5|Act One, Scene 5]]
#[[Perestroika 1.6|Act One, Scene 6]]
====Act Two: The Epistle====
#[[Perestroika 2.1|Act Two, Scene 1]]
====Act Three: Borborygmi====
#[[Perestroika 3.1|Act Three, Scene 1]]
#[[Perestroika 3.2|Act Three, Scene 2]]
#[[Perestroika 3.3|Act Three, Scene 3]]
#[[Perestroika 3.4|Act Three, Scene 4]]
#[[Perestroika 3.5|Act Three, Scene 5]]
====Act Four: John Brown's Body====
#[[Perestroika 4.1|Act Four, Scene 1]]
#[[Perestroika 4.2|Act Four, Scene 2]]
#[[Perestroika 4.3|Act Four, Scene 3]]
#[[Perestroika 4.4|Act Four, Scene 4]]
#[[Perestroika 4.5|Act Four, Scene 5]]
#[[Perestroika 4.6|Act Four, Scene 6]]
#[[Perestroika 4.7|Act Four, Scene 7]]
#[[Perestroika 4.8|Act Four, Scene 8]]
#[[Perestroika 4.9|Act Four, Scene 9]]
====Act Five: Heaven, I'm in Heaven====
#[[Perestroika 5.1|Act Five, Scene 1]]
#[[Perestroika 5.2|Act Five, Scene 2]]
#[[Perestroika 5.3|Act Five, Scene 3]]
#[[Perestroika 5.4|Act Five, Scene 4]]
#[[Perestroika 5.5|Act Five, Scene 5]]
#[[Perestroika 5.6|Act Five, Scene 6]]
#[[Perestroika 5.7|Act Five, Scene 7]]
#[[Perestroika 5.8|Act Five, Scene 8]]
#[[Perestroika 5.9|Act Five, Scene 9]]
#[[Perestroika 5.10|Act Five, Scene 10]]
====Epilogue: Bethesda====
#[[Perestroika Epilogue]]

==Characters==

[[The Angel]]

[[Emily]]

[[The Eskimo]]

[[Ethel Rosenberg]]

[[Hannah Porter Pitt]]

[[Harper Amaty Pitt]]

[[Henry]]

[[Joseph Porter Pitt]]

[[Louis Ironson]]

[[The Man in the Park]]

[[Martin Heller]]

[[Mr. Lies]]

[[Norman Arriaga]] AKA: Belize

[[Prior I]]

[[Prior II]]

[[Prior Walter]]

[[Rabbi Isidor Chemelwitz]]

[[Roy Cohn]]

[[Sister Ella Chapter]]

[[The Voice]]

[[The Woman in the South Bronx]]

==Major Themes==
''Angels in America'' is in many ways a play about conversion.The experience of HIV illness is often conceived as involving a conversion of the self, and Prior's discovery that he has AIDS is depicted in part as making him a new person: I'm a lessionnaire". The Angel's visitation to Prior takes the form of a mission of conversion:given a new identity, Prior is like Joseph Smith, to become Prophet of a new dispensation. Indeed, in the course of the play all its characters undergo startling shifts in identity. Hannah is not only physically transplanted to New York but becomes ''"noticeably different--she looks like a New Yorker''. Roy , who clings tenaciously to his professional status a a lawyer,is disbarred just before his death. Harper moves through a period of dysfunction to strike out on her own, choosing "the real San Francisco, on earth," with its "unspeakable beauty" (Kruger 4).

Kushner uses split scenes to make more explicit the contrapuntal relationship between these seemingly disconnected narrative worlds. Roy's meeting with Joe, to discuss the junior attorney's future as a "Roy-Boy" in Washington, occurs alongside the scene in which Louis is sodomized in the Central Park Rambles by a leather clad mama's boy.Louis's mini-symposium at the coffee shop is simultaneous with Prior's medical checkup at an outpatient clinic. Dreams,ghosts, and a flock of dithering, hermaphroditic angels are also used to break through the play's realistic structure, to conjoin seemingly disparate characters, and to reveal the poetic resonances and interconnectedness of everyday life (McNulty 4).

==Major Symbols==

==Influences==

==Study Questions==
#Many of the gay characters struggle with the question of how their sexuality should be, and several come out in different ways during the course of the play. Discuss the meaning of the ''closet'' — are closeted characters different from uncloseted ones? What implications does coming out have for self and community?
#"It's law not justice," Joe tells Louis during their final breakup. Discuss the themes of law and justice as they appear in the play. Is Joe correct that the two are separate entities? Or does the play encourage a more visionary potential of the law?
#Belize stands out as exceptionally compassionate and good, yet at times seems two-dimensional. Which view is correct? Is Belize a virtuous stereotype or a complex moral authority?
#What does the subtitle "A Gay Fantasia on National Themes" suggest? What national themes are evident in the plays? What is the relationship between "gay" and "national"?
#[http://en.wikipedia.org/wiki/Perestroika Perestroika] was the term for Mikhail Gorbachev's policy of political and economic reform in the Soviet Union. In what ways does the play represent the possibility of ''perestroika'' in America? Is this an appropriate title for part two?
#Choosing at least two examples ([http://en.wikipedia.org/wiki/Ethel_Rosenberg The Rosenberg Trial], [http://en.wikipedia.org/wiki/1906_earthquake The San Francisco Earthquake], [http://en.wikipedia.org/wiki/Chernobyl Chernobyl], [http://en.wikipedia.org/wiki/Reagan_administration The Reagan Administration]), analyze the role of history in the plays. Does Kushner more or less depict events as they happened? If not, what dramatic and thematic purposes does he serve by shading the facts?
#As a "fantasia," ''Angels in America'' is a major departure from prevailing theatrical realism, with detours into the religious and the supernatural — angels, ghosts, apparitions, and visions appear over and over. What effect do these fantastical elements have on the play as a whole? Go beyond a simple analysis of plot to consider the implications for characters, messages, and themes.

==Additional Resources==
*[http://www.januarymagazine.com/artcult/angelsinam.html Larger Than Life] - A review of'' Angels in America'' by Tony Buchsbaum.
*[http://www.hbo.com/films/angelsinamerica/cast/kushner_interview.html HBO Interview with Tony Kusher]

==Works Cited==

* Garner, Stanton B. ''"Angels in America: The Millennium and Postmodern Memory," in Approaching the Millenium, Essays on Angels in America,'' edited by Deborah R. Geis and Steven F. Kruger, University of Michigan Press, 1987: pp.173-84.

* Glenn, Lane A.. "Angels in America." ''Drama for Students''. Gale, 1999.

* Kruger, Steven F. ''"Identity and Conversion in Angels in America."in Approaching the Millennium: Essays on "Angels in America."'' edited by Deborah R. Geis and Steven F.Kruger, University of Michigan Press, 1997: pp. 151-69.

* Layman, Bruccoli Clark. ''"Tony Kushner,"in Dictionary of Literary Biography,'' Volume 228: Twentienth Century American Dramatists, Second Series. Edited by Christopher J. Wheatley.

* McNutty, Charles. ''"Angels in America: Tony Kushner's Theses on the Philosophy of History."'' Modern Drama 39,no.1 (Spring 1996): 84-96.

* Meisner, Natalie. ''Messing with the Idyllic: The Performance of Femininity in Kushner's Angels in America''. ''The Yale Journal of Criticism'' 16,no.1 (2003): 177-189.

* Quinn, John R. ''"Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America."'' Theatre Journal 48,no.1 (March 1996): 79-90.

* Trilling, Lionel, et. al. ''Bloom’s Period Studies: Modern American Drama''. Chelsea House Publishers, 2005.

* Kushner, Tony. ''Angels in America''. New York: Theatre Communications Group, 1995.

[[Category:Literature]]

Angels in America

2006-04-25T02:21:28Z

Bpoulin: /* Characters */

[[Image:Angels-in-america-04.jpg|thumb|Angels in America]]

==Factual Information==

==Study Guide==

===Part One: Millennium Approaches===
====Act One: Bad News====
#[[Millennium Approaches 1.1|Act One, Scene 1]]
#[[Millennium Approaches 1.2|Act One, Scene 2]]
#[[Millennium Approaches 1.3|Act One, Scene 3]]
#[[Millennium Approaches 1.4|Act One, Scene 4]]
#[[Millennium Approaches 1.5|Act One, Scene 5]]
#[[Millennium Approaches 1.6|Act One, Scene 6]]
#[[Millennium Approaches 1.7|Act One, Scene 7]]
#[[Millennium Approaches 1.8|Act One, Scene 8]]
#[[Millennium Approaches 1.9|Act One, Scene 9]]
====Act Two: In Vitro====
#[[Millennium Approaches 2.1|Act Two, Scene 1]]
#[[Millennium Approaches 2.2|Act Two, Scene 2]]
#[[Millennium Approaches 2.3|Act Two, Scene 3]]
#[[Millennium Approaches 2.4|Act Two, Scene 4]]
#[[Millennium Approaches 2.5|Act Two, Scene 5]]
#[[Millennium Approaches 2.6|Act Two, Scene 6]]
#[[Millennium Approaches 2.7|Act Two, Scene 7]]
#[[Millennium Approaches 2.8|Act Two, Scene 8]]
#[[Millennium Approaches 2.9|Act Two, Scene 9]]
#[[Millennium Approaches 2.10|Act Two, Scene 10]]
====Act Three: Not-Yet-Conscious, Foward Dawning====
#[[Millennium Approaches 3.1|Act Three, Scene 1]]
#[[Millennium Approaches 3.2|Act Three, Scene 2]]
#[[Millennium Approaches 3.3|Act Three, Scene 3]]
#[[Millennium Approaches 3.4|Act Three, Scene 4]]
#[[Millennium Approaches 3.5|Act Three, Scene 5]]
#[[Millennium Approaches 3.6|Act Three, Scene 6]]
#[[Millennium Approaches 3.7|Act Three, Scene 7]]

===Part Two: Perestroika===
====Act One: Spooj====
#[[Perestroika 1.1|Act One, Scene 1]]
#[[Perestroika 1.2|Act One, Scene 2]]
#[[Perestroika 1.3|Act One, Scene 3]]
#[[Perestroika 1.4|Act One, Scene 4]]
#[[Perestroika 1.5|Act One, Scene 5]]
#[[Perestroika 1.6|Act One, Scene 6]]
====Act Two: The Epistle====
#[[Perestroika 2.1|Act Two, Scene 1]]
====Act Three: Borborygmi====
#[[Perestroika 3.1|Act Three, Scene 1]]
#[[Perestroika 3.2|Act Three, Scene 2]]
#[[Perestroika 3.3|Act Three, Scene 3]]
#[[Perestroika 3.4|Act Three, Scene 4]]
#[[Perestroika 3.5|Act Three, Scene 5]]
====Act Four: John Brown's Body====
#[[Perestroika 4.1|Act Four, Scene 1]]
#[[Perestroika 4.2|Act Four, Scene 2]]
#[[Perestroika 4.3|Act Four, Scene 3]]
#[[Perestroika 4.4|Act Four, Scene 4]]
#[[Perestroika 4.5|Act Four, Scene 5]]
#[[Perestroika 4.6|Act Four, Scene 6]]
#[[Perestroika 4.7|Act Four, Scene 7]]
#[[Perestroika 4.8|Act Four, Scene 8]]
#[[Perestroika 4.9|Act Four, Scene 9]]
====Act Five: Heaven, I'm in Heaven====
#[[Perestroika 5.1|Act Five, Scene 1]]
#[[Perestroika 5.2|Act Five, Scene 2]]
#[[Perestroika 5.3|Act Five, Scene 3]]
#[[Perestroika 5.4|Act Five, Scene 4]]
#[[Perestroika 5.5|Act Five, Scene 5]]
#[[Perestroika 5.6|Act Five, Scene 6]]
#[[Perestroika 5.7|Act Five, Scene 7]]
#[[Perestroika 5.8|Act Five, Scene 8]]
#[[Perestroika 5.9|Act Five, Scene 9]]
#[[Perestroika 5.10|Act Five, Scene 10]]
====Epilogue: Bethesda====
#[[Perestroika Epilogue]]

==Characters==
[[Belize]]

[[The Angel]]

[[Emily]]

[[The Eskimo]]

[[Ethel Rosenberg]]

[[Hannah Porter Pitt]]

[[Harper Amaty Pitt]]

[[Henry]]

[[Joseph Porter Pitt]]

[[Louis Ironson]]

[[The Man in the Park]]

[[Martin Heller]]

[[Mr. Lies]]

[[Norman Arriaga]] AKA: Belize

[[Prior I]]

[[Prior II]]

[[Prior Walter]]

[[Rabbi Isidor Chemelwitz]]

[[Roy Cohn]]

[[Sister Ella Chapter]]

[[The Voice]]

[[The Woman in the South Bronx]]

==Major Themes==
''Angels in America'' is in many ways a play about conversion.The experience of HIV illness is often conceived as involving a conversion of the self, and Prior's discovery that he has AIDS is depicted in part as making him a new person: I'm a lessionnaire". The Angel's visitation to Prior takes the form of a mission of conversion:given a new identity, Prior is like Joseph Smith, to become Prophet of a new dispensation. Indeed, in the course of the play all its characters undergo startling shifts in identity. Hannah is not only physically transplanted to New York but becomes ''"noticeably different--she looks like a New Yorker''. Roy , who clings tenaciously to his professional status a a lawyer,is disbarred just before his death. Harper moves through a period of dysfunction to strike out on her own, choosing "the real San Francisco, on earth," with its "unspeakable beauty" (Kruger 4).

Kushner uses split scenes to make more explicit the contrapuntal relationship between these seemingly disconnected narrative worlds. Roy's meeting with Joe, to discuss the junior attorney's future as a "Roy-Boy" in Washington, occurs alongside the scene in which Louis is sodomized in the Central Park Rambles by a leather clad mama's boy.Louis's mini-symposium at the coffee shop is simultaneous with Prior's medical checkup at an outpatient clinic. Dreams,ghosts, and a flock of dithering, hermaphroditic angels are also used to break through the play's realistic structure, to conjoin seemingly disparate characters, and to reveal the poetic resonances and interconnectedness of everyday life (McNulty 4).

==Major Symbols==

==Influences==

==Study Questions==
#Many of the gay characters struggle with the question of how their sexuality should be, and several come out in different ways during the course of the play. Discuss the meaning of the ''closet'' — are closeted characters different from uncloseted ones? What implications does coming out have for self and community?
#"It's law not justice," Joe tells Louis during their final breakup. Discuss the themes of law and justice as they appear in the play. Is Joe correct that the two are separate entities? Or does the play encourage a more visionary potential of the law?
#Belize stands out as exceptionally compassionate and good, yet at times seems two-dimensional. Which view is correct? Is Belize a virtuous stereotype or a complex moral authority?
#What does the subtitle "A Gay Fantasia on National Themes" suggest? What national themes are evident in the plays? What is the relationship between "gay" and "national"?
#[http://en.wikipedia.org/wiki/Perestroika Perestroika] was the term for Mikhail Gorbachev's policy of political and economic reform in the Soviet Union. In what ways does the play represent the possibility of ''perestroika'' in America? Is this an appropriate title for part two?
#Choosing at least two examples ([http://en.wikipedia.org/wiki/Ethel_Rosenberg The Rosenberg Trial], [http://en.wikipedia.org/wiki/1906_earthquake The San Francisco Earthquake], [http://en.wikipedia.org/wiki/Chernobyl Chernobyl], [http://en.wikipedia.org/wiki/Reagan_administration The Reagan Administration]), analyze the role of history in the plays. Does Kushner more or less depict events as they happened? If not, what dramatic and thematic purposes does he serve by shading the facts?
#As a "fantasia," ''Angels in America'' is a major departure from prevailing theatrical realism, with detours into the religious and the supernatural — angels, ghosts, apparitions, and visions appear over and over. What effect do these fantastical elements have on the play as a whole? Go beyond a simple analysis of plot to consider the implications for characters, messages, and themes.

==Additional Resources==
*[http://www.januarymagazine.com/artcult/angelsinam.html Larger Than Life] - A review of'' Angels in America'' by Tony Buchsbaum.
*[http://www.hbo.com/films/angelsinamerica/cast/kushner_interview.html HBO Interview with Tony Kusher]

==Works Cited==

* Garner, Stanton B. ''"Angels in America: The Millennium and Postmodern Memory," in Approaching the Millenium, Essays on Angels in America,'' edited by Deborah R. Geis and Steven F. Kruger, University of Michigan Press, 1987: pp.173-84.

* Glenn, Lane A.. "Angels in America." ''Drama for Students''. Gale, 1999.

* Kruger, Steven F. ''"Identity and Conversion in Angels in America."in Approaching the Millennium: Essays on "Angels in America."'' edited by Deborah R. Geis and Steven F.Kruger, University of Michigan Press, 1997: pp. 151-69.

* Layman, Bruccoli Clark. ''"Tony Kushner,"in Dictionary of Literary Biography,'' Volume 228: Twentienth Century American Dramatists, Second Series. Edited by Christopher J. Wheatley.

* McNutty, Charles. ''"Angels in America: Tony Kushner's Theses on the Philosophy of History."'' Modern Drama 39,no.1 (Spring 1996): 84-96.

* Meisner, Natalie. ''Messing with the Idyllic: The Performance of Femininity in Kushner's Angels in America''. ''The Yale Journal of Criticism'' 16,no.1 (2003): 177-189.

* Quinn, John R. ''"Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America."'' Theatre Journal 48,no.1 (March 1996): 79-90.

* Trilling, Lionel, et. al. ''Bloom’s Period Studies: Modern American Drama''. Chelsea House Publishers, 2005.

* Kushner, Tony. ''Angels in America''. New York: Theatre Communications Group, 1995.

[[Category:Literature]]

Angels in America

2006-04-25T02:21:08Z

Bpoulin: /* Characters */

[[Image:Angels-in-america-04.jpg|thumb|Angels in America]]

==Factual Information==

==Study Guide==

===Part One: Millennium Approaches===
====Act One: Bad News====
#[[Millennium Approaches 1.1|Act One, Scene 1]]
#[[Millennium Approaches 1.2|Act One, Scene 2]]
#[[Millennium Approaches 1.3|Act One, Scene 3]]
#[[Millennium Approaches 1.4|Act One, Scene 4]]
#[[Millennium Approaches 1.5|Act One, Scene 5]]
#[[Millennium Approaches 1.6|Act One, Scene 6]]
#[[Millennium Approaches 1.7|Act One, Scene 7]]
#[[Millennium Approaches 1.8|Act One, Scene 8]]
#[[Millennium Approaches 1.9|Act One, Scene 9]]
====Act Two: In Vitro====
#[[Millennium Approaches 2.1|Act Two, Scene 1]]
#[[Millennium Approaches 2.2|Act Two, Scene 2]]
#[[Millennium Approaches 2.3|Act Two, Scene 3]]
#[[Millennium Approaches 2.4|Act Two, Scene 4]]
#[[Millennium Approaches 2.5|Act Two, Scene 5]]
#[[Millennium Approaches 2.6|Act Two, Scene 6]]
#[[Millennium Approaches 2.7|Act Two, Scene 7]]
#[[Millennium Approaches 2.8|Act Two, Scene 8]]
#[[Millennium Approaches 2.9|Act Two, Scene 9]]
#[[Millennium Approaches 2.10|Act Two, Scene 10]]
====Act Three: Not-Yet-Conscious, Foward Dawning====
#[[Millennium Approaches 3.1|Act Three, Scene 1]]
#[[Millennium Approaches 3.2|Act Three, Scene 2]]
#[[Millennium Approaches 3.3|Act Three, Scene 3]]
#[[Millennium Approaches 3.4|Act Three, Scene 4]]
#[[Millennium Approaches 3.5|Act Three, Scene 5]]
#[[Millennium Approaches 3.6|Act Three, Scene 6]]
#[[Millennium Approaches 3.7|Act Three, Scene 7]]

===Part Two: Perestroika===
====Act One: Spooj====
#[[Perestroika 1.1|Act One, Scene 1]]
#[[Perestroika 1.2|Act One, Scene 2]]
#[[Perestroika 1.3|Act One, Scene 3]]
#[[Perestroika 1.4|Act One, Scene 4]]
#[[Perestroika 1.5|Act One, Scene 5]]
#[[Perestroika 1.6|Act One, Scene 6]]
====Act Two: The Epistle====
#[[Perestroika 2.1|Act Two, Scene 1]]
====Act Three: Borborygmi====
#[[Perestroika 3.1|Act Three, Scene 1]]
#[[Perestroika 3.2|Act Three, Scene 2]]
#[[Perestroika 3.3|Act Three, Scene 3]]
#[[Perestroika 3.4|Act Three, Scene 4]]
#[[Perestroika 3.5|Act Three, Scene 5]]
====Act Four: John Brown's Body====
#[[Perestroika 4.1|Act Four, Scene 1]]
#[[Perestroika 4.2|Act Four, Scene 2]]
#[[Perestroika 4.3|Act Four, Scene 3]]
#[[Perestroika 4.4|Act Four, Scene 4]]
#[[Perestroika 4.5|Act Four, Scene 5]]
#[[Perestroika 4.6|Act Four, Scene 6]]
#[[Perestroika 4.7|Act Four, Scene 7]]
#[[Perestroika 4.8|Act Four, Scene 8]]
#[[Perestroika 4.9|Act Four, Scene 9]]
====Act Five: Heaven, I'm in Heaven====
#[[Perestroika 5.1|Act Five, Scene 1]]
#[[Perestroika 5.2|Act Five, Scene 2]]
#[[Perestroika 5.3|Act Five, Scene 3]]
#[[Perestroika 5.4|Act Five, Scene 4]]
#[[Perestroika 5.5|Act Five, Scene 5]]
#[[Perestroika 5.6|Act Five, Scene 6]]
#[[Perestroika 5.7|Act Five, Scene 7]]
#[[Perestroika 5.8|Act Five, Scene 8]]
#[[Perestroika 5.9|Act Five, Scene 9]]
#[[Perestroika 5.10|Act Five, Scene 10]]
====Epilogue: Bethesda====
#[[Perestroika Epilogue]]

==Characters==
[[Belize]]
[[The Angel]]

[[Emily]]

[[The Eskimo]]

[[Ethel Rosenberg]]

[[Hannah Porter Pitt]]

[[Harper Amaty Pitt]]

[[Henry]]

[[Joseph Porter Pitt]]

[[Louis Ironson]]

[[The Man in the Park]]

[[Martin Heller]]

[[Mr. Lies]]

[[Norman Arriaga]] AKA: Belize

[[Prior I]]

[[Prior II]]

[[Prior Walter]]

[[Rabbi Isidor Chemelwitz]]

[[Roy Cohn]]

[[Sister Ella Chapter]]

[[The Voice]]

[[The Woman in the South Bronx]]

==Major Themes==
''Angels in America'' is in many ways a play about conversion.The experience of HIV illness is often conceived as involving a conversion of the self, and Prior's discovery that he has AIDS is depicted in part as making him a new person: I'm a lessionnaire". The Angel's visitation to Prior takes the form of a mission of conversion:given a new identity, Prior is like Joseph Smith, to become Prophet of a new dispensation. Indeed, in the course of the play all its characters undergo startling shifts in identity. Hannah is not only physically transplanted to New York but becomes ''"noticeably different--she looks like a New Yorker''. Roy , who clings tenaciously to his professional status a a lawyer,is disbarred just before his death. Harper moves through a period of dysfunction to strike out on her own, choosing "the real San Francisco, on earth," with its "unspeakable beauty" (Kruger 4).

Kushner uses split scenes to make more explicit the contrapuntal relationship between these seemingly disconnected narrative worlds. Roy's meeting with Joe, to discuss the junior attorney's future as a "Roy-Boy" in Washington, occurs alongside the scene in which Louis is sodomized in the Central Park Rambles by a leather clad mama's boy.Louis's mini-symposium at the coffee shop is simultaneous with Prior's medical checkup at an outpatient clinic. Dreams,ghosts, and a flock of dithering, hermaphroditic angels are also used to break through the play's realistic structure, to conjoin seemingly disparate characters, and to reveal the poetic resonances and interconnectedness of everyday life (McNulty 4).

==Major Symbols==

==Influences==

==Study Questions==
#Many of the gay characters struggle with the question of how their sexuality should be, and several come out in different ways during the course of the play. Discuss the meaning of the ''closet'' — are closeted characters different from uncloseted ones? What implications does coming out have for self and community?
#"It's law not justice," Joe tells Louis during their final breakup. Discuss the themes of law and justice as they appear in the play. Is Joe correct that the two are separate entities? Or does the play encourage a more visionary potential of the law?
#Belize stands out as exceptionally compassionate and good, yet at times seems two-dimensional. Which view is correct? Is Belize a virtuous stereotype or a complex moral authority?
#What does the subtitle "A Gay Fantasia on National Themes" suggest? What national themes are evident in the plays? What is the relationship between "gay" and "national"?
#[http://en.wikipedia.org/wiki/Perestroika Perestroika] was the term for Mikhail Gorbachev's policy of political and economic reform in the Soviet Union. In what ways does the play represent the possibility of ''perestroika'' in America? Is this an appropriate title for part two?
#Choosing at least two examples ([http://en.wikipedia.org/wiki/Ethel_Rosenberg The Rosenberg Trial], [http://en.wikipedia.org/wiki/1906_earthquake The San Francisco Earthquake], [http://en.wikipedia.org/wiki/Chernobyl Chernobyl], [http://en.wikipedia.org/wiki/Reagan_administration The Reagan Administration]), analyze the role of history in the plays. Does Kushner more or less depict events as they happened? If not, what dramatic and thematic purposes does he serve by shading the facts?
#As a "fantasia," ''Angels in America'' is a major departure from prevailing theatrical realism, with detours into the religious and the supernatural — angels, ghosts, apparitions, and visions appear over and over. What effect do these fantastical elements have on the play as a whole? Go beyond a simple analysis of plot to consider the implications for characters, messages, and themes.

==Additional Resources==
*[http://www.januarymagazine.com/artcult/angelsinam.html Larger Than Life] - A review of'' Angels in America'' by Tony Buchsbaum.
*[http://www.hbo.com/films/angelsinamerica/cast/kushner_interview.html HBO Interview with Tony Kusher]

==Works Cited==

* Garner, Stanton B. ''"Angels in America: The Millennium and Postmodern Memory," in Approaching the Millenium, Essays on Angels in America,'' edited by Deborah R. Geis and Steven F. Kruger, University of Michigan Press, 1987: pp.173-84.

* Glenn, Lane A.. "Angels in America." ''Drama for Students''. Gale, 1999.

* Kruger, Steven F. ''"Identity and Conversion in Angels in America."in Approaching the Millennium: Essays on "Angels in America."'' edited by Deborah R. Geis and Steven F.Kruger, University of Michigan Press, 1997: pp. 151-69.

* Layman, Bruccoli Clark. ''"Tony Kushner,"in Dictionary of Literary Biography,'' Volume 228: Twentienth Century American Dramatists, Second Series. Edited by Christopher J. Wheatley.

* McNutty, Charles. ''"Angels in America: Tony Kushner's Theses on the Philosophy of History."'' Modern Drama 39,no.1 (Spring 1996): 84-96.

* Meisner, Natalie. ''Messing with the Idyllic: The Performance of Femininity in Kushner's Angels in America''. ''The Yale Journal of Criticism'' 16,no.1 (2003): 177-189.

* Quinn, John R. ''"Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America."'' Theatre Journal 48,no.1 (March 1996): 79-90.

* Trilling, Lionel, et. al. ''Bloom’s Period Studies: Modern American Drama''. Chelsea House Publishers, 2005.

* Kushner, Tony. ''Angels in America''. New York: Theatre Communications Group, 1995.

[[Category:Literature]]

Angels in America

2006-04-25T02:20:40Z

Bpoulin: /* Characters */

Angels in America

2006-04-25T02:20:14Z

Bpoulin: /* Characters */

[[Image:Angels-in-america-04.jpg|thumb|Angels in America]]

==Factual Information==

==Study Guide==

===Part One: Millennium Approaches===
====Act One: Bad News====
#[[Millennium Approaches 1.1|Act One, Scene 1]]
#[[Millennium Approaches 1.2|Act One, Scene 2]]
#[[Millennium Approaches 1.3|Act One, Scene 3]]
#[[Millennium Approaches 1.4|Act One, Scene 4]]
#[[Millennium Approaches 1.5|Act One, Scene 5]]
#[[Millennium Approaches 1.6|Act One, Scene 6]]
#[[Millennium Approaches 1.7|Act One, Scene 7]]
#[[Millennium Approaches 1.8|Act One, Scene 8]]
#[[Millennium Approaches 1.9|Act One, Scene 9]]
====Act Two: In Vitro====
#[[Millennium Approaches 2.1|Act Two, Scene 1]]
#[[Millennium Approaches 2.2|Act Two, Scene 2]]
#[[Millennium Approaches 2.3|Act Two, Scene 3]]
#[[Millennium Approaches 2.4|Act Two, Scene 4]]
#[[Millennium Approaches 2.5|Act Two, Scene 5]]
#[[Millennium Approaches 2.6|Act Two, Scene 6]]
#[[Millennium Approaches 2.7|Act Two, Scene 7]]
#[[Millennium Approaches 2.8|Act Two, Scene 8]]
#[[Millennium Approaches 2.9|Act Two, Scene 9]]
#[[Millennium Approaches 2.10|Act Two, Scene 10]]
====Act Three: Not-Yet-Conscious, Foward Dawning====
#[[Millennium Approaches 3.1|Act Three, Scene 1]]
#[[Millennium Approaches 3.2|Act Three, Scene 2]]
#[[Millennium Approaches 3.3|Act Three, Scene 3]]
#[[Millennium Approaches 3.4|Act Three, Scene 4]]
#[[Millennium Approaches 3.5|Act Three, Scene 5]]
#[[Millennium Approaches 3.6|Act Three, Scene 6]]
#[[Millennium Approaches 3.7|Act Three, Scene 7]]

===Part Two: Perestroika===
====Act One: Spooj====
#[[Perestroika 1.1|Act One, Scene 1]]
#[[Perestroika 1.2|Act One, Scene 2]]
#[[Perestroika 1.3|Act One, Scene 3]]
#[[Perestroika 1.4|Act One, Scene 4]]
#[[Perestroika 1.5|Act One, Scene 5]]
#[[Perestroika 1.6|Act One, Scene 6]]
====Act Two: The Epistle====
#[[Perestroika 2.1|Act Two, Scene 1]]
====Act Three: Borborygmi====
#[[Perestroika 3.1|Act Three, Scene 1]]
#[[Perestroika 3.2|Act Three, Scene 2]]
#[[Perestroika 3.3|Act Three, Scene 3]]
#[[Perestroika 3.4|Act Three, Scene 4]]
#[[Perestroika 3.5|Act Three, Scene 5]]
====Act Four: John Brown's Body====
#[[Perestroika 4.1|Act Four, Scene 1]]
#[[Perestroika 4.2|Act Four, Scene 2]]
#[[Perestroika 4.3|Act Four, Scene 3]]
#[[Perestroika 4.4|Act Four, Scene 4]]
#[[Perestroika 4.5|Act Four, Scene 5]]
#[[Perestroika 4.6|Act Four, Scene 6]]
#[[Perestroika 4.7|Act Four, Scene 7]]
#[[Perestroika 4.8|Act Four, Scene 8]]
#[[Perestroika 4.9|Act Four, Scene 9]]
====Act Five: Heaven, I'm in Heaven====
#[[Perestroika 5.1|Act Five, Scene 1]]
#[[Perestroika 5.2|Act Five, Scene 2]]
#[[Perestroika 5.3|Act Five, Scene 3]]
#[[Perestroika 5.4|Act Five, Scene 4]]
#[[Perestroika 5.5|Act Five, Scene 5]]
#[[Perestroika 5.6|Act Five, Scene 6]]
#[[Perestroika 5.7|Act Five, Scene 7]]
#[[Perestroika 5.8|Act Five, Scene 8]]
#[[Perestroika 5.9|Act Five, Scene 9]]
#[[Perestroika 5.10|Act Five, Scene 10]]
====Epilogue: Bethesda====
#[[Perestroika Epilogue]]

==Characters==
[[Belize]]

[[The Angel]]

[[Emily]]

[[The Eskimo]]

[[Ethel Rosenberg]]

[[Hannah Porter Pitt]]

[[Harper Amaty Pitt]]

[[Henry]]

[[Joseph Porter Pitt]]

[[Louis Ironson]]

[[The Man in the Park]]

[[Martin Heller]]

[[Mr. Lies]]

[[Norman Arriaga]] AKA: Belize

[[Prior I]]

[[Prior II]]

[[Prior Walter]]

[[Rabbi Isidor Chemelwitz]]

[[Roy Cohn]]

[[Sister Ella Chapter]]

[[The Voice]]

[[The Woman in the South Bronx]]

==Major Themes==
''Angels in America'' is in many ways a play about conversion.The experience of HIV illness is often conceived as involving a conversion of the self, and Prior's discovery that he has AIDS is depicted in part as making him a new person: I'm a lessionnaire". The Angel's visitation to Prior takes the form of a mission of conversion:given a new identity, Prior is like Joseph Smith, to become Prophet of a new dispensation. Indeed, in the course of the play all its characters undergo startling shifts in identity. Hannah is not only physically transplanted to New York but becomes ''"noticeably different--she looks like a New Yorker''. Roy , who clings tenaciously to his professional status a a lawyer,is disbarred just before his death. Harper moves through a period of dysfunction to strike out on her own, choosing "the real San Francisco, on earth," with its "unspeakable beauty" (Kruger 4).

Kushner uses split scenes to make more explicit the contrapuntal relationship between these seemingly disconnected narrative worlds. Roy's meeting with Joe, to discuss the junior attorney's future as a "Roy-Boy" in Washington, occurs alongside the scene in which Louis is sodomized in the Central Park Rambles by a leather clad mama's boy.Louis's mini-symposium at the coffee shop is simultaneous with Prior's medical checkup at an outpatient clinic. Dreams,ghosts, and a flock of dithering, hermaphroditic angels are also used to break through the play's realistic structure, to conjoin seemingly disparate characters, and to reveal the poetic resonances and interconnectedness of everyday life (McNulty 4).

==Major Symbols==

==Influences==

==Study Questions==
#Many of the gay characters struggle with the question of how their sexuality should be, and several come out in different ways during the course of the play. Discuss the meaning of the ''closet'' — are closeted characters different from uncloseted ones? What implications does coming out have for self and community?
#"It's law not justice," Joe tells Louis during their final breakup. Discuss the themes of law and justice as they appear in the play. Is Joe correct that the two are separate entities? Or does the play encourage a more visionary potential of the law?
#Belize stands out as exceptionally compassionate and good, yet at times seems two-dimensional. Which view is correct? Is Belize a virtuous stereotype or a complex moral authority?
#What does the subtitle "A Gay Fantasia on National Themes" suggest? What national themes are evident in the plays? What is the relationship between "gay" and "national"?
#[http://en.wikipedia.org/wiki/Perestroika Perestroika] was the term for Mikhail Gorbachev's policy of political and economic reform in the Soviet Union. In what ways does the play represent the possibility of ''perestroika'' in America? Is this an appropriate title for part two?
#Choosing at least two examples ([http://en.wikipedia.org/wiki/Ethel_Rosenberg The Rosenberg Trial], [http://en.wikipedia.org/wiki/1906_earthquake The San Francisco Earthquake], [http://en.wikipedia.org/wiki/Chernobyl Chernobyl], [http://en.wikipedia.org/wiki/Reagan_administration The Reagan Administration]), analyze the role of history in the plays. Does Kushner more or less depict events as they happened? If not, what dramatic and thematic purposes does he serve by shading the facts?
#As a "fantasia," ''Angels in America'' is a major departure from prevailing theatrical realism, with detours into the religious and the supernatural — angels, ghosts, apparitions, and visions appear over and over. What effect do these fantastical elements have on the play as a whole? Go beyond a simple analysis of plot to consider the implications for characters, messages, and themes.

==Additional Resources==
*[http://www.januarymagazine.com/artcult/angelsinam.html Larger Than Life] - A review of'' Angels in America'' by Tony Buchsbaum.
*[http://www.hbo.com/films/angelsinamerica/cast/kushner_interview.html HBO Interview with Tony Kusher]

==Works Cited==

* Garner, Stanton B. ''"Angels in America: The Millennium and Postmodern Memory," in Approaching the Millenium, Essays on Angels in America,'' edited by Deborah R. Geis and Steven F. Kruger, University of Michigan Press, 1987: pp.173-84.

* Glenn, Lane A.. "Angels in America." ''Drama for Students''. Gale, 1999.

* Kruger, Steven F. ''"Identity and Conversion in Angels in America."in Approaching the Millennium: Essays on "Angels in America."'' edited by Deborah R. Geis and Steven F.Kruger, University of Michigan Press, 1997: pp. 151-69.

* Layman, Bruccoli Clark. ''"Tony Kushner,"in Dictionary of Literary Biography,'' Volume 228: Twentienth Century American Dramatists, Second Series. Edited by Christopher J. Wheatley.

* McNutty, Charles. ''"Angels in America: Tony Kushner's Theses on the Philosophy of History."'' Modern Drama 39,no.1 (Spring 1996): 84-96.

* Meisner, Natalie. ''Messing with the Idyllic: The Performance of Femininity in Kushner's Angels in America''. ''The Yale Journal of Criticism'' 16,no.1 (2003): 177-189.

* Quinn, John R. ''"Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America."'' Theatre Journal 48,no.1 (March 1996): 79-90.

* Trilling, Lionel, et. al. ''Bloom’s Period Studies: Modern American Drama''. Chelsea House Publishers, 2005.

* Kushner, Tony. ''Angels in America''. New York: Theatre Communications Group, 1995.

[[Category:Literature]]

Angels in America

2006-04-25T02:19:29Z

Bpoulin: /* Characters */

The Eskimo

2006-04-24T15:45:15Z

Bpoulin:

He is the manifestation of what [[Harper Amaty Pitt]] wants in a husband. She is looking for someone who will support her, provide her with food, shelter, and a baby.
----
[[Angels in America]]

The Woman in the South Bronx

2006-04-24T15:41:02Z

Bpoulin:

As small of a part as she was, she served a purpose. The woman in the south Bronx served as a cross section of what life in New York is like. She is incorporated into the play to show [[Hannah Porter Pitt]] that life is not perfect, not everyone is perfect, and not to under estimate people. When Hannah is lost and looking for the the mormon welcome center, she is shocked at how the homeless woman, who can barely complete a sentence, could possibly know where it is.
----
[[Angels in America]]

Harper Amaty Pitt

2006-04-24T15:31:44Z

Bpoulin:

Harper Pitt is Joseph (Joe) Pitt's wife. She is addicted to [http://www.rocheusa.com/products/valium/ valium] which frequently makes her hallucinate. She has [http://www.websters-online-dictionary.org/definition/english/Ag/Agoraphobia.html agoraphobia], and creates an imaginary friend to avoid bad situations. Prior and Harper cross over into one another's hallucination. During this hallucination, she learns that her husband (Joe) is a homosexual. Harper appearing as a sexually frustrated and politically detached female, learns to manage these weaknesses she has and reshapes her life by leaving Joe and moving away from New York (Meisner 178). Though she appears as a weak character in the beginning of the play, she ends the play as a changed person. According to Bloom, Kushner’s women are stronger than the men (with the exception of Roy Cohn), especially Harper (299).

[[Image:Harper.jpg]]
----
[[Angels in America]]

Mr. Lies

2006-04-24T15:31:25Z

Bpoulin:

[[Harper Amaty Pitt]]'s imaginary friend. He is a travel agent who sold Joe and Harper their plane tickets to Brooklyn, NY. In Harper's mind he is able to take her anywhere she wants to go.

There is an underlying conflict between what Mr. Lies is telling Harper, and what the angel is telling [[Prior Walter]]. [[The Angel]] is saying that progress and moving foward is removing us from God, and if we continue distruction will come. In contrast to that Mr. Lies says "It's the price of rootlessness. Motion sickness. The only cure: to keep moving." This statement makes us question Mr. Lies true agenda.
----
[[Angels in America]]

Henry

2006-04-24T15:30:55Z

Bpoulin:

Roy Cohn's doctor, whom he has been going to since 1958. Diagnoses Roy with [http://www.aidsinfo.nih.gov/ AIDS]. Henry is almost considered a small character in the play. He is Act 1, Scene 9. The scene starts off with information about the virus. Henry tells Roy, "Nobody knows what causes it. And nobody knows how to cure it. The best theory is that we blame a retrovirus, the Human Immunodeficiency Virus. It's presence is made known to us by the useless antibodies which appear in reaction to its entrance into the bloodstrea through a cut, or an orifice. The antibodies are powerless to protect the body against it... (Kushner 48). Henry diagnoses Roy with the disease after removing lesions called [http://www.nlm.nih.gov/medlineplus/ency/article/000661.htm Kaposi's sarcomas].
Henry also tells Roy, "...And you ahve a pronounced swelling of glands in your kneck, groin, and armpits-[http://www.iapm.net/medicalcase_old.htm lymphadnopathy] is another sign. And you have [http://www.dentalcare.com/soap/intermed/oralcan.htm oral candidiasis] and maybe a little more [http://www.davidlnelson.md/Fingernail_fungus.htm fungus] under the fingernails of two digits on your right hand..." (Kushner 48). Henry is a character that is either afraid of Roy, loyal to Roy, or indifferent to Roy. Henry was Roy's doctor from 1958, and he knows that Roy is a gay man in the closet. In one part during the scene Roy gets angry at Henry for telling him that he has a homosexual/drug addict disease. Henry replies, "Roy, you have been seeing me since 1958. Apart from facelifts I have treated you for everything from syphilis...to venereal warts. In your rectum. which you may have gotten from a whore in Dallas, but it wasn't a female whore" (Kushner 50). In the end end Henry writes down that Roy has liver cancer, but he puts Roy on the aids level of the hospital. There is some evidence to suggest that Henry is afrad of Roy, and some evidence to suggest that he can't wait for Roy to die.

After Roy is in the hospital, Belize goes to talk to him. Roy tells Belize that they did his facelifts without without putting him out. Belize replies, "No doctor would agree to do that" (Kushner 157). Roy replies, "I can get anyone to do anything I want..." (Kushner 157). On page fifty in the play Henry admits to doing Roy's facelifts for him. Apparently the doctor that was manipulated by Roy to do a facelift without anestesia was Henry. The evidence that Henry can't wait for Roy to die is circumstantial. When Henry is admitting Roy into the hospital he tells Belize, "Emergency admit, Room 1013. Here are the charts. Start the drip, Gamma G and he'll ned a CTM, radiation in the morning so clear diet and..." (Kushner 155). When Belize is talkint to Roy after Henry leaves he tells him, "This didn't come from me and I don't like you but let me tell you a thing or two: They have you down for radiation tomorrow for the sarcoma lesions, and you don't want to let them do that, because radiation will kill the T-Cells and you don't have any you can afford to lose..." (Kushner 160). Henry is a medical doctor and Belize is a nurse. Why did Henry schedule Roy for radiation if he already knew about the T-cells? Henry is also the one that told Roy about the AZT medicine and the waiting list on page 50. Belize tells Henry about the double blind. "WAtch out for the double blind. They'll want you to sign something that says they can give you M&M's instead of the real drug. You'll die, but they'll get the kind of statistics they can publish in the New England Journal of Medicine..." (Kushner 160). Henry is a doctor and probably knows all about the placebo part of the trials but doesn't tell Roy. Why?

Henry is a character that really spells out the hatred that even professionals have for Roy.
----
[[Angels in America]]

Emily

2006-04-24T15:30:27Z

Bpoulin:

The nurse who looks after [[Prior Walter]] while he is in the hospital. Also does the checkups for Prior after he is released from the hospital. Emily tries to act like she cares however she has too many patients to look after, "Look, I'm sorry, I have a waiting room full of..." She continues on to console him about his mental state, but this shows she can only show so much empathy before she has to move on to the next patient.

----
[[Angels in America]]

Emily

2006-04-24T15:23:28Z

Bpoulin:

Mr. Lies

2006-04-24T15:11:40Z

Bpoulin:

Mr. Lies

2006-04-24T15:10:24Z

Bpoulin:

Harper Pitt's imaginary friend. He is a travel agent who sold Joe and Harper their plane tickets to Brooklyn, NY. In Harper's mind he is able to take her anywhere she wants to go.

There is an underlying conflict between what Mr. Lies is telling Harper, and what the angel is telling [[Prior Walter]]. [[The Angel]] is saying that progress and moving foward is removing us from God, and if we continue distruction will come. In contrast to that Mr. Lies says "It's the price of rootlessness. Motion sickness. The only cure: to keep moving." This statement makes us question Mr. Lies true agenda.

Breakfast at Tiffany's

2006-03-23T23:12:52Z

Bpoulin:

==Factual Information==
A [[novel]]/[[novella]] by American writer [[Truman Capote]] published in 1958 by Random House, Inc., New York.

http://www.kirjasto.sci.fi/capote.htm Truman Capote (1924-1984) - original name Truman Streckfus Persons

==Study Guide==
Below are the thirteen major sections of the [[novella]]. Since Capote did not use chapters, these are indicated by the double line break on the page. There might be more sections, or a more logical means of distinguishing them, but these arbitrary divisions will work for our purposes.

#[[Breakfast at Tiffany's Section 1|Section one (3-14)]]
#[[Breakfast at Tiffany's Section 2|Section two (14-47)]]
#[[Breakfast at Tiffany's Section 3|Section three (47-53)]]
#[[Breakfast at Tiffany's Section 4|Section four (53-55)]]
#[[Breakfast at Tiffany's Section 5|Section five (55-63)]]
#[[Breakfast at Tiffany's Section 6|Section six (63-72)]]
#[[Breakfast at Tiffany's Section 7|Section seven (72-74)]]
#[[Breakfast at Tiffany's Section 8|Section eight (74-85)]]
#[[Breakfast at Tiffany's Section 9|Section nine (85-93)]]
#[[Breakfast at Tiffany's Section 10|Section ten (93-97)]]
#[[Breakfast at Tiffany's Section 11|Section eleven (97-104)]]
#[[Breakfast at Tiffany's Section 12|Section twelve (104-109)]]
#[[Breakfast at Tiffany's Section 13|Section thirteen (109-111)]]

==Characters==
===Paul/Narrator===
An aspiring writer who lives above Holly in his New York apartment. He is affectionately referred to as "Fred" by Holly until her brother dies. After her brother's death, she only refers to him as "Buster". He enjoys drinking bourbon and reading Simenon. He becomes friends with Holly and Joe Bell. He seems to be a passive man, and is suspected of being homosexual due to the lack of sexual nature of his and Holly's relationship. His character closely resembles Capote in his own life. AKA the Capote Narrator.

===Holiday "Holly" Golightly===
True name is Lulamae Barnes. At age 14 she married Doc Golightly near Tulip, Texas. Her parents both passed away from TB, and she was sent to stay with some ‘mean people’ approximately 100 miles east of Tulip. She and her brother, Fred, ran away and would steal in order to eat. After being caught stealing by one of Doc’s daughters, he fell in love with her and asked her to marry him. Though she ran away from him at age 14, she feels she owes a lot to Doc because he gave her confidence in herself. Discovered in California by O.J. Berman, she was given French lessons to rid her of her country accent, and modeled after Margaret Sullavan. Later she posed as niece to Sally Tomato in exchange for money to deliver ‘weather reports’ from Sing Sing to his lawyer.

Just shy of being 19 at the beginning of the story, Holly is described physically as ageless, having short, boy styled hair with a hodgepodge of colors including white blonde and yellow streaks (self colored), and being thin but a clean and healthy look about her. Her cheeks are pink and she has very large mouth and warm, blue, green, and brown eyes, which she hides behind large, prescription sunglasses at all hours. Her nose is turned up at the end, like a pixie. She is always well groomed, with a tendency to dress in good taste, but plainly, in grays and blues which seems to make her shine even more.

Holly believes strongly in being free to roam where ever her whim should take her. Although she resides in apartment 2 of the brownstone, she seems to not have a home. Her inability to keep up with her apartment key, her nameless cat, and the sparse furnishings in her apartment illustrate well her lack of commitment to one place or thing. Even her mail box card is non-committing : Miss Holiday Golightly, Traveling. Although she seems so free spirited, later in the novella we find that she desperately does want to find a place to call her own; a place that makes her feel secure as Tiffany’s does.

Holly smokes Picayunes, a type of cigarette; which irony is found when one realizes in Spanish it means “something of very little value, a trifle.” On occasion she also confessed to smoking marijuana, and seems to be a drinker. She loyally reads tabloids, travel folders, and astrological charts, as well as letters from her brother overseas. She plays the guitar very well (taught to her by Doc) and sings a little. Although her profession is never named, she makes it part of her job to study horses and baseball, and trained herself to like men over 40 who give her considerable amounts of money to visit the powder room. Holly considers herself bisexual.

She has no qualms about lying when it amuses or benefits her. She seems to have loyalties to no one except for her brother, Fred, with whom she fantasizes about having a horse farm near the sea in Mexico. Being rich and famous is in the top of her priorities. The narrator describes her as a lopsided romantic, as well as a crude exhibitionist, a time waster, and an utter fake.

===Joe Bell===
Owner of a quiet bar on Lexington Avenue, referred to as Joe Bell's. Physically described to be small, with fine coarse white hair, a sloping bony face better suited to a tall person, and a complexion which always appears sunburnt. He has a froggy voice. Suspected to be homosexual. Devoted to and loves Holly; took numerous phone messages for her when she was in New York, and through out the years during her absence has constantly looked for her in the streets. He doesn't have an easy nature, self described due to being a bachelor and having a sour stomach, which he regularly self medicates with Tums. He is very difficult to talk to unless you are interested in Holly, ice hockey, Weimaraner dogs, Our Gal Sunday (Soap serial on for 15 years), and Gilbert or Sullivan. He has a froggy voice. He's talented at flower arranging, and keeps fresh flowers in his bar.

===I. Y. Yunioshi===
Mistakenly said to be from Japan by Bell; but truly from California. He is a photographer featured in a magazine called Winchell, and lived in the studio apartment, top floor of brownstone, during Holly’s time living there.

===Negro man from Africa===
Tall, delicate, man, who wore a calico skirt. He is a talented wood sculptor from the S Tribe, in Tococul, East Anglia. He was photographed by Yunioshi on Christmas Day in 1956, depicting him with a "shy, yet vain smile, displaying in his hands an odd wood sculpture," of the head of Holly Golightly (p6). Shared a mat with Holly Golightly in Spring of that same year.

===Madame Sapphia Spanella===
Tenant of brownstone. Described as a husky, coloratura (a singer, usually a soprano, who specializes in music characterized by trills and runs) who goes roller-skating every afternoon in Central Park. She began a petition in the brownstone to evict Holly for being “morally objectionable and the perpetrator of all night gatherings that endanger the safety and sanity of her neighbors (p. 64).”

===Sid Arbuck===
Escorted Holly home the first evening Fred sees her. He picked up the check for five of her friends, whom he did not know, and expected to stay the evening with her. Apparently he did not succeed due to giving her only twenty cents to go to the powder-room.

===Fred===
Holly’s favorite of four brothers. When the family was separated to live with different foster homes after their parents' death, she and Fred were together. He was the only one who would let her hug him when it was cold as a child. Described to be 6’2” and ‘slow’ or ‘stupid’. Had a great love for peanut butter. Was in the 8th grade for three years, then was drafted into the army where he eventually died.

===Sally Tomato===
Looks like a monk with gold teeth to Holly. He speaks very little English. While in Sing Sing prison, he was visited every Thursday by Golightly, and gives her a “weather report”. Revealed to be the notorious Mafia-führer Salvatore "Sally" Tomato. At one time he would hang out at Joe Bell’s often, but didn’t socialize with anyone.

===O.J. Berman===
An agent who met Holly at Santa Anita, CA when she was 15. Smokes cigars, wears Knize cologne. Wears elevated heals, appears to be a midget, freckled, large head, bald, pointed elven ears, Pekingese eyes which are bulged and unpitying. Hair sprouts from his ears and nose, and has hairy hands. He has a jerky metallic rhythm to his speech. Considers himself sensitive, and loves Holly.

===Benny Polan===
Asked Holly to marry him; he spent thousands of dollars sending her to psychiatrists.

===Cecil B. DeMille & Gary Cooper===
Actors starring in The Story of Dr Wassell.

===Rutherford (Rusty) Trawler===
Middle aged, baby faced, fat and appeared to be a spoiled child. Lost both parents in 1908 at age 5, his father a victim of anarchist and his mother died of shock. This made him instantly a millionaire and celebrity. His godfather arrested for sodomy due to him, and has divorced 3 times. He offered to marry Unity Mitford if Hitler didn’t, thus was referred to as a Nazi by many. Attended rallies in Yorkville. Acts as though he should be in diapers, Holly said he should be wearing a skirt. Talks in a whiney voice. Thinks girls are literally dolls. And although believed to be homosexual, he marries Mag Wildwood.

===Mag Wildwood (Margaret Thatcher Fitzhue Wildwood)===
Her home town is Wildwood, Arkansas. Models for Yunioshi for the Bazaar. Described to be extremely thin, flat chested, and over 6 feet tall, with a stutter that she over exaggerates. She lives at the Winslow. All men in her family were soldiers, and there is a statue of her father in Wildwood. She is very proud of her country, and considers herself a warmhearted person. She knits. Temporarily roomed with Holly and was engaged to Jose even though she was often referred to as being a lesbian.

===Jose Ybarra-Jaegar===
A Brazilian with a German mother. He aims to be the president of Brazil. Has a strong latin accent, originally Wildwood’s lover and later became Holly’s. He is described to be intelligent, presentable, and very serious about his work, which is related to the government. He is in Washington 3 days a week. His priorities are maintaining his good name and work, and broke his engagement with Holly due to her arrest and publicity with Sally Tomato.

===Mildred Grossman===
A girl who went to school with the narrator. Described as a top heavy realist with moist hair greasy glasses covering flat eyes. She dissected frogs and went to picket lines, only examined stars to gauge their chemical tonnage. Compared to Holly by the narrator to be a Siamese twin; they would never change because they’d been given their character too soon. (p.58)

===Doc Golightly===
Farmer, horse doctor, and husband of Holly/Lulamae, from Tulip, Texas. He is described to be very provocative, early fifties w/ a hard weathered face, and gray forlorn eyes. He appeared in New York outside the brownstone wearing an old sweat-stained gray hat, a pale blue, cheap summer suit, loose on his lanky frame. He wore brand new brown shoes. He likes to whistle, and has a very countrified drawl. Smells of tobacco and sweat, and keeps a toothpick in his mouth to chew on. He is very forward when speaking with the narrator. He came via Greyhound to see Holly/Lulamae. His first wife passed away on July 4th 1936, and married Holly/Lulamae December 38 when she was just shy of age 14.

===Nellie===
Doc’s oldest daughter, discovered Fred and Lulamae stealing milk and turkey eggs.

==Major Themes==
===Delight in the Unorthodox===
Plimpton writes that the theme in ''Breakfast at Tiffany’s'' is that there are special, strange gifted people in the world and they have to be treated with understanding (175). When something is unorthodox it breaks with convention or tradition. All of the characters in the novella ''Breakfast at Tiffany's'' took delight in unique unorthodox ways. Homosexuality was considered to be unorthodox in the fifties and some people even consider it to be unorthodox today.

Holly Golightly was unorthodox by leaving her husband and by embracing homosexuality like she did. Tison Pugh writes, "...we can see that Holly's friendships with gay men are one sign of her progressive sexual politics" (2). Holly believed in things that were unconventional and unorthodox. Paul Levine writes that,"...Holly too is a hard-headed romantic, a [http://dictionary.reference.com/search?q=pragmatic pragmatic] [http://dictionary.reference.com/search?q=idealist idealist]" (351). Holly definitely took delight in her unorthodox ways. Not only did Holly Golightly take delight in her unorthodox ways, but the narrator also took delight in his unorthodox ways.

The narrator was more content with just being himself than he was with fitting the mold. Holly Golightly says that all straight men either like baseball or horses, and in her apartment there are books about horses and baseball. The narrator goes over to the book shelf and pretends to be interested when he says, "Pretending an interest in horseflesh and How to Tell It gave me sufficiently private opportunity for sizing Holly's friends" (Capote 35). If the narrator had liked baseball he would have picked up a book on baseball instead of pretending he liked horses. In other words the narrator is gay, and he is not really concerned with other's thoughts.

Joe Bell is also a different type of character. He owns a bar, pops tums like candy, and takes care of flowers. Joe Bell's hobbies are hockey players, [http://www.bellaonline.com/articles/art4814.asp weimaraner dogs], and [http://math.boisestate.edu/GaS/ Gilbert and Sullivan] (Capote 4). The narrator even goes on to say that Joe Bell is related to either Gilbert or Sullivan. "Since Sullivan is rumored to be have been a homosexual...the passage slyly hints that the bartender is part of Sullivan's family, a fellow gay man to his beloved composer" (Tison 2). Joe Bell also "arranges flowers with matronly care" (Capote 5). In today's society a masculine straight man does not arrange flowers with matronly care. All three of the main characters took delight in their unorthodox ways.

===Quest for Home/Belonging===

Holly Golightly is a pure example of someone that is untameable. It's no wonder how she got that way. Doc Golightly, her husband, says, "Story was: their mother died of TB ([http://www.cdc.gov/nchstp/tb/faqs/qa.htm Tuberculosis]), and their papa done the same - and all the churren, a whole raft of 'em, they been sent off to live with different mean people" (Capote 68). From that line it is obvious that Holly Golightly never really had a home. She appears to spend the rest of her time trying to find one.

One home that Holly has is at Tiffany's. Holly says, "It calms me down right away, the quietness and proud look of it; nothing bad could happen to you there, not with those kind of men in their nice suits, and that lovely smell of silver and alligator wallets. If I could find a real life place that made me feel like Tiffany's, then I'd buy some furniture and give the cat a name" (Capote 40). Matthew Cash states that this scene shows Holly's innocence and search for a home (3).

Holly spends much of her time trying to belong to something or someone while at the same time trying not to. Perhaps she had abandonment issues. "On the first night that Holly came to visit the narrator in his appartment she ends up sleeping beside him, showing that Holly needs someone who is comforting instead of lusting toward her" (Cash 4). Perhaps Holly just needed to feel a love that didn't require anything back of her. Holly was human and she desired love, but at the same time she retreated when the narrator asked her why she was crying. Holly jumps up and heads for the window while hollering, "I hate snoops" (Capote 27). Holly had a desire for a home and a place to belong, but she appeared to be very leary of it all.

===Never Love a Wild Thing===

Holly Golightly considered herself to be wild. She gives Joe Bell this speach and she says, "Never love a wild thing, Mr. Bell...That was Doc's mistake. He was always lugging home wild things. A hawk with a hurt wing. One time it was a full-grown bobcat with a broken leg. But you can't give your heart to a wild thing: the more you do, the stronger they get. Until they're strong enough to run into the woods. Or fly into a tree. then a taller tree. Then the sky. That's how you'll end up, Mr. Bell. If you let yourself love a wild thing. You'll end up looking at the sky" (Capote 74).

Holly goes on to say, "Good luck: and believe me, dearest Doc - it's better to look at the sky than live there. Such an empty place; so vague. Just a country where the thunder goes and things disappear" (Capote 74). In one sentence she is telling Joe Bell not to love a wild thing and in the next she is admitting how unhappy she is. In the beginning of the story Joe Bell admits his love for Holly when he says, "Sure I loved her. But it wasn't that I wanted to touch her" (Capote 9). Maybe Holly knew about Joe Bell's love and was trying to warn him not to love her. While Holly admitted that she was wild she also admitted that she was unhappy.

===Joy/Difficulty of Traveling===

Holly Golightly is a traveler who is searching for somewhere to call home. She even goes so far as to say:"...home is where you feel at home. I'm still looking," she says (Capote 102). Everything she does throughout the book is based on that very way she looks at life (Cash). "I'll never get used to anything. Anybody that does, they might as well be dead" (Capote 19).

Holly only seems to find happiness for a short time and it is quickly followed by something that drives her away. She has bad memories of almost every step of the way. From her marriage to Doc in Texas to her many male callers in New York, there is always something that drives at her.

Holly's age, inexperience, and lack of direction may contribute to her inability to be happy. Her age is revealed by the narrarator:"I thought her anywhere between sixteen and thirty; as it turned out, she was shy two months of her nineteenth birthday."(Capote 12-13). Her inexperience and young age has her unsure what she really wants out of her life. Holly would finally come to realization after losing her no-name cat. And even at the end of the novel, she is still in search of home.

==Major Symbols==
===Tiffany & Co. ===

Tiffany's is a jewelry store Holly feels is the best place for her to calm down and feel at home. She explains it as the cure for her "mean reds" to the narrarator (Cash):"What I've found does the most good is just to get into a taxi and go to Tiffany's," Holly says (Capote 40).

Tiffany's also symbolizes what Holly is searching for: a place she feels she belongs. A place she feels no harm can be done to her and she feels safe around men in particular."It calms me down right away, the quietness and the proud look of it; nothing very bad could happen to you there, not with those kind men in their nice suits, and that lovely smell of silver and alligator wallets" (Capote 40).

===The "Mean Reds"===

The "mean reds" was a reoccuring problem Holly has. The narrarator first associated the "mean reds" with the blues (Cash). Holly is quick to denounce that theory. "No, the blues are because you're getting fat or maybe it's been raining too long. You're sad, that's all. But the mean reds are horrible. You're afraid and you sweat like hell, but you don't know what you're afraid of. Except something bad is going to happen, only you don't know what it is"(Capote 40). The narrarator makes another attempt to give an explanation by calling it angst, claiming everyone feels that same way (Cash). Holly takes the suggestion of Rusty Trawler and smokes marijuana and took an aspirin.

===The Fat Lady===
The fat lady was the female detective that wore the civilian clothes. The fat lady hair was " thick yellow braids roped around her head." The fat lady detective talk in a baby voice. She told Holly "come along, sister." You're going places." At this time, Holly did not want the fat lady hands touching her. Holly said: "Get them cotton-pickin hands off of me, you dreary,driveling old bull-dyke." This made the fat lady angry, so she slapped Holly so damned hard across her face,her head spinned to her over shoulder. As the detectives started to escort Holly down the stairs, she yells "please feed the cat." Holly refers to death as the fat lady, like the old saying "it ain't over till the fat lady sings".

===The Cat===
Although Holly tries to act like the cat doesn't really matter to her as a possession, she really does feel that it belongs to her. Holly never really admits this fact until she leaves the cat, then can't find it. "Oh Jesus God. we did belong to each other. He was mine." (Capote 109) The cat is one of the few things that holly truly feels is hers. Every time the cat appears in the story he seems to be the exact opposite of Holly, or acting in a complete opposite manner as Holly. "Her at losing her nameless, battered "slob" of a cat, far from being a sentimental excess on her part (and the narrator's), is an intensely serious expression of profound fear of relinquishment." (Nance) Holly shares a feeling of not belonging and acting on a moments notice with the cat. "Like the ugly tom cat she picks up by the river one day, her existence is improvised" (Hassan) Holly finally shows her fear of "perpetual homelessness" (Hassan) when she drops the cat off in Spanish Harlem, and after not being able to find it says: “I’m very scared, Buster. Yes, at last. Because it could go on forever. Not knowing what's yours until you've thrown it away." (Capote 109)

===The Bird Cage===

The birdcage first appears in the story wile the narrator is walking down Third Avenue and sees it in the window of an antique store. The cage is described as "a mosque of minarets and bamboo rooms yearning to be filled with talkative parrots." (Capote 15) The narrator likes the cage but doesn’t purchase it because it costs three hundred and fifty dollars. Wile out on Third Avenue with Holly one afternoon the narrator remembers the birdcage and decides to show it to her where upon seeing it Holly "enjoyed the point, its fantasy", and said "But its still a cage." (Capote 55) The narrator is at Holly's apartment for Christmas when she presents him with the cage. "But holly! It's dreadful!" "I couldn't agree more; but I thought you wanted it." The narrator views the cage is dreadful because Holly spent the great amount of money on it as she did, but Holly views it in that manner due to what a cage symbolizes. Holly is a "free spirit" and tries to stay away from the caging of anything either in idea or physically caging something. An example of this would be when Holly is speaking to the narrator and says "A person ought to be able to marry men or women or-listen, if you came to me and said you wanted to hitch up with Man o' War, I'd respect your feeling" (Capote 83) Upon giving the narrator the cage Holly makes him promise to "never put a living thing in it". (Capote 59) In return the narrator gives Holly a Saint Christopher's Metal from Tiffany's.

==Influences==
The somewhat "curious" title Breakfast at Tiffany's was inspired by a man from out-of-town that Capote heard about, who was "ignorant of New York" (Plimpton 161). As Plimpton asserts, when the man was asked to pick from the best restaurants in New York where to eat breakfast, he replied: "Well, let's have breakfast at Tiffany's," which was the only place he knew of (161).

Capote's life had a great deal of influence on the novella. Capote was a teenager when he began writing books, and the narrator also was a writer in his teens. Capote once said, "I always knew that I wanted to be a writer and that I wanted to be rich and famous" (Krebs). The narrator wanted to be a success early in life, and Capote expressed himself in the same sense. He knew "[he] had to be successful, and [he] had to be successful early" (Krebs). Capote turned into an alcholic because of his drinking at a young age. The narrator was also a heavy drinker. Holly and the narrator would go to the bar and drink many times. Capote was also a homosexual; his partner was Jack Dunphy [http://www.axiongraphicx.com/Capote.html]. In the novella, when the narrator is looking through Holly's book collection, he realizes that she only owns books about horses and baseball. The narrator has no interest in either subjuct. Holly mentions her love for horses and explains to the narrator how she does not like baseball at all, but she reads books about it for research purposes. Holly informs the narrator that if a man does not like either subject then she is in trouble any way because he does not like girls. The narrator's life in the novella is almost a mirror image of Capote.

In real life, Truman Capote's mother's name was Lillie Mae [http://www.kirjasto.sci.fi/capote.htm] which is very similar to the real name he chose to give Holly of Lulamae. It is also interesting that the narrator in the novella is an aspiring writer just as Capote had been when he moved to New York and he also is given the same birthday as Capote which is September 30th.

Some have said that Capote's works were possibly influenced by the works of Edgar Allan Poe, but looking closely to Capote's own life experiences, this novella seems to be solely influenced by his own life with a bit of a flare. He was inspired by the women in his life to create Holly Golightly's character. As Clarke asserts, Capote modeled “his scatty central character...on half a dozen of the charming young beauties he had squired around Manhattan during and after World War II” (64). One woman who likes to take credit for inspiring Holly's character is Doris Lilly, who was like a sister to Capote in his youth. She actually lived in a “brownstone walk-up on East Seventy-eighth Street, exactly [like] the one in the book,” and says “there’s an awful lot of [her] in Holly Golightly” (Lilly 164). Also, Clarke states that "the one Holly most resembles, in spirit if not in body, is her creator. She not only shares his philosophy, but his fears and anxieties as well." (Clarke 313)

One more connection that can be made to see how Capote's own life was a big influence in the writing of the novel is the homosexual references in the book. Capote was a homosexual, one of the first well known people to actually come out and let people know he was a homosexual. This is very substantial, because in 50's and 60's it was not something that people talked about, it was taboo.

==Other Novella's and Novels==
*Summer Crossing
*Other Voices, Other Rooms
*The Grass Harp
*The Muses Are Heard
*Breakfast at Tiffany's
*The Thanksgiving Visitor
*In Cold Blood
==Aditional Reading==
* Miriam
* A Christmas Memory
* Mojave
* La Cote Basque
* Unspoiled Monsters
* Kate McCloud
* Music for Chameleons
==Time Line==
* 1943 Summer Crossing
* 1945 "Miriam"
* 1948 Other Voices, Other Rooms
* 1949 A Tree of Night and Other Stories
* 1951 The Grass Harp - Novel
* 1952 The Grass Harp - Play
* 1953 Beat the Devil
* 1954 House of Flowers
* 1956 The Muses Are Heard
* 1956 "A Christmas Memory"
* 1957 "The Duke in His Domain"
* 1958 Breakfast at Tiffany's
* 1960 The Innocents
* 1963 The Collected Writings of Truman Capote
* 1966 In Cold Blood
* 1968 The Thanksgiving Visitor
* 1971 The Great Gatsby
* 1975 "Mojave" and "La Cote Basque, 1965"
* 1976 "Unspoiled Monsters" and "Kate McCloud"
* 1980 Music for Chameleons
* 1986 Answered Prayers: The Unfinished Novel
* 2005 Summer Crossing - * Previously unpublished Novel
==Awards==
* 1946 O. Henry Memorial Award

==Additional Resources==
*Capote, Truman. The Complete Stories of Truman Capote. New York: The Random House Publishing Group, 2004.
*Garsen, Helen S. Truman Capote. New York: Frederick Ungar Publishing Company, 1980.
*Goyen, William. "That Old Valentine Maker." New York Times Book Review. November 1958:5,38.
*Cash, Mathew. [http://www-personal.umich.edu/~bcash/criticalanalysis.html The Breakfast at Tiffany's Homepage - A Critical Analysis]. 1996. ''University of Michigan''. 14 March 2006.

==Works Cited==
*Capote, Truman. ''Breakfast at Tiffany's''. New York: Vintage Books - A division of Random House, 1993.
*Cash, Matthew. ''The Breakfast at Tiffany's Homepage''. 1996. University of Michigan. 14 March 2006. <www.personal.umich.edu/~bcash/criticalanalysis.html>
*Clarke, Gerald. ''Capote: A Biography''. New York: Simon and Schuster, 1988.
*Clarke, Gerald. ''Too Brief a Treat: The Letters of Truman Capote''. New York: Random House, 2004.
*Grzesiak, Rich. "My Significant Other, Truman Capote". [http://axiongrafix.com/capote.html]. 1987.
*Hassan, Ihab H. "Wisconsin Studies in Contemporary Literature". Vol.1, No.2. Spring, 1960. pp.5-21
*Krebs, Albin. "Truman Capote Is Dead at 59; Novelist of Style and Clarity". The New York Times on the web. 28 Aug.1984 <www.nytimes.com/books/97/12/28/home/capote-obit.html>
*Levine, Paul. ''Book Review of Breakfeast at Tiffany's/Levine''. The Georgia Review.3/(1959): 350-352
*Lilly, Doris. ''Truman Capote: In Which Various Friends, Enemies, Acquaintances, and Detractors Recall His Turbulent Career''. Ed. George Plimpton. New York: Doubleday Dell Publishing Group, 1997.
*Nance, Willaim L."The Worlds of Truman Capote, Stein and Day" 1970.Contemporary Literary Criticism.
*Plimpton, George. ''Truman Capote: In Which Various Friends, Enemies, Acquaintances,and Detractors Recall His Turbulent Career''. New York: Doubleday Dell Publishing Group. 1997.
*Pugh, Tison. ''Capote's Breakfast at Tiffany's''. ''The Explicator''. 6/(2002): 51-53

[[Category:Literature]]

Breakfast at Tiffany's Section 10

2006-03-23T03:02:23Z

Bpoulin: /* Summary */

== Summary ==

[[Image:Tiffany\'s.jpg|thumb|Tiffany & Co. Storefront]]Joe Bell presents the newspapers to the narrator regarding the arrest of Holly Golightly. He immediately thinks that Madame Spanella is to blame for the arrest, as she is always reporting complaints about Holly. Joe Bell is enraged when the narrator actually confesses that he, too, thinks Holly was involved in the drug smuggling. He later admits that Holly may have been unknowingly involved. The newpaper article lists the accounts against Holly. They both go back to Joe's bar to make phone calls to get Holly released from jail.

First, they attempt to contact O.J. Berman, but he does not want to be disturbed because he is receiving a massage. Next, they call Mr. Trawler. He is away to dinner and the butler asks if he could take a message. Joe Bell shouts into the receiver that "this is urgent, mister. Life or death" (95). [[Image:Hepburn-audrey-photo-audrey-hepburn-6201911.jpg|thumb|left|Audrey Hepburn in Breakfast at Tiffany's]]They try to leave a message with Mag Wildwood, but they are unsuccessful. Mag Wildwood begins to talk about how she and her husband would sue if anyone attempts to connect their names with Holly. The narrator hangs up before Mag Wildwood could finish her coversation. The narrator finally contacts Mr. Berman. By that hour, Berman is already aware of the news and pays a lawyer from New York to get Holly out of jail. Berman told Iggy Fitelstein, the lawyer, to take care of the situation, but to keep his name anonymous. Berman also calls Holly "crazy. A phony. But a ''real'' phony, you know?" (95). Berman told the narrator not to worry that Iggy will have her out that night.

Holly wasn't out that night or the next morning when the narrator goes to feed her cat. The narrator doesn't have a key, so he enters the apartment through a window. He finds the cat in the bedroom and a man there packing a suitcase. The narrator and the man thought of each other as a burglar. As the narrator stares at the man, he realizes that the man resembles Jose. The man turns out to be Jose's cousin. The narrator asks, "Where is Jose?" (96). The cousin repeats the question and says, "She is waiting," (96) and returns to what he is doing. Before the cousin leaves, he presents a letter to the narrator that reads "''For Miss H.Golightly-Courtesy Bearer''" (97). The narrator sits on Holly's bed and hugs her cat.

== Notes ==

*'''[http://www.m-w.com/dictionary/carouse carouse]''' (93) - to drink liquor deeply or freely; to engage in dissolute behavior. Joe Bell shows up to the bar carousing and too madly to speak clearly.

*'''[http://www.m-w.com/dictionary/shyster shysters]''' (94) - one who is professionally unscrupulous especially in the practice of law or politics. Joe Bell describes the lawyers that he intends to hire as shysters.

*'''[http://www.m-w/dictionary/tumbler tumbler]''' (94) - a glass cup usually used for holding aolcohol. The narrator has a brandy tumbler full of coins in order to make telephone calls with regards to help Holly get out of jail.

*'''[http://en.wikipedia.org/wiki/Phony Phony]''' (95) - a deception made for personal gain. O.J. Berman thinks Holly is a real phony.

*'''[http://en.wikipedia.org/wiki/iota iota]''' (97) - The word iota is used in English to express a very small amount, because iota is the smallest letter in the Greek alphabetThe narrator sits on Holly's bed and feels very bad for her situation.

== Commentary ==

Joe Bell goes to the narrator's apartment hysterical about what he read in the newspaper. He arrives unable to make complete sentences. He knows that Holly Golightly's accusations involve some illegal business. He is also aware that she is in jail, and that he has to do something to help her. He presents the newspaper to the narrator so he can read the counts.

Joe Bell asks the narrator if he thinks she could commit such an act. The narrator states: "But there, she did do it. Carry messages and whatnot---" (Capote 94). Joe doesn't expect that type of response from the narrator: "He popped a Tums in his mouth and, glaring at me, chewed it as though he were crunching my bones" (Capote 94).
Truman loved to cause turbulence and stir the pot.(Smith 426) Joe Bell and the narrator truly care for Holly, but seem to clash with each other at the same time. They are committed to making sure she is released from jail. They immediately begin calling people that has money to bail Holly out as soon as possible. That is probably why they began with O.J. Berman.

When trying to contact some of Holly's friends for help the narrator begins to realize what Holly said might be true, "Perhaps she'd been right when she said she had none, not really." (Capote 94).

Truman Capote had two childhood friends while growing up. They were Nelle Harper Lee and (Lula) Carson McCullers (1917-1967) - original name Lula Carson Smith. http://www.kirjasto.sci.fi/capote.htm

== Study Questions ==

1. With what does Joe Bell present the narrator when he arrives at his apartment?

2. Why isn't Jose able to be reached to get Holly out of jail?

3. Why is O.J. Berman unable to come to the telephone the first time the narrator calls?

4. What is the name of the lawyer O.J. Berman contacts to get Holly out of jail?

5. What special request does O.J. Berman give the lawyer?

6. How does the narrator enter into Holly's apartment to feed the cat?

7. Who is already in the apartment when the narrator arrives?

8. What is scribbled on the letter that the cousin presents to the narrator?

== External Resources ==
* [http://www.capotebio.com/ Biography on Truman Capote]

* [http://www.ansoniadesign.com/capote/ A Black & White Tribute to Truman Capote]

==Works Cited ==
* Capote, Truman. ''Breakfast at Tiffany's''. New York: Vintage Books - A division of Random House, 1993.

* Pugh, Tsion. "Capote's Breakfast at Tiffany's". Capote's Breakfast at Tiffany's Fall 2002: 51-53.

* Smith, Liz. "My Friend Truman Capote". Harper's Bazaar March 2006: 426-428.

[[Breakfast at Tiffany's Section 9|Section nine]] | [[Breakfast at Tiffany's]] | [[Breakfast at Tiffany's Section 11|Section eleven]]

[[Category:Literature]]

File:Hepburn-audrey-photo-audrey-hepburn-6201911.jpg

2006-03-23T02:59:10Z

Bpoulin: Audrey Hepburn in front of a Tiffany's sign

Audrey Hepburn in front of a Tiffany's sign

Breakfast at Tiffany's Section 4

2006-03-23T02:48:38Z

Bpoulin: /* Summary */

==Summary==

[[Image:Slice-capote-movie-oct-05.jpg|thumb|Philip Seymour Hoffman plays Truman Capote in 2005 sony film]]On a Monday in October 1943, the narrator and Holly Golightly start off their day by drinking Manhattans and champagne cocktails at Joe Bell's bar. Later, they walk down to Fifth Avenue to watch a military parade passing by. The narrator and Holly eat lunch in Central Park, and walk around the park spending a lot of time at an old boathouse site on the lake. The narrator and Holly avoid the zoo because Holly dislikes seeing anything in a cage.

The narrator tells Holly stories of his difficult childhood. Holly talks about hers too, telling the stories of her happy childhood, at which point the narrator asks if her stories are true: did she really run away at fourteen? Holly responds by rubbing her nose and stating that the stories has been made up, only because she did not want to seem like she was competing with the narrator over who had a worse childhood. The narrator and Holly stop discussing their childhood, and Holly wants to go looking for peanut butter for her brother Fred. [[Image:Holly Golightly.jpg|thumb|left|Audrey Hepburn as Holly Golightly]]The narrator and Holly spend the rest of the afternoon going through a multitude of stores searching for peanut butter - which due to the war is hard to find - and end up with only six jars.

As the narrator and Holly pass a Woolworth’s, Holly pulls the narrator into the store and talks him into stealing Halloween masks. The two of them put on masks while the sales lady is occupied, and walk out. They run a few blocks away, not because they are being chased, but from the exhilaration of stealing. Holly tells the narrator how she had to steal in the past just to get by, and how she likes to steal things once in a while just to stay in practice.

==Notes==

*'''Delicatessen''' (55) — a type of food store. A North American delicatessen is often referred to, informally or affectionately, as a deli.(http://en.wikipedia.org/wiki/Delicatessen). A delicatessen on Third Avenue is where the narrator and Holly Golightly buy the last of six jars of peanut butter.
*'''Fifth Avenue''' (53) — a major thoroughfare in the center of the boroughs of Manhattan and the Bronx in New York City, USA; a symbol of wealthy New York (http://en.wikipedia.org/wiki/Fifth_Avenue). The narrator and Holly Golightly wander to Fifth Avenue where a parade is going on.
*'''Manhattans''' (53) — a cocktail consisting of vermouth, whiskey, and sometimes a dash of bitters. (http://www.m-w.com/dictionary/manhattan). The narrator and Holly enjoy Manhattans one day at Joe Bell's bar.
*'''Peanut butter''' (54) — a food product usually consisting of roasted and ground peanuts, usually salted and sometimes sweetened. (http://en.wikipedia.org/wiki/Peanut_butter). Holly decides to send her brother Fred six jars of peanut butter that he loved.
*'''Woolworth's''' (55) — an extensive chain of five-and-ten-cent stores throughout the U.S. (http://www.m-w.com/dictionary/woolworth). As the narrator and Holly pass a Woolworth's store, she asks the narrator to steal something with her. They leave the store wearing stolen Halloween masks.

==Commentary==
Holly's dislike for cages emulates her own feelings that she doesn't like to be caged, or tied down. Holly's indirect reference to herself as a wild thing (74) is mirrored thought the novel. She never names the cat because she says she doesn't own it, she refuses to call the narrator by his real name, instead she insists on calling him Fred. All of these things are because she doesn't want to belong to anyone or anything. She wants to remain an independent spirit. What she doesn't realize, is that even with her attempts to keep herself distanced from everyone, she still has an impact on their life, she is still part of their life.

==Study Questions==
#Why do the narrator and Holly avoid the zoo?
#Holly had been on her own since what age?
#With whom is the saleslady occupied when the narrator and Holly enter the store?
#What do they steal?
#What does Holly say that she should send Fred?
#This section takes place during what season?
#How do they start the day off?
#Why did Holly say that she stole every now and then?

==External Resources==
* [http://www.capotebio.com/ Biography on Truman Capote]

* [http://www.ansoniadesign.com/capote/ A Black & White Tribute to Truman Capote]

==Works Cited==
* Capote, Truman. ''Breakfast at Tiffany's''. New York: Vintage Books - A division of Random House, 1993.

* Pugh, Tsion. "Capote's Breakfast at Tiffany's". Capote's Breakfast at Tiffany's Fall 2002: 51-53.

* Smith, Liz. "My Friend Truman Capote". Harper's Bazaar March 2006: 426-428.

----
[[Breakfast at Tiffany's Section 3|Section three]] | [[Breakfast at Tiffany's]] | [[Breakfast at Tiffany's Section 5|Section five]]
[[Category:Literature]]

Breakfast at Tiffany's Section 4

2006-03-23T02:46:01Z

Bpoulin: /* Summary */

==Summary==

[[Image:Slice-capote-movie-oct-05.jpg|thumb|Philip Seymour Hoffman playes Truman Capote in 2005 sony film]]On a Monday in October 1943, the narrator and Holly Golightly start off their day by drinking Manhattans and champagne cocktails at Joe Bell's bar. Later, they walk down to Fifth Avenue to watch a military parade passing by. The narrator and Holly eat lunch in Central Park, and walk around the park spending a lot of time at an old boathouse site on the lake. The narrator and Holly avoid the zoo because Holly dislikes seeing anything in a cage.

The narrator tells Holly stories of his difficult childhood. Holly talks about hers too, telling the stories of her happy childhood, at which point the narrator asks if her stories are true: did she really run away at fourteen? Holly responds by rubbing her nose and stating that the stories has been made up, only because she did not want to seem like she was competing with the narrator over who had a worse childhood. The narrator and Holly stop discussing their childhood, and Holly wants to go looking for peanut butter for her brother Fred. [[Image:Holly Golightly.jpg|thumb|left|Audrey Hepburn as Holly Golightly]]The narrator and Holly spend the rest of the afternoon going through a multitude of stores searching for peanut butter - which due to the war is hard to find - and end up with only six jars.

As the narrator and Holly pass a Woolworth’s, Holly pulls the narrator into the store and talks him into stealing Halloween masks. The two of them put on masks while the sales lady is occupied, and walk out. They run a few blocks away, not because they are being chased, but from the exhilaration of stealing. Holly tells the narrator how she had to steal in the past just to get by, and how she likes to steal things once in a while just to stay in practice.

==Notes==

*'''Delicatessen''' (55) — a type of food store. A North American delicatessen is often referred to, informally or affectionately, as a deli.(http://en.wikipedia.org/wiki/Delicatessen). A delicatessen on Third Avenue is where the narrator and Holly Golightly buy the last of six jars of peanut butter.
*'''Fifth Avenue''' (53) — a major thoroughfare in the center of the boroughs of Manhattan and the Bronx in New York City, USA; a symbol of wealthy New York (http://en.wikipedia.org/wiki/Fifth_Avenue). The narrator and Holly Golightly wander to Fifth Avenue where a parade is going on.
*'''Manhattans''' (53) — a cocktail consisting of vermouth, whiskey, and sometimes a dash of bitters. (http://www.m-w.com/dictionary/manhattan). The narrator and Holly enjoy Manhattans one day at Joe Bell's bar.
*'''Peanut butter''' (54) — a food product usually consisting of roasted and ground peanuts, usually salted and sometimes sweetened. (http://en.wikipedia.org/wiki/Peanut_butter). Holly decides to send her brother Fred six jars of peanut butter that he loved.
*'''Woolworth's''' (55) — an extensive chain of five-and-ten-cent stores throughout the U.S. (http://www.m-w.com/dictionary/woolworth). As the narrator and Holly pass a Woolworth's store, she asks the narrator to steal something with her. They leave the store wearing stolen Halloween masks.

==Commentary==
Holly's dislike for cages emulates her own feelings that she doesn't like to be caged, or tied down. Holly's indirect reference to herself as a wild thing (74) is mirrored thought the novel. She never names the cat because she says she doesn't own it, she refuses to call the narrator by his real name, instead she insists on calling him Fred. All of these things are because she doesn't want to belong to anyone or anything. She wants to remain an independent spirit. What she doesn't realize, is that even with her attempts to keep herself distanced from everyone, she still has an impact on their life, she is still part of their life.

==Study Questions==
#Why do the narrator and Holly avoid the zoo?
#Holly had been on her own since what age?
#With whom is the saleslady occupied when the narrator and Holly enter the store?
#What do they steal?
#What does Holly say that she should send Fred?
#This section takes place during what season?
#How do they start the day off?
#Why did Holly say that she stole every now and then?

==External Resources==
* [http://www.capotebio.com/ Biography on Truman Capote]

* [http://www.ansoniadesign.com/capote/ A Black & White Tribute to Truman Capote]

==Works Cited==
* Capote, Truman. ''Breakfast at Tiffany's''. New York: Vintage Books - A division of Random House, 1993.

* Pugh, Tsion. "Capote's Breakfast at Tiffany's". Capote's Breakfast at Tiffany's Fall 2002: 51-53.

* Smith, Liz. "My Friend Truman Capote". Harper's Bazaar March 2006: 426-428.

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[[Breakfast at Tiffany's Section 3|Section three]] | [[Breakfast at Tiffany's]] | [[Breakfast at Tiffany's Section 5|Section five]]
[[Category:Literature]]

File:Holly Golightly.jpg

2006-03-23T02:41:45Z

Bpoulin: Hepburn

Hepburn

Breakfast at Tiffany's

2006-03-23T02:28:12Z

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Breakfast at Tiffany's

2006-03-23T00:38:40Z

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