by Douglas Messerli
Sam Shepard Buried Child in Sam Shepard: Seven Plays (New York: Dial Press, 1984)
The play is flawed, however, by the heavy metaphor (and possible reality of) the “buried child,” purportedly a child that came late in Halie’s life and was killed by her husband because it was the offspring of another man. Were Shepard simply to use this as metaphor, allowing the audience to heavily doubt Dodge’s admission—as they learn to doubt all of his other statements—it would still float heavily upon the play, but it might remain aloft. For, quite obviously, all Dodge’s and Halie’s children are “buried,” remnants of the couple’s desperate embracement of the American Dream. Tilden, the eldest, has a criminal record and, having lost his freedom, has also lost much of his mind. Bradley is half a man, an amputee and, in the manner of a Beckett character, is unable to even move throughout much of the play; Ansel—the basketball and soldier hero—is, in fact, dead, another buried child for whom Halie seeks a memorial statue, basketball in one hand, rifle in the other. This family’s refusal to recognize Tilden’s son, Vince, renders him, like the others, incapable of action, independence, escape. He may have come home to re-experience—as Shelley sees it—a Norman Rockwell vision of home life, but has found instead a household right out of The Addams Family. As a man of inaction, Vince is the rightful inheritor of the estate, and when Shelley’s departs, he is doomed to a life, like all the others, without vitality and love.
Shepard, however, cannot leave his metaphor alone, forcing Tilden to dig up the symbol and, in mud-covered clothes, visually “serve it up,” so to speak, to the audience. Like Jonathan Barofsky’s Hammering Man, Shepard drives his message home, deadening any true wonderment that previously existed in the work.
Café Mancini, Rome, October 15, 2003
Reprinted from Green Integer blog (October 2003).
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