Angels in America

If we were to imagine what destruction is like, how would anyone of us portray it? Would our portrayals be as catastrophic and devastating as the book of account means? It depends on the person who imagines it. Now, if we were to imagine destruction from a psychological berth this may be entirely different for each person. Why this would be the case is probably because of the unique personalities that each one of us has. Some of us may not be able to bear the uncertainties that destruction could take away into the world, hence, headacheing it. Others may just ignore the details of chaos and live on with their ignorant, static lives.Then, there is the remaining portion of us who know the bigger jut out of destruction and are hopeful to change the world from the aftermath of it. In a correspondent perspective, these comparable portraits of characteristics correlate to one of the unique themes of Tony Kuskners mould, nonsuchs in America identity element. In this theme, the iden tities of the characters in the play symbolize emotions of ambivalence, the static views of the gay community, and the hope for change in the chaotic era of the 1980s American society. Kushner subtly gives Harpers character to consist the ambivalent emotions of the American society in the 1980s.As a character suffering from psychological problems, Harpers personality is very complex. In one bizarre aspect of the play, shes having an arouse conversation with one of her hallucinations, Mr. Lies, to discuss her constructive, yet creative, plans to live a untried life in Antarctica. While in a counter-perceptive view, Harper feels uncertain and fearful to move out off anywhere because of the paranormal threats that shes disturb about. A man with a knife that she speaks of is one of those dangers that she is strangely concerned about (Millennium Approaches 24).The sort of ambivalence and fear that Harpers identity carries in Kushners play somehow depicts the apocalyptic anxiety tha t is happening in the United States in the 1980s (Garner, Jr. 2). The escalation of this catastrophic concern is reinforced by economic crisis, ecological disaster, overpopulation, the AIDS epidemic, and the fall of European communism at the time (Garner, Jr. 2). In addition to all this build-up of chaotic events in the country, the great unwashed begin to dread the nuclear annihilations that could potentially commence during the postwar moments of the Cold War.In order to draw out the peoples sense of fear and uncertainty over the destructive events in the 1980s, Kushner tries to convey it through Harpers paranormal concern of the ozone layer. After she explains to herself how the ozone layer is a kind of gift, from god, Harper then says, But everywhere, things are collapsing, lies surfacing, systems of defense giving away. . . . This is why, Joe, this is why I shouldnt be left alone (Millennium Approaches 17).Her ambivalent concern on the total deconstruction of the world correla tes to Americans Cold War anxiety on the possible nuclear threats in the 1980s (Garner, Jr. 3). By illustrating Harpers complex identity in the play, Kushner is able to portray the types of ambivalent emotions (fear, terror, and uncertainty) that people felt in the destructive events of history at that time period. As imaginative and abstract as this drama is, Kushner portrays the stagnant identity of Roy Cohn in his play to figuratively allude the inert views of the gay community in the 80s society of America.In his playwright notes, Kushner briefly explains how he makes use of the real Roy Cohns attributions in history to develop his fictional Roy in his play. Based on what Roy has done in the past, his illegal maneuvers during the trial of Ethel Rosenberg make his overall identity cynical and egotistic. Ideally, Kushner effectively make use of these two traits in his version of Roy. In a similar perspective, the fictional Roy knows how to get his way in almost anything throughout the story because of his possession of clout in society (Millennium Approaches 45).He emphasizes his powerful stature by telling his doctor, I can pick up this phone, punch fifteen numbers and in under five minutes, he can benefit the First Lady on the other end of the phone line (Millennium Approaches 45). In this scene, Roy reasons with Henry about his social image as a straight lawyer in New York. If his original diagnosis of AIDS has caught news to the media, then Roys static identity will be destroyed. Yet, Kushner doesnt convey this. Instead, Roy says, AIDS is what tribadistics have. I have liver cancer to convince Henry hat he must maintain his appealing status for the public (Millennium Approaches 46).Ideally, Roy has no intention to reveal his homosexual self, nor does he show any sympathy for gays. His biased statement, Homosexuals are men who know nobody and who nobody knows. Who have set clout. intriguingly portrays his psychological denial of his true identity (Mi llennium Approaches 45). The selfish desire of social redemption that Roy is struggling to fulfill represents the disturbing symptoms of the larger cultures spurious response to suffering that Kushner is trying to convey in his play (Omer-Shaman 11).Symbolically, Kushner illustrates Roys static identity of social redemption in order to depict the ordinary publics unchanging perspectives against the gay community in the 80s society of America. Interestingly, prior(prenominal)s persistent identity in Kushners play represent the hope for change in the American society at the time. Kushner makes fronts character very apparent and symbolic to his readers he is a homosexual who is diagnosed with the AIDS at this particular time period perhaps its a historical reference in Kushners part.At some part of his play, Kushner descriptively portrays Priors bloody wounds and entrails of his tormenting disease to represent foreshadowing moments of Christian redemption in the latter story of the drama Priors meetings with the Angels (Ogden 6). Similarly, as one critic depicts, the blood lesions that Prior suffers through creates a slight correlation to Christ bleeding wounds and pains from a biblical viewpoint (Ogden 6). How these religious connections tie in with Priors enduring personality starts by his own fantasy with the Angel in his apartment.Unlike Roys character, Prior openly says, I can handle pressure, I am a gay man and I am used to pressure, to trouble, I am tough and strong, as he courageously calms himself in the mist of the heavenly circumstances (Millennium Approaches 117). Ideally, this scene of the play does not only depict how brave Prior is, but also how strong and confident Prior is to reveal his true self. Furthermore, the fact that he says, I am used to pressure, depicts his enduring identity to overcome the social pressures he has as a homosexual.Similarly, Kushner conveys this familiar perspective of Priors in his last meeting with the Angel i n heaven. In this scene, Prior rejects the Angels prophet of stasis in the final scenes of the drama. He tells the Angel, We live past hope. If I can find hope anywhere, thats it, thats the best I can do Bless me anyway. I want more life. to conclude his declination as he exits heaven (Perestroika 133). What Prior says to the Angel as he leaves heaven is ironic to what he has been through in the whole play.Despite how much he has suffered from his tragic life, Priors enduring soul still wants more life to essentially hope for better things to come in the world as it continues to spin forward (Perestroika 133). Remarkably, Kushner utilizes Priors enduring soul to symbolize the hope for change in America during the chaotic messes within 80s society. Although the characters personalities portray an abstractive and imaginative perspective in the play, Kushner subtly make use of this unique aspect to correlate the realistic concepts conveyed in his plays theme of identity.In general, th e dialogues in play may sound a bit fantasized even strange. Yet somehow, Kushner is able to connect his fictional characters lives in his play to the lives of the 1980s society of America. Because of this ironic and interesting comparison between fiction and truthfulness, Kushner is able to express the real, dramatic emotions that are felt during that time in history. By capturing the historical events and moments of the 1980s, Kushner subtly reveals the sense of reality of his drama through the surreal identities of his characters.