What do you think?
Rate this book
Three Plays: Ma Rainey's Black Bottom / Fences / Joe Turner's Come and Gone
Three plays from Pulitzer-Prize winning playwright August Wilson: Ma Rainey's Black Bottom, Fences, and Joe Turner's Come and Gone.
336 pages, Hardcover
First published June 3, 1991
4 people are currently reading
207 people want to read
About the author
August Wilson
66 books571 followersAmerican playwright August Wilson won a Pulitzer Prize for
Fences
in 1985 and for
The Piano Lesson
in 1987.
His literary legacy embraces the ten series and received twice for drama for The Pittsburgh Cycle . Each depicted the comic and tragic aspects of the African-American experience, set in different decade of the 20th century.
Daisy Wilson, an African American cleaning woman from North Carolina, in the hill district of Pittsburgh, Pennsylvania, bore Frederick August Kittel, Junior, the fourth of six children, to Frederick August Kittel, Senior, a German immigrant baker. From North Carolina, maternal grandmother of Wilson earlier sought a better life and walked to Pennsylvania. After his fifth year, his mother raised the children alone in a two-room apartment above a grocery store at 1727 Bedford Avenue.
After death of Frederick August Kittel, Senior, in 1965, his son changed his name to August Wilson to honor his mother.
In 1968, Wilson co-founded the black horizon theater in the hill district of Pittsburgh alongside Rob Penny, his friend. People first performed his Recycling for audiences in small theaters and public housing community centers. Among these early efforts, he revised Jitney more than two decades later as part of his ten-cycle on 20th-century Pittsburgh.
Wilson married three times. His first marriage to Brenda Burton lasted from 1969 to 1972. She bore him Sakina Ansari, a daughter, in 1970.
Vernell Lillie founded of the Kuntu repertory theatre at the University of Pittsburgh in 1974 and, two years later, directed The Homecoming of Wilson in 1976.
Wilson also co-founded the workshop of Kuntu to bring African-Americans together and to assist them in publication and production. Both organizations still act.
Claude Purdy, friend and director, suggested to Wilson to move to Saint Paul, Minnesota, in 1978 and helped him secure a job with educational scripts for the science museum. In 1980, he received a fellowship for the center in Minneapolis. Wilson long associated with the penumbra theatre company, which gave the premieres, of Saint Paul.
In 1981, he married to Judy Oliver, a social worker, and they divorced in 1990.
Wilson received many honorary degrees, including an honorary doctor of humanities from the University of Pittsburgh, where he served as a member of the board of trustees from 1992 until 1995.
Wilson got a best known Tony award and the New York circle of drama critics; he authored Ma Rainey's Black Bottom , and Joe Turner's Come and Gone .
In 1994, Wilson left Saint Paul and developed a relationship with Seattle repertory theatre. Ultimately, only Seattle repertory theater in the country produced all works in his ten-cycle and his one-man show How I Learned What I Learned .
Constanza Romero, his costume designer and third wife from 1994, bore Azula Carmen, his second daughter.
In 2005, August Wilson received the Anisfield-Wolf lifetime achievement award.
Wilson reported diagnosis with liver cancer in June 2005 with three to five months to live. He passed away at Swedish medical center in Seattle, and people interred his body at Greenwood cemetery, Pittsburgh on 8 October 2005.
His literary legacy embraces the ten series and received twice for drama for The Pittsburgh Cycle . Each depicted the comic and tragic aspects of the African-American experience, set in different decade of the 20th century.
Daisy Wilson, an African American cleaning woman from North Carolina, in the hill district of Pittsburgh, Pennsylvania, bore Frederick August Kittel, Junior, the fourth of six children, to Frederick August Kittel, Senior, a German immigrant baker. From North Carolina, maternal grandmother of Wilson earlier sought a better life and walked to Pennsylvania. After his fifth year, his mother raised the children alone in a two-room apartment above a grocery store at 1727 Bedford Avenue.
After death of Frederick August Kittel, Senior, in 1965, his son changed his name to August Wilson to honor his mother.
In 1968, Wilson co-founded the black horizon theater in the hill district of Pittsburgh alongside Rob Penny, his friend. People first performed his Recycling for audiences in small theaters and public housing community centers. Among these early efforts, he revised Jitney more than two decades later as part of his ten-cycle on 20th-century Pittsburgh.
Wilson married three times. His first marriage to Brenda Burton lasted from 1969 to 1972. She bore him Sakina Ansari, a daughter, in 1970.
Vernell Lillie founded of the Kuntu repertory theatre at the University of Pittsburgh in 1974 and, two years later, directed The Homecoming of Wilson in 1976.
Wilson also co-founded the workshop of Kuntu to bring African-Americans together and to assist them in publication and production. Both organizations still act.
Claude Purdy, friend and director, suggested to Wilson to move to Saint Paul, Minnesota, in 1978 and helped him secure a job with educational scripts for the science museum. In 1980, he received a fellowship for the center in Minneapolis. Wilson long associated with the penumbra theatre company, which gave the premieres, of Saint Paul.
In 1981, he married to Judy Oliver, a social worker, and they divorced in 1990.
Wilson received many honorary degrees, including an honorary doctor of humanities from the University of Pittsburgh, where he served as a member of the board of trustees from 1992 until 1995.
Wilson got a best known Tony award and the New York circle of drama critics; he authored Ma Rainey's Black Bottom , and Joe Turner's Come and Gone .
In 1994, Wilson left Saint Paul and developed a relationship with Seattle repertory theatre. Ultimately, only Seattle repertory theater in the country produced all works in his ten-cycle and his one-man show How I Learned What I Learned .
Constanza Romero, his costume designer and third wife from 1994, bore Azula Carmen, his second daughter.
In 2005, August Wilson received the Anisfield-Wolf lifetime achievement award.
Wilson reported diagnosis with liver cancer in June 2005 with three to five months to live. He passed away at Swedish medical center in Seattle, and people interred his body at Greenwood cemetery, Pittsburgh on 8 October 2005.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 22 of 22 reviews
December 12, 2025
Exquisite!! banger after banger. The stories and characters are compelling, dramatic and weighted like ancient Greek plays, easy to breeze through but giving you so much to think about. Wilson’s writing is mimetic yet lyrical and rhythmic. Makes me want to make a book club and read essays about these works. It would be fascinating to unpack the motifs across all three, like Christianity, women’s work/roles, labor, exploitation. MUSIC!! I want more. Desperate to read more and see these performed. The introduction by Wilson and the essay in the back were also both excellent.
Read
July 2, 2024wonderful essay by paul carter harrison in the back of this!
June 29, 2017
These plays are Ma Rainey's Black Bottom, Fences, and Joe Turner's Come and Gone, all of which are excellent. August Wilson's plays have won all kinds of awards. However, I do have two criticisms: (1) August Wilson's characters seem more archetypal than real, and (2) Paul Carter Harrison's essay on August Wilson's Blues Poetics, although insightful, is more than a bit pompous. Here's one example: Whereas history is the logos of time, mythos is the aggrandizement of collective experience that invariably looms larger in our consciousness than the conceits and deceits contrived by descriptive reality.
November 15, 2025
all of these plays are so so good but “fences” is genuinely one of the best plays ever
May 4, 2012
3.5 stars. I wanted to like August Wilson a lot because, let's face it, Wilson could write some amazing dialogue and really great characters; but his stories are just... weird. Realism in theater? Awesome... oh wait, you had to end it like that? How is that realism? What kind of forced, idiotic, over-the-top-maudlin-writing crap is that? Apparently, these three plays are his best, and Joe Turner was his favorite. For the most part, the plays are good, but I think they are far too uneven to be called great.
March 11, 2014
I don't usually read plays but I enjoyed these. Wilson writes great dialogue. Ma Rainey was my favorite. I will likely end up using Joe Turner for the class I am teaching (because Ma Rainey isn't set in Pgh and Joe Turner is). I definitely think I need to do more background reading on Wilson to really understand his viewpoint. And, I'm off to see if anyone has compiled all of the Blues songs quotes into an easy to access website.
January 9, 2016
I really enjoyed these plays. I've never read August Wilson and these three seem to be a good introduction. The dialogue is really strong and you can almost hear the different voices. I think Joe Turner is my favorite. The endings though...dude, they are a bit rough to handle.
Read
February 17, 2017I had never read August Wilson, which surely made me an awful Pittsburgher (if not American). I picked this collection of three plays to read "Fences" but I liked "Joe Turner's Come and Gone" the best.
August 20, 2019
This book includes Ma Rainey's Black Bottom (my favorite of the three), Fences, and Joe Turner's Come and Gone.
Read
July 23, 2011nice compilation and beautiful culture
December 24, 2013
Beautiful writing on Early 20th century Blacks in America. Sad, heart-pulling content that remains in your core.
Read
July 4, 2015Love these plays....a future of "Raisins" and more...
March 13, 2019
Having read two of the three plays in this particular collection before, I came to this book looking to enjoy the play that I had not read before, which I did even if it was a rather sobering one. There are occasions where more is less, and where less would have been better, and that is certainly the case here. I happen to think that Wilson's plays generally can stand on their own pretty easily. Even without a deep interest in African cultural tropes, Wilson's plays are not particularly subtle about their messages and about the threads of connection that run through them. One does not need to be a fan of intersectionality or proficient with African studies departments to be able to understand what Wilson is getting at when he shows the murderous rage of people who all too often target their fellow black brethren rather than those who have truly taken advantage of them, and that is certainly the case here. Wilson invests the black lives of his plays with almost Shakespearean pathos, and tragedy is never far from the surface in these plays and in the other ones I have read by the author.
By and large this book delivers on the promise of giving three plays by a capable American playwright. A preface allows the playwright the opportunity to talk about his own life in drama and some of the important connections he made that allowed him to tell the stories he wanted to say in his century saga. After that comes Ma Rainey's Black Bottom, a two-act play set in Chicago (most of his century saga is set in Pittsburgh) where the injustices of black life seethe in passionate blues and where violence and exploitation are omnipresent. Ma Rainey shows up late to a recording session because she has been dealing with racist cops, and meanwhile her band is struggling over the arrangements of her songs and their own desire to receive credit for creativity. A frustrating experience of the studio owners' exploitation leaves one of the characters violently hostile to one of the fellow musicians whom he kills in sudden finality, showing a great deal of similarity with the course of "Seven Guitars," another great play in the cycle. Also included here are Fences and Joe Turner's Come And Gone, both of which are excellent plays that I have read and viewed elsewhere, as well as an afterword.
And it is really the afterword that detracts somewhat from the value of this particular book. This book would have been a far better one had the plays been allowed to speak for themselves, but some African studies "scholar" felt it necessary to add an afterword full of contemporary identity political jargon that seeks to demonstrate his own intellect and his own mastery of the thieves' cant of contemporary academia. Really, the afterword serves no useful purpose and instead will likely annoy or confuse those readers who do not share the political view of the writer. That said, when one removes the afterword this book is a worthwhile selection of plays from a great playwright and one whose views about black on black violence as well as the pervasive feeling of exploitation in dealings with wider society are not subtle in the least. Whether one agrees with the perspective of the author, the playwright makes compelling plays that show a great deal of continuity throughout the 20th century and that feature compelling characters and gripping drama, and that is all one can ask for from drama like this.
By and large this book delivers on the promise of giving three plays by a capable American playwright. A preface allows the playwright the opportunity to talk about his own life in drama and some of the important connections he made that allowed him to tell the stories he wanted to say in his century saga. After that comes Ma Rainey's Black Bottom, a two-act play set in Chicago (most of his century saga is set in Pittsburgh) where the injustices of black life seethe in passionate blues and where violence and exploitation are omnipresent. Ma Rainey shows up late to a recording session because she has been dealing with racist cops, and meanwhile her band is struggling over the arrangements of her songs and their own desire to receive credit for creativity. A frustrating experience of the studio owners' exploitation leaves one of the characters violently hostile to one of the fellow musicians whom he kills in sudden finality, showing a great deal of similarity with the course of "Seven Guitars," another great play in the cycle. Also included here are Fences and Joe Turner's Come And Gone, both of which are excellent plays that I have read and viewed elsewhere, as well as an afterword.
And it is really the afterword that detracts somewhat from the value of this particular book. This book would have been a far better one had the plays been allowed to speak for themselves, but some African studies "scholar" felt it necessary to add an afterword full of contemporary identity political jargon that seeks to demonstrate his own intellect and his own mastery of the thieves' cant of contemporary academia. Really, the afterword serves no useful purpose and instead will likely annoy or confuse those readers who do not share the political view of the writer. That said, when one removes the afterword this book is a worthwhile selection of plays from a great playwright and one whose views about black on black violence as well as the pervasive feeling of exploitation in dealings with wider society are not subtle in the least. Whether one agrees with the perspective of the author, the playwright makes compelling plays that show a great deal of continuity throughout the 20th century and that feature compelling characters and gripping drama, and that is all one can ask for from drama like this.
April 19, 2021
Had never read any August Wilson before reading these plays, really fantastic stuff! The three plays covered in this book are Ma Rainey’s Black Bottom, Fences, and Joe Turner’s Come and Gone.
Of the three I thought Ma Rainey was the weakest. It’s feels like two interesting stories smushed together, that kind of don’t give enough one enough room to operate. And the ending felt a little rushed to me. I have not seen the movie yet, I would be interested to see how it converts to the screen.
Fences is the strongest of the three, largely due to the supernova character of Troy Maxson. An incredibly rich and layered character study, Wilson wonderfully toes the line between making the reader feels like he knows Troy, while keeping him ambiguous enough that different folks can have different interpretations of his life and motivations.
These plays also read much better than a typical play, one that relies on the actors to fill out the characters and give the play heft and meaning. Wilson in the preface writes that he was originally a poet, and particularly his stage direction often reads like pure poetry. Anytime a character enters they are given a few lines to explain them that feel like they can explain their entire personhood. In Joe Turner, the character Jeremy is partly described as “a proficient guitar player, though his spirit has yet to be molded into song”. Wilson’s attention to these descriptions, something that only a reader and an actor would know, really help to enrich what could otherwise be a dry read.
I would strongly recommend reading all three of these plays, particularly Fences. I will surely be on the lookout for more Wilson plays where I can find them!
Of the three I thought Ma Rainey was the weakest. It’s feels like two interesting stories smushed together, that kind of don’t give enough one enough room to operate. And the ending felt a little rushed to me. I have not seen the movie yet, I would be interested to see how it converts to the screen.
Fences is the strongest of the three, largely due to the supernova character of Troy Maxson. An incredibly rich and layered character study, Wilson wonderfully toes the line between making the reader feels like he knows Troy, while keeping him ambiguous enough that different folks can have different interpretations of his life and motivations.
These plays also read much better than a typical play, one that relies on the actors to fill out the characters and give the play heft and meaning. Wilson in the preface writes that he was originally a poet, and particularly his stage direction often reads like pure poetry. Anytime a character enters they are given a few lines to explain them that feel like they can explain their entire personhood. In Joe Turner, the character Jeremy is partly described as “a proficient guitar player, though his spirit has yet to be molded into song”. Wilson’s attention to these descriptions, something that only a reader and an actor would know, really help to enrich what could otherwise be a dry read.
I would strongly recommend reading all three of these plays, particularly Fences. I will surely be on the lookout for more Wilson plays where I can find them!
January 25, 2021
Fences and Ma Rainey's Black Bottom are two plays set in early 20th century America and focus on what it was to be black at that time. The racism, The oppression and the trials and tribulations of trying to succeed in a country that will do everything in its power to stop you.
I haven't read a play in a long time, as far as
I can remember back when I was in secondary school so was looking forward to reading these.
Both plays are excellent and August Wilson definitely writes fantastic dialogue. I preferred Fences however as I felt more connection to the characters.
Fences and Ma Rainey's Black Bottom are both sobering and heartbreaking and definitely still relevant today.
I would love to see them performed in theatre. The language used is captivating and even though they are plays I found them very readable. I've heard there is a tv/film adaption and will definitely be watching it.
If you are looking to read in a different format then I highly recommend this book. Its a quick read but still packs a punch.
I haven't read a play in a long time, as far as
I can remember back when I was in secondary school so was looking forward to reading these.
Both plays are excellent and August Wilson definitely writes fantastic dialogue. I preferred Fences however as I felt more connection to the characters.
Fences and Ma Rainey's Black Bottom are both sobering and heartbreaking and definitely still relevant today.
I would love to see them performed in theatre. The language used is captivating and even though they are plays I found them very readable. I've heard there is a tv/film adaption and will definitely be watching it.
If you are looking to read in a different format then I highly recommend this book. Its a quick read but still packs a punch.
January 25, 2019
One of the towering giants of 20th century theater, August Wilson also has that rare distinction of apparently never writing a bad play. All three of these scripts are engrossing, powerful, impressive: the unyieldingly tense "Ma Rainey's...," the tragic "Fences," and the mystical "Joe Turner..." Plus Wilson's penchant for giving every character his or her own story (and usually a soaring monologue to reveal it) means that if you're cast in a Wilson play you're pretty much guaranteed a great part.
January 30, 2019
“Wilson’s work... faithfully corresponds with Neal’s demand for black self-authentication. Rhetorically, however, Wilson is concerned with the significations of ontology rather than the objective documentation of casually related responses to oppression formulated in direct protest... Wilson’s plays are compatible with Neal’s call for the self-determination of artistic purpose that is located in an oral tradition codified by the aesthetics of black church oratory and folk blues performances.” (Paul Carter Harrison, “August Wilson’s Blues Poetics”)
August 11, 2019
I have little to add to the earlier strong reviews.
Of course, plays are meant to be experienced from the stage (not just read on the page), I am looking forward to seeing the upcoming production of "Fences" scheduled to for this fall at Fords Theater in Washington DC.
Of course, plays are meant to be experienced from the stage (not just read on the page), I am looking forward to seeing the upcoming production of "Fences" scheduled to for this fall at Fords Theater in Washington DC.
November 25, 2018
About as close to perfection as James Baldwin.
April 23, 2021
Heart wrenching, tense...snapshots of our nation's history. I had to put time between reading each play as they landed so heavily on me.
I would so love to see any of his plays performed today.
I would so love to see any of his plays performed today.
September 6, 2021
Joe Turner's Come and Gone *** -- This is a moving play with some wonderful dialogue that helps creates compelling, breathing characters. However, with these strengths come some unusual elements tacked on to it including strange visions, speaking in tongues, a bit of voodoo and sudden songs. These elements felt a bit incongruous and heavy handed compared to the rest of the play’s beautiful realism. The play starts extremely strong, but seems to lose its way a bit. Still a very moving drama about identity, racism and hope. (09/16)
Ma Rainey’s Black Bottom *** -- This play features characters trapped by fate and racism. It’s a bit slow and rambling, but I like the presentation of Levee. (01/20)
This is an emotionally powerful piece that explores the complex relationships within a family. It is also a vivid portrait of an aging man feeling trapped within his circumstances, and lashing at out those around him. Like Wilson’s Two Trains Running, it shows that life is hard, but not impossible. (09/21)
Ma Rainey’s Black Bottom *** -- This play features characters trapped by fate and racism. It’s a bit slow and rambling, but I like the presentation of Levee. (01/20)
This is an emotionally powerful piece that explores the complex relationships within a family. It is also a vivid portrait of an aging man feeling trapped within his circumstances, and lashing at out those around him. Like Wilson’s Two Trains Running, it shows that life is hard, but not impossible. (09/21)
June 6, 2021
I saw the plays in Pittsburgh years ago. The Pittsburgh Public Theater did memorable productions of Wilson's plays. Now, probably thirty years later, I would like to read them. I have read, and loved Fences, The Piano Lesson and want to read them again, as well.
Displaying 1 - 22 of 22 reviews