Free Ebook Father Comes Home From the Wars (Parts 1, 2 & 3), by Suzan-Lori Parks

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Father Comes Home From the Wars (Parts 1, 2 & 3), by Suzan-Lori Parks

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Review

"One of the top plays of the year... A richly textured mix of Brechtian allegory and Homeric epic, finding new meaning in an essential American tragedy.” ―Richard Zoglin, Time"By turns philosophical and playful, lyrical and earthy, Father Comes Home from the Wars (Parts 1, 2 & 3) swoops, leaps, dives and soars, reimagining a turbulent turning point in American history through a cockeyed contemporary lens... The wonder of Ms. Parks’s achievement is how smoothly she blends the high and the low, the serious and the humorous, the melodramatic and the grittily realistic." ―Charles Isherwood, New York Times"Suzan-Lori Parks’s stunning new drama is that rare work of art: one that bears the heavy burden of its subject matter―the peculiar institution of American slavery― but that carries it lightly... Parks brings the full force of her dramatic power. She both elevates her themes with echoes of classic literature, while at the same time doubling down on comedy... This is serious work that is seriously entertaining." ―Thom Geier, Entertainment Weekly"The best new play of the year... It is bold, hugely entertaining, moving and thrillingly ambitious. Suzan-Lori Parks bids fair to create a sprawling multi-part epic to plant alongside August Wilson’s monumental Century Cycle, one of the great achievements in theater history. Parts 4 through 9 (or more?) can’t come fast enough." ―Michael Giltz, Huffington Post"Suzan-Lori Parks may reach back to the ancient Greeks for references and structure, but her play delivers an in-themoment gut punch. Father Comes Home from the Wars is an insightful, poetic, often heartbreaking look at the devastations of war and slavery and the complications of freedom." ―Robert Feldberg, Bergen Record"One of the most provocative playwrights we have." ―Linda Winer, Newsday"Can one-third of something already be a masterpiece? Seems like it to me... People long for stories that engage the deepest possible issues in the most gripping possible ways. Father Comes Home from the Wars is one of thosestories―or maybe more than one." ―Jesse Green, New York"Brilliant, beautiful . . . This haunting work is funny and tragic, whimsical and lacerating, poetic and poignant... If Parks can sustain her sprawling project at this level as it moves forward, there’s every reason to hope it will ultimately become no less significant and emotionally resonant an undertaking than August Wilson’s ten-play Century Cycle." ―David Rooney, Hollywood Reporter"Parks’s richest, most satisfying play... The real news isn’t that Parks has hit the mark with a complex and ambitious work―she undoubtedly has. It’s that the playful spirit of her best work turns out to be alive and well." ―Tom Sellar, Village Voice"Suzan-Lori Parks has finally arrived at classical proportions: her Civil War triptych is built along the sharp, symmetrical lines of Greek tragedy and Homeric epic... The language is poetic and formal, a modified nineteenth-century slave idiom, imbued with Parks’s improvisatory, jazzy irreverence... After decades in which Parks encouraged us to get lost in the holes of history, she’s playing where theater began: with song, story, ritual and catharsis." ―David Cote, Time Out New York"Provocative and rich... earthy and irreverently funny, neither pompous tragedy nor Ken Burns–type reenactment." ―Elisabeth Vincentelli, New York Post"One of the top plays of the year... A richly textured mix of Brechtian allegory and Homeric epic, finding new meaning in an essential American tragedy.” —Richard Zoglin, Time"By turns philosophical and playful, lyrical and earthy, Father Comes Home from the Wars (Parts 1, 2 & 3) swoops, leaps, dives and soars, reimagining a turbulent turning point in American history through a cockeyed contemporary lens... The wonder of Ms. Parks’s achievement is how smoothly she blends the high and the low, the serious and the humorous, the melodramatic and the grittily realistic." —Charles Isherwood, New York Times"Suzan-Lori Parks’s stunning new drama is that rare work of art: one that bears the heavy burden of its subject matter—the peculiar institution of American slavery— but that carries it lightly... Parks brings the full force of her dramatic power. She both elevates her themes with echoes of classic literature, while at the same time doubling down on comedy... This is serious work that is seriously entertaining." —Thom Geier, Entertainment Weekly"The best new play of the year... It is bold, hugely entertaining, moving and thrillingly ambitious. Suzan-Lori Parks bids fair to create a sprawling multi-part epic to plant alongside August Wilson’s monumental Century Cycle, one of the great achievements in theater history. Parts 4 through 9 (or more?) can’t come fast enough." —Michael Giltz, Huffington Post"Suzan-Lori Parks may reach back to the ancient Greeks for references and structure, but her play delivers an in-themoment gut punch. Father Comes Home from the Wars is an insightful, poetic, often heartbreaking look at the devastations of war and slavery and the complications of freedom." —Robert Feldberg, Bergen Record"One of the most provocative playwrights we have." —Linda Winer, Newsday"Can one-third of something already be a masterpiece? Seems like it to me... People long for stories that engage the deepest possible issues in the most gripping possible ways. Father Comes Home from the Wars is one of thosestories—or maybe more than one." —Jesse Green, New York"Brilliant, beautiful . . . This haunting work is funny and tragic, whimsical and lacerating, poetic and poignant... If Parks can sustain her sprawling project at this level as it moves forward, there’s every reason to hope it will ultimately become no less significant and emotionally resonant an undertaking than August Wilson’s ten-play Century Cycle." —David Rooney, Hollywood Reporter"Parks’s richest, most satisfying play... The real news isn’t that Parks has hit the mark with a complex and ambitious work—she undoubtedly has. It’s that the playful spirit of her best work turns out to be alive and well." —Tom Sellar, Village Voice"Suzan-Lori Parks has finally arrived at classical proportions: her Civil War triptych is built along the sharp, symmetrical lines of Greek tragedy and Homeric epic... The language is poetic and formal, a modified nineteenth-century slave idiom, imbued with Parks’s improvisatory, jazzy irreverence... After decades in which Parks encouraged us to get lost in the holes of history, she’s playing where theater began: with song, story, ritual and catharsis." —David Cote, Time Out New York"Provocative and rich... earthy and irreverently funny, neither pompous tragedy nor Ken Burns–type reenactment." —Elisabeth Vincentelli, New York Post

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About the Author

Named one of TIME magazine’s “100 Innovators for the Next New Wave,” in 2002 Suzan-Lori Parks became the first African American woman to receive the Pulitzer Prize in Drama for her Broadway hit Topdog/Underdog. A MacArthur “Genius” Fellowship recipient, she has also been awarded grants by the National Endowment for the Arts, the Rockefeller Foundation, the Ford Foundation, the New York State Council on the Arts and the New York Foundation for the Arts. She is the recipient of a Lila Wallace–Reader’s Digest Award, a CalArts/ Herb Alpert Award in the Arts (Theatre) for 1996 and a Guggenheim Foundation Fellowship. She is an alumna of Mount Holyoke College and New Dramatists.Her numerous plays include Father Comes Home From the Wars (2015 Pulitzer Prize finalist, 2015 Edward M. Kennedy Prize for Drama Inspired by American History, 2014 Horton Foote Prize), The Book of Grace, Topdog/Underdog (2002 Pulitzer Prize), In the Blood (2000 Pulitzer Prize finalist), Venus (1996 OBIE Award), The Death of the Last Black Man in the Whole Entire World, Fucking A, Imperceptible Mutabilities in the Third Kingdom (1990 OBIE Award for Best New American Play) and The America Play. Parks’s work on The Gershwins’ Porgy and Bess earned the production a Tony Award for Best Revival of a Musical in 2012. In 2007 her 365 Plays/365 Days was produced in more than seven hundred theaters worldwide, creating one of the largest grassroots collaborations in theater history. Her work is the subject of the PBS Film The Topdog Diaries.Suzan-Lori’s first novel, Getting Mother’s Body, was published by Random House in 2003. Her first feature-length screenplay was Girl 6 written for Spike Lee. She’s also written screenplays for Brad Pitt, Denzel Washington, Jodie Foster and Oprah Winfrey, adapting Zora Neale Hurston’s classic novel Their Eyes Were Watching God, which premiered on ABC’s Oprah Winfrey Presents. As a film actor Parks has appeared in the fictional documentary The Making of Plus One, which premiered at the Cannes Film Festival in 2009.In November 2008 Suzan-Lori Parks became the first recipient of the Master Writer Chair at The Public Theater. At The Public, and as she tours the country, she performs her innovative performance piece, Watch Me Work, a play with action and dialogue/a meta-theatrical writing class. She also serves as a visiting arts professor in dramatic writing at New York University’s Tisch School of the Arts.Holding honorary doctorates from Brown University, among others, Suzan-Lori credits her writing teacher and mentor, James Baldwin, for starting her on the path of playwriting. One of the first to recognize Parks’s writing skills, Mr. Baldwin declared Parks “an astonishing and beautiful creature who may become one of the most valuable artists of our time.”

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Product details

Paperback: 192 pages

Publisher: Theatre Communications Group (June 23, 2015)

Language: English

ISBN-10: 1559365005

ISBN-13: 978-1559365000

Product Dimensions:

5.5 x 0.8 x 8.5 inches

Shipping Weight: 13.4 ounces (View shipping rates and policies)

Average Customer Review:

4.6 out of 5 stars

12 customer reviews

Amazon Best Sellers Rank:

#182,056 in Books (See Top 100 in Books)

A gift I was able to see performed in Chicago in 2018. On the stage there's more humor than on the page, where the power comes from its limitless heart.

Ms. Parks won the Pultizer Prize in Drama in 2002 for "Top Dog/Underdog." This play was a Pulitzer Finalist in 2015 (really, it is a collection of three short plays that follow the same few characters). It's central character is Hero, a slave from Texas who debates whether or not to follow his master, a recently appointed Colonel in the Confederate Army, to war. His master promises his freedom for his service, but he is pained that he would be fighting against the best interests of his race. This is the best intellectual debate presented in the play - to do what's best for oneself vs. what is best for one's country (or race, depending upon your perspective).Ms. Parks takes aspects of Homer's "The Odyssey" into the framework of the play (and there is a character named Homer). There are also elements of 2014-15 Black Lives Matter events and arguments presented as well (at one point, a character mimics the "hands up, don't shoot" gesture). There are a few powerful moments (particularly in a conversation in part 2 between Hero and a captured Union soldier), but not enough to make this a great play (at least to read - I hope to see it staged one day).Part 2 takes place in the summer of 1862. The characters in the play debate the merits of General US Grant and General Lee. While US Grant had won victories in February at Ft. Henry and Donnelson and the battle of Shiloh that spring, he was not in a high command. He was not promoted to Major General until October of 1863 and he didn't come East to begin his showdown with General Lee until 1864. There is no way that soldiers (or civilians) would debate Grant vs. Lee in 1862, nor even 1863. It's a mistake that most viewers won't pick up on, but it is a major major flaw that anyone with an interest in the Civil War would notice. Ms. Parks should have done a little more homework on this - it's a sloppy error.

Wonderful read! It has roots even in our society today. Takes some analytical reading to actually understand the story more fully

One of the most singular plays I've ever read. I love Guirgis, but I do not understand how this did not win the Pulitzer. I love having a hard copy for plays like this, and the sleek and thematic dual front and back covers are a gorgeous addition to this unmatched play. It will live on as a classic long after Parks' death. Do yourself a favor and buy it.

I had seen the first part at the Public Theater in NYC. Being able to read this magnificent play brought the experience back to me. Suzan-Lori Parks has written a masterpiece, soon to be regarded as a modern-day classic, I am certain! EVERYONE should read this play.

I read this to prepare for an audition and I'm glad that I did. This play draws many parallels to present-day and what's going on in the world. It is a good and quick read.

Not bad. I kept reading the play looking for an "aha" moment that brought some new insight into the motivations of many Black Confederates but didn't see anything very new or dramatic.

Duh, it's Suzan-Lori Parks....it's brilliant and amazing!

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