Addressing a complex history of racial inequality in the U.S., as well as a conundrum of relationships within a dysfunctional family affected by racial prejudices, August Wilson’s “Fences” incorporates an array of memorable and sympathetic characters. However, the main protagonist, Troy Maxson, clearly represents the core of the play and the most interesting character to consider. Affected severely by racism and the associated injustice deeply entrenched into the very fabric of American society, Troy embodies the tragedy of failing to recognize the needs of others, thus, paradoxically forcing himself even further into bitter conflict with people around him, particularly, his son, Cory.
One could argue that selfishness represents the core character flaw that Troy possesses. Indeed, a range of decisions that Troy makes, especially those linked to his relationships with Cory, are supported by his selfish attitudes and his self-centeredness. While Troy’s unwillingness to reconcile with Cory stands out particularly strongly as an example of his egotism, it is his less noticeable yet nonetheless egregious treatment of his wife that makes Troy’s selfishness nearly unforgivable. Wilson mentions Troy’s unfaithfulness to his wife on multiple occasions, making it a leitmotif to the story and Troy’s life: “I don’t know how to say this….I can’t explain it none. It just sort of grows on you till it gets out of hand. It starts out like a little bush…and the next thing you know it’s a whole forest” (Wilson). Thus, Troy’s very character arc is marked by his inability to appreciate his relationships with Rose or, at the very least, be honest with her.
Moreover, Troy’s disloyalty turns his character nearly unlikable due to the treason that he outlines as an excuse for his affair. Specifically, Troy’s justification for his actions lies essentially in him being bored by “standing in the same place for eighteen years” (Wilson). Being an outrageous dismissal of his wife’s feelings and needs, as well as refusal to accept responsibility on his part, the specified response defines Troy’s major flaw, namely, his inability to recognize the emotional needs of others and the efforts that other people make to keep the relationships functional.
The specified portrayal of Troy begs the question of whether Wilson represents him as the villain of his own story. On the one hand, Troy is uncompromisingly negative in his attitudes and judgments, as well as unjustifiably mean to the people around him, including his family members, which makes him an undeniably unlikable character. On the other hand, one could claim that Troy as a character is not beyond redemption. Specifically, even though Troy’s illusions cloud his judgments and prevent him from rebuilding relationships with Rose and Cory, Wilson still leaves a glimmer of hope for the character to recognize his flaws and reconcile with the loved ones: “I give you my sweat and my blood. I ain’t got no tears. I spent them” (Wilson). Thus, the ending of the play, in which Cory wrestles with the idea of attending his father’s funeral, is tragic not because of Troy’s death, but because of the fact that the lingering hope for him to mend his ways is no longer there.
Specifically, glimpses of good nature that Troy used to have and not be afraid of showing are sprinkled across the play. For example, Wilson portrays Troy as a highly responsible man who is aware of his duties as a head of the family: “It’s my responsibility! You understand that? A man got to take care of his family.” (Wilson). Thus, Wilson portrays Troy not as someone born to be a villain but, instead, someone molded into one by the ruthless forces of racist and classist society. Having been stripped of every opportunity to succeed, Troy undermines his own chances to build trustful and profoundly happy relationships with his family members since he is afraid of the ultimate failure to do so: “You go on and get your book-learning so you can work yourself up in that A&P or learn how to fix cars or build houses or something, get you a trade.” (Wilson). As a result, though a number of Troy’s actions might seem as unjustifiably mean and even vile, particularly, him cheating on his faithful wife, Troy is not beyond redemption. However, the specified redemption is defined to as a journey on which the character must embark himself, but the change in the way in which his family perceives him. Namely, by depicting the changes in Troy’s and Rose’s perceptions of Troy after the funeral, Wilson implies that Troy could have made the necessary change and, therefore, that he is ultimately redeemed, even though the specified discovery regarding Troy’s nature comes far too late.
With his beliefs grounded in traditional values and his stubbornness mixed with selfishness, Troy Maxson embodies the tragedy of failing to recognize the needs of others, thus, building resentment to his son Cory, with whom he has a disagreement. As a result, Troy’s character becomes profoundly complex and multi-dimensional, him being painted as a deeply flawed yet well-intentional. Being incapable of cr5ossing the generation gap between him and his son, Troy encapsulates the tragedy of failing to escape one’s illusionary world. Thus, while not being explicitly negative or overtly positive, Troy’s character as the protagonist of the narrative embodies a cautionary tale of the danger of failing to embrace change and open oneself to the idea of acceptance.
Work Cited
Wilson, August. “Fences.” 1983. Archive.org.