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Skip to main content. You're using an out-of-date version of Internet Explorer. Log In Sign Up. By locating the drama in a one-bedroom apartment and focusing on only two characters — brothers Lincoln and Booth — Parks forces us to confront the vast issues of racial and economic inequalities in America through their impact on the psyches of two characters. And, in fact, it could be no other way. Parks suggests that, for the black man in a racist and classist society, the psychological and the social are inextricably linked.
His assessment of his worth depends on his ability to identify both with the symptom of his oppression and with the symbol of recognition: The symptom represents the tension between the Symbolic and the Real, the tension between the fully formed appearance of self and the chaotic unconscious: The symbolic order is a linguistic, and thus a deeply social and political, structure.
The symptom, then, is the articulation of that disruption. The symptom is crucial to a reading of Parks, then, because it allows us to maintain that there is a Real of history, of trauma , while emphasizing that we cannot access it — instead, we access a moment of disruption, and, moreover, we access this disruption through language. In other words, it is the social construction of language that both masks the trauma history but is also our only access to it and the only tool we have with which to diagnose and potentially treat the trauma.
I Southern trees bear strange fruit, Blood on the leaves and blood at the root, Black bodies swinging in the southern breeze, Strange fruit hanging from the poplar trees. More importantly, Parks is able to move from the often overly abstract theories of Marxist postmodernism into the personal psychological, while still maintaining the complexity and specificity of her characters. As theorists, both Jameson and Harvey demand a certain distancing, a systematization of their subjects.
While Parks borrows heavily from the language of Jameson, she continually underscores the need to refocus these ideas on community. Nor is it the first place in her dramatic writings where we encounter a black man who dresses up as Lincoln. For Hutcheon, parody is the mechanism through which postmodernism reveals its political potential: In other words, parody forces us to recognize our location within history, while also reminding us of the arbitrariness by which history is created.