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37 pages 1 hour read

James Baldwin

The Amen Corner

Fiction | Play | Adult | Published in 1954

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Act IIChapter Summaries & Analyses

Act II Summary

After Margaret’s secret is revealed, members of the congregation start talking to each other. They start to wonder how Margaret can afford a new Frigidaire, while they are still stuck in poverty. They begin to wonder if their donations and tithes to the church are being used for Margaret’s own gain. Odessa, Margaret’s closest friend, overhears the conversation and scolds them for gossiping.

In Luke’s room, David is visiting his father. Luke tells him that he heard David playing before a service one night. He says, “You play piano like I dreamed you would” (40). David has been doing his own research on his musician father and is enamored with the life Luke has had. He tells him that he started playing piano, hoping that the two of them might get to play together one day. He’s kept all these ideas about Luke to himself because Margaret never wanted to talk about him.

David opens up about the pain he felt from thinking he’d been abandoned by Luke all these years. Luke tells him not to run away from the pain but to remember that it’s a part of life. He tells David that he and Margaret struggled when they had another baby who was stillborn. David says, “I remember—[…] And Mama was in the hospital—and you was drunk, going to that hospital all the time—and I used to hear you crying, late at night” (42). He wonders if Margaret actually found the Lord after that, but Luke says she’s the only one who can truly know that.

David tells Luke that he’s been having a crisis of faith himself. He’s been leaving the church more often, wanting to spend time with his friends and other musicians outside. He knows he will have to tell Margaret that he plans to leave for good soon but doesn’t know how to just yet. He is still conflicted between what he wants for his life, knowing that what he wants is what he’s been taught is wrong. Luke warns him that no matter what decision he makes, it’s the people in life that make it worth living; otherwise, there’s no reason to make music to begin with.

Margaret is still in Philadelphia, and the members of the congregation are gathered to gossip again. They mention the Frigidaire again and a newly commissioned stain glass window and wonder why the money isn’t being used to move to a better building than the one they have now. Odessa stops them again, telling them that the Frigidaire is in her name, not Margaret’s. Sister Moore defends Margaret, reminding the others that she is not focused on things on earth but things that are heavenly. Sister Sally retorts that her mother is doing the same: “But she say she don’t see why you got to be in the dirt all the time just because you a Christian” (49).

Finally, Margaret returns from her trip. One of the church members in Philadelphia drove her down, and she announces that the church is going to hear a sermon in Harlem tomorrow. They’ll be bringing their praise instruments, such as a trumpet and drums. They are shocked, asking if these things aren’t evil. Margaret replies, “Well, the evil ain’t in the drum, Sister Rice, nor yet in the trumpet. The evil is in what folks do with it and what it leads them to” (53). The Boxers use this as an opportunity to ask about Mr. Boxer’s job again. They argue that if it’s okay for worldly things like instruments to be used in church, then it should be okay for Mr. Boxer to drive a liquor truck. As long as he’s only using it to make a living, there should not be a problem. Margaret still objects, saying that he is helping people sin by driving liquor to them. The argument leaves the Boxers feeling even more resentful toward Margaret than before.

Later, Margaret is shocked to find David listening to one of Luke’s old records, one that she never allowed him to listen to. Luke tells her that he gave David the record. David leaves, and for the first time in 10 years, Margaret and Luke are alone. Luke tries to reminisce on how things were before, at the beginning of their marriage. Margaret insists that all she’s ever wanted is to follow Jesus, but Luke tells her it wasn’t like that in the beginning. He pleads with her, saying, “I know we can’t go back, Maggie. But you mean that whole time we was together, even with all our trouble, you mean it don’t mean nothing to you now?” (58). Margaret is firm that God has made her a new woman. It isn’t until Margaret tells Luke that he is the reason their marriage failed that Luke starts to get to the root of it all.

Margaret finally speaks about the pain of losing their baby girl. She says she heard a voice that told her, “Maggie, you got to find you a hiding place. I knowed weren’t no hiding place to be found in you—not in no man” (59). Margaret and Luke had been poor and cold that winter, and she felt that God was punishing her for being married to Luke. Luke argues that they did nothing that would have caused them to be cursed. He says,

All we’d done to be cursed was to be poor, that’s all. That’s why little Margaret was laid in the churchyard. It was just because you hadn’t never in your whole life had enough to eat and you was sick that winter and you didn’t have no strength. Don’t you come on with me about no judgment, Maggie. That was my baby too (60).

The root of Margaret and Luke’s split was Margaret’s refusal to grieve the death of their baby with her husband and instead running away. Luke tells David that they “had [them] a little trouble. And she wouldn’t come to [him]. That’s when she found the Lord” (42). Luke, meanwhile, should have focused more on his family than his music. Now, after years of regret and missing her, Luke tells Margaret that he wants to be with her now. Margaret begs him to turn to God and ask for salvation, turning her attention once again to something beyond her as opposed to the love and pain facing her in the present. She asks him to do it, if only to set an example for David, but Luke refuses and says he wants David to have his own choice in how he lives life.

Margaret leaves Luke, telling him he’s going to die. She goes into the kitchen, where Odessa finds her. She tells Margaret that the church is having a business meeting to discuss the future of Margaret’s position as a preacher there. She ends the act praying for strength.

Act II Analysis

The scene between David and Luke in Act II does a great deal of heavy lifting for the play. First, it hints at the origins of the rift between Margaret and Luke. Margaret turned to God instead of her husband in her time of need. Baldwin hints at how different life could have been for this family if they’d come together, instead of tearing apart, in their time of grief.

Baldwin also continues to explore Coming of Age in a Religious Household by showcasing David’s crisis of faith. David tells Luke all the things that he’s too scared to admit to Margaret: “I started looking around this house, around this church—like I was seeing it for the first time. Daddy—that’s when I stopped believing—it just went away” (43). He’s starting to doubt if the very thing that Margaret claims saved them is real at all. Luke, in his final days, is able to make a difference: “Hold your head up, David. You’ll have a life” (45). For months, David has lived with guilt over having white friends, spending time with girls, playing music, and smoking. He was taught that his salvation could be threatened if he goes down this path, but now, he finds freedom in being able to make his own way. David and Luke’s conversation mirrors much of Baldwin’s own relationship to the church. Instead of music, Baldwin was uncomfortable as a young teen with his queerness and sought refuge in the church. Later, when he came of age, he realized that he was there for the wrong reasons and left, just as David does later in the play.

With Margaret’s lie exposed, the congregation feels free to find other flaws in her leadership. They gossip about her and her family behind her back in the name of speaking the truth to one another, another example of The Church’s Hypocrisy. One of their major issues with Margaret is the way she spends, or doesn’t spend, the church’s money. Jobs for church members are limited by Margaret’s standards, as seen with Brother Boxer’s fight over driving the liquor truck. Margaret’s quest for Godliness is putting her church in harm’s way, not helping them. As Sister Boxer says, “This church is poor, Sister Margaret, we ain’t got no cars to drive you around in, like them folks in Philadelphia. But do that mean we got to stay poor?” (54).

Poverty comes to the forefront again when Margaret and Luke finally confront one another. Luke is astonished when Margaret says she left him because she felt that God had cursed them. He tries to point out to her that her argument is nonsensical: “Then that God you found—He just curse the poor?” (60). Margaret is blaming the effects of systemic racism and poverty on God’s curse instead of on the people who actually build and support it.

The entirety of Act II is a dismantling of what Margaret always thought was true and what she thought would always be true. After noticing her son withdrawing more from the church, facing her trauma from losing her baby, and having her own faith be put on trial, she learns that her church is holding a business meeting that could threaten her entire livelihood. In this way, the act ends on a cliffhanger.

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