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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 IIIChapter Summaries & Analyses

Act III Summary

Ida Jackson, the young mother from Act I, returns. This time, her baby is notably absent. She collapses in the church, weeping, when Margaret finds her. Ida shouts at Margaret, asking why God would allow her baby to die. Margaret asks Ida to pray in her time of suffering and assures her that she also knows the pain of losing a child. She tells Ida that sometimes the Lord will take away what you want, such as your family, and give you what you need to do His work. Ida retorts, “And do I need—that man sitting home with a busted heart? Do I need—two children in the graveyard?” (66). Ida says that her prayers are no longer good and that she won’t have any more babies because it hurts too much. Something shifts in Margaret as Ida leaves. This time, she tells Ida to go home to her husband, instead of leaving him.

Odessa enters and tries to comfort Margaret, who is having doubts about having ever left Luke. Odessa tries to calm her fears about losing her position and tells her to lie down before service. Shortly after, Brother Boxer, Sister Boxer, and Sister Moore find Odessa in the church. They tell Odessa that they’ve met and that the Lord told them it’s time to fire Margaret. She was not able to keep her husband and son out of sin, so she has (in their eyes) no right to lead the congregation. Odessa tries to remind them how hard Margaret worked to build a life over the last 10 years, but the church members are unmoving. Odessa pleads, “Brothers and sisters, if you knew just a little bit about folks’ lives, what folks go through, and the low, black places they finds their feet, you would have a meeting here this afternoon” (75). None of her arguments, with people who used to be her and Margaret’s friends, are heard. They have decided to tell her privately, instead of in front of the entire congregation and the church from Philadelphia, but the decision is final.

In the kitchen, David stumbles home hungover. Margaret interrogates him, trying to find out if he was out drinking the night before due to peer pressure or Luke’s influence. David insists that it wasn’t peer pressure and that he only talked to Luke once. He finally confesses that he is going to leave: He can’t play at the church anymore, doesn’t want to pray anymore, and doesn’t feel God anymore. Margaret begs him to stay, but David says, “If I stayed here, I’d end up worse than Daddy—because I won’t be doing what I know I got to do” (79). David feels a call toward something outside of the church, and he needs to be a man and go find it for himself. He tells Margaret that his mind is made up, but he will make sure to tell her goodbye before he leaves.

David exits, leaving Margaret and Odessa alone. Odessa tries to rally Margaret to preach one final sermon, a final attempt to win back her congregation. Margaret is too devastated from losing her family to even think about preaching. Odessa reminds her of the vision she had when her baby died, when the voice told her to find a hiding place. Margaret breaks, crying out, “Oh sister, I don’t remember no vision. I just remember that it was dark and I was scared and my baby was dead and I wanted Luke, I wanted Luke, I wanted Luke!” (81). Odessa tells her that she can’t be leaning back on that now and that she has to preach for their sake. If Margaret is fired, she and Odessa will have no place to go. They already don’t have enough money for rent or to finish paying off the Frigidaire that caused so much envy from the church members.

Suddenly, Margaret starts to realize that she has had her priorities wrong for too long. She tells Odessa, “I’m thinking how I throwed away my life […] I’m thinking now—maybe Luke needed it more. Maybe David could have used it better” (82). She tells Odessa she is going to go upstairs to be with Luke. On her way up, she runs into Brother Boxer and confronts him about why he hates her so much. He tells her that she spent years acting holier than anyone else, but she’s no different than any of them. He tells her she is “nothing but a woman who run off from her husband and then started ruling other people’s lives because she didn’t have no man to control her” (84). After years of feeling so unworthy of God’s love, and seeing the congregation practically worship Margaret, he now sees her for what she is: human.

In Luke’s room, Margaret tells Luke that David is leaving. Luke is relieved and happy that his son will be making his own path from now on. The couple finally reconcile and embrace one another in Luke’s final moments. They confess that they still love each other and reminisce about their wedding day. Then, Luke peacefully passes away by Margaret’s side. Margaret laments and regrets the years they spent apart, wishing she could start over and stay with Luke.

Margaret musters the courage to deliver a final sermon. She gets to the pulpit and begins as fiery as ever, daring the congregation to judge her when they don’t know all that she’s been through. As she turns her head to where David used to sit at the piano, something within her breaks. She falls quiet and then turns back to the crowd and tells them she’s missed the entire point of Christianity all these years. All she is meant to do to serve the Lord is “love all His children […] and suffer with them and rejoice with them and never count the cost!” (88). She looks out at the silent crowd and leaves the pulpit. The play ends with her going into Luke’s room one final time.

Act III Analysis

Act III features a pivotal turning point for Margaret’s character arc. Ida Jackson mourning the death of her baby brings up memories of Margaret’s own stillborn daughter. Margaret tries to instill the same sense of faith into Ida that brought her comfort in her own grief, but Ida won’t have any of it. She says, “The Lord ain’t got no right to make a baby suffer so, just to make me bow my head!” (65). For the first time in years, Margaret reckons with her faith and whether or not her child’s death really was a sign from God. When she tells Ida to go home to her husband at the end of the scene, it’s evident that she is starting to have a change of heart. She has been adamant about keeping the divide between men and women; now, she realizes that the grief parents experience is shared, not just borne by the mother alone.

David’s coming of age comes to fruition in this act. It is increasingly difficult for him to hide what he’s been doing outside of the church. When he stumbles home, still hungover, Margaret finally learns the truth. He has decided to leave the church to pursue a career as a musician, but his reason for going has a deeper intention behind it. As David says, “Every time I play, every time I listen, I see Daddy’s face and yours, and so many faces—who’s going to speak for all that, Mama? Who’s going to speak for all of us?” (79). This mirrors Baldwin’s own decision to leave the church and be a writer. David’s understanding of what it will mean to be a Black musician outside of the church hints at a broader idea: telling, preserving, and uplifting Black stories through music. He is using the arts to make a difference in the world, a difference that he implies can’t begin within the same four walls with the same few hundred people.

Baldwin continues to explore Tension Between Men and Women. When Margaret starts to falter and regret not choosing her family over God, Odessa takes charge. She commands Margaret to stay focused: “You always been the winner. Ain’t no time to be a woman now” (81). Throughout the play, Margaret, Odessa, and Sister Moore have viewed having a man in their lives as a setback that keeps them from focusing on the Lord. In their attempt to uplift women leadership, they have criminalized more traditionally feminine qualities, labeling them as weak or worldly. As Margaret says of the tension between men and women, “The only thing my mother should have told me is that being a woman ain’t nothing but one long fight with men. And even the Lord, look like, ain’t nothing but the most impossible kind of man there is” (82).

Margaret grows weary of always fighting with men, instead of appreciating Luke, the one who loved her. Though she realizes her love for Luke when it’s almost too late, the play implies that she has changed for good. She starts to see that men and women need each other and that there is a large distinction between being needily codependent and working as individuals in a team. She once shared this interdependence with Luke, and she now regrets letting it go.

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