No Redemption in “Angels in America” (Guest Post) 30 August 2010Posted by Todd in Culture, Gay and Lesbian Culture, Gay Culture, Literature, Mormonism/LDS Church.
In a conversation with some friends last week about the brilliance and shortcomings of Kushner’s play cycle Angels in America, a friend of mine, Caroline Udall, wrote this piercing critique of Kushner’s choice to redeem every character except the gay Mormon. Her comment is in medias rex, as it were, but I think it stands on its own as an example of excellent literary criticism. The first paragraph is my comment to which Caroline is responding.
Even today, however, I find that it stings me to the core that the only character who doesn’t find forgiveness in the play is the gay mormon character. Everyone else, even Roy Cohn the evil monster proto-typical self-hating Himmler of American gay life from HUAC to AIDS, even *he* finds redemption. But the gay mormon character is simply lost, refusing redemption at the end of the play, a poison to his wife, his mother, and to the boyfriend he beats up.
This is the exact bone I have to pick with Angels in America as well (I mean the HBO version; I’ve never seen it on stage). To me Joe was a heartbreaking character–absolutely trapped and warped by his family, his religion, his whole right-wing mormon milieu. And I thought Kushner deeply, deeply betrayed that character.
I read a bit of an interview with Kushner once. I can’t remember where I read it, but it was shortly after I saw the DVD. Kushner said, essentially, that he didn’t want Joe to come away with ANYTHING. He wanted him to lose EVERYTHING—that he saw him as some kind of completely hypocritical closet case and wanted to set it up to punish that kind of figure. But the problem is, he didn’t set him up as a Ted Haggard type, or even as a Roy Cohn type. He set the character up as this lost soul who is deeply naive, believes in his religion and consequently hates himself, is really just as much a victim of the patriarchs and their patriarchal homophobia as Harper or his mother are victims of patriarchal misogyny. He develops Joe as having been wounded and rejected by a homophobic, unloving father and thus vulnerable to the warped father-figure of Cohn. That scene where Cohn puts his hands on Joe’s head and blesses him in this really twisted playing out of a mormon father’s blessing was absolutely seething with evil to me. And Joe absorbs it with really no awareness that he is under the hands of the devil. He even tells Cohn that he loves him in that scene–and he clearly means it in a son-to-father sense, not in an erotic way. So here he is getting the devil’s blessing and receiving it, in all innocence, as if it were something holy.
Joe doesn’t share Cohn’s values, but is sort of hypnotized into thinking that Cohn shares his values. That scene where he confronts Cohn about federal witness tampering (or whatever it was) demonstrates clearly that Joe was not inherently a dishonest man.
I fucking hated the character of Louis (which, I suppose may have been the point, lol) for partly this reason. Joe is clearly, CLEARLY ignorant about who Roy Cohn is and what part he has played in history. Yet when Louis finds out that Joe works for Cohn, that’s it. Knowing nothing more than that, he sobbingly rejects Joe in absolutely cruel, arrogant, judgmental terms. It’s not Cohn that’s the villain here–it’s Joe—simply for his proximity to Cohn. Louis even quotes that whole “Have you no decency, sir?” stuff at Joe, as if Joe were the one who had done all that shit during the HUAC hearings. And this is from a man who abandons his AIDS-stricken lover bleeding on the floor because he himself is too physically squeamish to deal with it. He doesn’t even bother to call the ambulance before he goes. It’s like Cohn’s sins have been pronounced on Joe’s head and JOE gets sent off into the desert to die. Joe’s been the innocent scapegoat and so enables everybody else to have basically a warm, lovely happy ending. (Hmm. D’ya think? It works for me. But maybe it’s too much of a stretch. Then again, considering the scene in the hospital where he gets Cohn’s blood all over him after Cohn lays hands on him–maybe it’s not such a stretch.)
If Kushner wanted to punish evil, self-hating, hypocritical closet cases who make life worse for other gays, then why does Cohn get to have Kaddish said for him (in the movie, by the ghost of Ethel Rosenberg, no less–a woman he participated in essentially murdering), but Joe loses everything, gets no comfort, no redemption of any kind? Joe was in no way a conscious betrayer, a conscious evil presence, in the way that Cohn was. In Joe, Kushner created what I thought was a beautiful, tragic, wounded, and essentially innocent character that was very, very true to what it means to be a victim of mormonism–gay or otherwise. And then he betrays him and psychically kills him off, while giving the TRUE villain of the piece on every. single. level. one of the most redemptive scenes in the play.
Yeah, lol. It clearly bugged me. Joe’s character broke my heart as much as any character in that play and I thought Kushner absolutely betrayed him. I’m still gnawing on it, five years after I saw the thing.