- Angelina Weld Grimké (1880-1958): A lot of Grimké’s poetry speaks to her desire to love and be loved by another woman. Her lesbian identity as an influence to her poetry has been discussed by theorists like Barbara Christian. Grimké’s love for other women is best seen in the third stanza of her poem "Naughty Nan". Click here to see the poem. Though her sexual identity is not overtly specified in Rachel, the paintings that are specified as stage direction at the beginning of the play speak to these larger sexual issues. Specifically, Burne-Jones’ “Golden Stairs” (1880) which can be seen on the Tate Gallery website here, can be argued to have homoerotic overtones. This relates to how the scene setting and architecture of the play is very detailed and deliberately chosen.
- The racial concerns seen in Rachel are not echoed as much in her poetry. Rachel published in 1920. First presented by NAACP in 1916. The play is said to be a response to W.E.B DuBois request for theatre, by and for African-Americans.
- I see two main themes to the play:
- Lynching
- The tension between motherhood and echoes of infanticide.
- Touch is also seen throughout the text, and is especially problematic when it comes to Rachel herself. On page 24 for example Rachel’s hug is described as a strangle. Also, Rachel’s dislike of being touched by John Strong towards the end of the play seems to be coupled with a rape discourse.
- How does architecture function in the play? What does it mean that on pg.5 Mrs. Loving says that the poor live on the top floor, and how does this relate to the opposite use of contemporary architecture?
- She originally called the play The Pervert, Blessed are the Barren and The Daughter before being titled Rachel. What are the implications of these titles?
- How do you see the play ending? Does she kill Jimmy, does she commit suicide?
- What is the function of the rape discourse in relation to John Strong?
