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The American Dream is the promise that anyone, regardless of the circumstances of their birth, has equal access to success in the United States. It’s the promise that has drawn many immigrants to the country, and it’s integrally tied to capitalism, insisting that the only obstacle to success is hard work. Crumbs from the Table of Joy subverts the idea of the American Dream, highlighting how circumstances such as race, gender, and class affect one’s opportunities. Godfrey knows that as a Black man in 1950, the American Dream does not include him. He moves his family from the Jim Crow South to New York City, settling in the mostly white borough of Brooklyn, but he avoids unnecessary interactions with white people and expects his daughters to do the same. Despite the Peace Mission’s objective of radical desegregation, Godfrey is reluctant to let Ernestine and Ermina go to the apartment of the old white couple to earn money. He is also uncomfortable when Gerte asks for help on the train, noting his fear of winding up like one of the Scottsboro Boys, a group of Black teens who were falsely convicted of raping two white women. This explicit reference to this court case represents the disparity in safety and opportunity for Black people in the United States, situating them outside of the myth of the American Dream.
Although Godfrey expresses wariness about himself or his children trusting white people, he also allows himself to cross racial boundaries, emboldened by Father Divine’s teachings. He moves his family to Brooklyn, which is overwhelmingly white, even though Harlem is nearby, mistakenly believing that he is following Father Divine to the borough. Godfrey marries a white woman, the ultimate taboo in a racist society, presumably doing so at the Mission. Despite religious freedom being part of the American mythology and the north being desegregated, he is punished for violating American social norms; when they go out together, he is attacked by a group of white men. When Lily points out the significance of the image of a bleeding Black man with a white woman who is covered in blood but unhurt, Gerte demonstrates that she doesn’t understand what it means to be Black in the United States. She claims not to notice the Crumps’ skin color, but Lily and Ernestine are hyperaware of how they are marked as different. Gerte wants to believe that they can be raceless, at least within the walls of their apartment, but Ernestine and Lily know that this idea is naïve. This incident is a terrifying reminder of how far things have to go to achieve equality.
Godfrey works all night at a bakery to support his family, and his coworkers are all Black, suggesting that his work and the inconvenience of the overnight shift are undesirable conditions given to Black workers because white workers reject them. Black laborers like Godfrey are used to working for crumbs, but they are also afraid of being associated with the Communist Party and their fight for better conditions. When Ernestine’s essay about worker conditions is flagged as expressing communist beliefs, she edits it by making it more patriotic, showing how communism is incompatible with the American Dream mythology. However, the play asserts that these communist ideas get closer to actualizing the American Dream than capitalism, particularly for Black Americans.
Lily is another example of how Blackness interferes with the American Dream. Although it isn’t clear how much of her story is fabricated, she is intelligent and educated, and she had enough success at some point to purchase a designer suit. The country doesn’t change quickly enough for Lily to experience it, and she develops drug and alcohol addictions instead. Throughout the play, though, Ernestine is quietly preparing to graduate high school, a significant achievement as she will be the first graduate in the family. Soon after moving to Brooklyn, she experiences going to the movies and sitting between two white girls, all three weeping along together as equals—something that never would have been allowed under Jim Crow in Florida. This shows her that there is growth toward civil rights and equal access to the American Dream, even though it’s clear that there is a long way to go.
The play begins with the Crumps experiencing enormous change. When Sandra dies, the grief is so intense that Godfrey, Ernestine, and Ermina are mired in it. The community around them in Pensacola validates and shares their heartache, offering their hands and their memories. The pain nearly destroys Godfrey, who weeps and wails, seemingly losing his ability to speak. Then, Godfrey finds Father Divine and the Peace Mission through an elixir that promises feelings of peace. Though he wasn’t religious before, he becomes devoted to Father Divine, another huge change for his daughters, particularly since they are expected to participate in his newfound faith. He impulsively attempts to escape his sorrow by uprooting his daughters and moving them from Florida to Brooklyn. This third immense change doesn’t negate the first, but it allows Godfrey to separate himself from it and avoid his painful memories. It allows him to focus on his new devotion, which he leans on, placing some of his responsibility as a parent in the hands of Father Divine’s teachings. For Ernestine and Ermina, these changes are difficult, especially when Godfrey acts impulsively again, disappears for a few days, and returns with a white wife. Over time, it becomes clear that Godfrey uses Father Divine and the Mission to quietly hold out against change. He refuses to touch his new wife, adhering to the Mission’s celibacy requirement, even among married couples. He also files every difficulty away by writing down questions for Father Divine to solve. For all the change Godfrey has implemented, he finds there is no shortcut through grief, and his sorrow follows him until Gerte forces him to confront his countless notes in Act II.
Although these changes are confusing and upsetting for Ernestine and Ermina, they eventually blossom and grow in their new environment. For Ernestine, change leads her to the revolution. Throughout the tumult of Ernestine’s last year of high school, her Aunt Lily tells anyone who will listen about the coming revolution, where she expects to be a force in the fight for Black Civil Rights. Ernestine is the only one who listens, her scandalous paper about Black workers demonstrating that her mind is turning over the possibilities. Despite Lily’s longing for change and a world that will take her seriously, she is stuck in a world that won’t budge. Lily copes with the lack of change by increasing drinking and eventually drug use. While Lily feels trapped, Ernestine has the imagination and idealism to set her own sights on joining the revolution, especially since the times are changing. Social change requires mass organizing and collective social movement, and while Lily finds herself isolated and alone, Ernestine is graduating in a world where Black Americans are launching a new Civil Rights movement. After graduating, she seeks out the Communist Party headquarters and only finds a dive bar there, but the patrons direct her to City College, where she enrolls. With this, Lynn Nottage asserts that being educated as a Black woman is revolutionary. By reading W. E. B. DuBois and Frantz Fanon—Black socialist thinkers—Ernestine’s mind is opened to what Lily dreamed about. Godfrey can’t imagine why Ernestine would turn down the job he got her in the bakery, but she won’t settle for her father’s life and instead joins the fight. As such, the play ends with the feeling that change is certain, even if it’s a painful process getting there.
Crumbs from the Table of Joy is a memory play about Ernestine’s coming-of-age and coping with her mother’s death, a sudden relocation away from everything she knows, and her father’s impulsive remarriage to a white woman. This means that Ernestine is not only the narrator but also the lens through which the audience sees the family’s lives. Therefore, the reliability of the narrator is always in question as the action is not presented objectively. Ernestine is shy and pensive, and she is full of romantic fantasies. She loves movies and dreams about being a movie star, although she seems fully aware of the unlikelihood of fulfilling that dream. Because her teenage self is quiet and unobtrusive, she sees a lot, often—but not always—observing stoically from the sidelines. Films are a way that Ernestine copes with trauma and change, and she finds the movie theater to be a safe place to escape, unleash her emotions, and cry freely for the romantic heroine onscreen in place of her own pain.
Ernestine also copes with intense incidents by imposing momentary fantasies, breaking the fourth wall and showing how she wishes the moment played out. Some of these moments occur when Godfrey’s faith fails to provide the comfort he seeks for his own pain and grief. Godfrey joins Father Divine’s Peace Mission to cope with losing his wife and the weight of single parenthood. He allows Father Divine to essentially run his household by imposing the Mission’s rules and teachings onto Ernestine, Ermina, and eventually—unsuccessfully—Lily. When Godfrey finally receives his long-awaited letter from Father Divine, which includes a not-so-subtle request for money, Ernestine imagines that Godfrey happily takes them out to celebrate. In reality, he spent the evening counting his money, more troubled than comforted by the letter. At the banquet for Father Divine, Ernestine fantasizes that Gerte climbs on the table and gives a sultry serenade like Marlene Dietrich, but the truth is that Father Divine lets everyone down by failing to appear, especially Godfrey. These moments of fantasy add a lightness to the play’s action, brief respites from the characters’ sorrow or disappointment. Nottage cuts this short by juxtaposing Ernestine’s fantasies with her frank confessions about the sad truth, strengthening the emotional impact of these moments.
Ernestine is not the only character who spins fantasies, although hers are played out and embodied by the other characters through her storytelling, making them simultaneously real and not real. Lily builds a profile of herself as a warrior in the coming revolution, a bold member of the Communist Party who broke boundaries to become educated and pushed her way into a profession dominated by white men. While Lily is proud of her achievements, the powerful self she projects is a fantasy—she cannot break into her chosen field, and she doesn’t become an activist. Her fantasy ends with her death, though her ideas live on in Ernestine and set her on the path to fulfilling Lily’s dreams. Godfrey, in marrying a white woman who doesn’t understand the severity of racism in the United States, begins to live in the fantasy of Gerte’s view of the world, in which she imagines that race can be forgotten or set aside. This results in the harsh reality of Godfrey being attacked by racists and the knowledge that the police won’t help. In Ernestine’s smallest fantasy, in which Gerte has a drink with Lily, Ernestine sees a tiny moment of comradery that might have changed the course of her aunt’s life and perhaps saved her, but it was not to be. In the end, Ernestine imagines two paths forward for herself: working in the bakery or joining the revolution. These are the first fantasies that Ernestine can act upon and make real, and she chooses revolution, deciding that she wants more than a steady life of baking bread. With the ending, Nottage shows that fantasies are important even if they don’t always come true, and revolutionary imagination is integral to achieving social change.



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