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50 pages 1 hour read

Father Comes Home From the Wars

Fiction | Play | Adult | Published in 2015

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Background

Literary Context: Homer’s Iliad and Odyssey

Parks’ play is billed as an “American Odyssey” because it takes rough plot points, character names, and themes from Homer’s two epic Ancient Greek poems, the Iliad and the Odyssey, and resets them within the context of enslavement in the United States. The Iliad and the Odyssey are dated anywhere between the 12th and sixth century B.C.E. However, little is known about the figure of Homer. While often considered to be a single man, it is also possible that he was a person of another gender or even “a group or lineage of poets” (Dunn, Daisy. “Who Was Homer?” The British Museum, 2020). Regardless of who Homer was, his work was very influential from the time he composed it, and it is taught and studied even today. It is thus hard to overstate how much Homer’s epics affected the early literary landscape of Europe, as well as European culture and thought from the ancient period onward.

Homer’s epics retell popular Ancient Greek stories surrounding the events of the Trojan War. The Iliad recounts the 10-year Trojan War and follows characters such as Hector on the Trojan side and Odysseus and Achilles on the Greek side. It tells the story of how the Greek forces wage a war in Troy on behalf of the Greek king Agamemnon and his brother Menelaus, whose wife Helen fled to Troy with the Trojan prince Paris. Though this epic focuses on many people besides Odysseus, the king of Ithaca, aspects of his story—like his reticence to leave his wife Penelope at home and join the war—have parallels in Father Comes Home From the Wars.

Odysseus earns the ire of Poseidon, and Homer’s Odyssey recounts Odysseus’s 10-year journey back to his home in Ithaca after the war as the god of the sea continuously waylays him. Meanwhile, in Ithaca, people presume their former king dead and many suitors court his wife, Penelope—this parallels Hero’s presumed death alongside the Colonel, and Homer’s courtship of Penny. The Ancient Greek Penelope subverted her onslaught of marriage proposals by devising tricks to keep her suitors at bay. Despite Odysseus’s infidelity to her over the last 10 years, they reconcile after Odysseus proves his identity and kills the rest of her suitors. In the play, Penny is faced with the theme of Making New Choices Versus Repeating Old Stories when Hero returns with his “new” identity, Ulysses, and tries to kill her lover, Homer. Unlike Penelope, who stays with Odysseus, Penny leaves with Homer. This subversion of the expectations set by the play’s Ancient Greek predecessor shows that people can break the normative assumptions of the narratives they are involved in.

Historical Context: Enslavement, the American Civil War, and Black Men Forced into the Confederate Army

The American Civil War started on April 12, 1861, and ended on May 26, 1865. However, enslaved people in some states—like Texas, where Hero, Homer, and Penny live—didn’t find out about their emancipation until June 19, 1965, inspiring the holiday Juneteenth. The American Civil War was fought between two geographical areas of the United States: the northern “Union” and the Southern “Confederacy.” Between the United States’ official secession from England in 1774 and the year 1804, “most of the northern states abolished slavery or started the process to abolish slavery” (“Slavery in America.” History, 2024). The “proximate” cause of conflict between the North and South was a “Constitutional principle: the U.S. government refused to recognize the southern states’ right to secede from the Union;” in retaliation, the southern states “asserted that right by seizing federal property within its states’ borders” (Coski, John. “Myths & Misunderstandings: What Caused the Civil War.” The American Civil War Museum, 2017). However, efforts to “downplay the importance of slavery” to the Confederacy’s secession began as a Confederate “post-war effort” (Coski). In the actual lead-up to the war, the desire to continue the practice of chattel enslavement “dominated the thinking and the rhetoric of southern statesmen” (Coski). Similarly, in Father Comes Home From the Wars, when the Colonel and Smith are discussing their differences as a Confederate and Union man respectively, the only difference they discuss is their opinion on enslavement.

At first, President Abraham Lincoln insisted that the “sole reason” for the Union’s militant engagement with the confederacy was “the preservation of the Union” (Boston, Nicholas, and Jennifer Hallam. “Freedom & Emancipation.” PBS: Slavery and the Making of America, 2004). The Union’s Confiscation Act of 1861 “allow[ed] the federal government to seize property, including slave property, being used to support the Confederate rebellion” (“The Confiscation Acts of 1861 and 1862.” United States Senate). Enslaved people, who were considered “property” by their enslavers, were legally classified as “contraband” in the Union, and fugitives from slavery could therefore be enlisted in the Union Army. The Second Confiscation Act of 1862 allowed Union forces to free enslaved people in conquered territory, and to recruit Black soldiers into the Union forces. In the play, Smith was freed when his enslaver died; he likely enrolled under the Second Confiscation Act.

Smith is in the 1st Kansas Colored Infantry. Kansas was “the first Northern state to recruit, train, and send black soldiers into combat during the Civil War” (“First to Serve-1st Kansas Colored Infantry Regiment.” National Park Service). This regiment assembled as a state militia in August 1862, after the Second Confiscation Act but before the Emancipation Proclamation “officially authorized the recruitment of African American soldiers for federal service” in 1863 (“First to Serve”). Part 2 of the play takes place in late summer 1862; Smith and his fellow servicemen were likely the first men enrolled in the 1st Kansas Colored Infantry under the Second Confiscation Act.

By contrast, the Confederacy forbade Black men from serving as soldiers in the war. Instead, “enslaved or marginally free laborers [served] in capacities in a military setting analogous to their roles in civilian life” such as “body servants, laborers, teamsters, hospital workers, and cooks” (Coski, John. “Myths & Misunderstandings: Black Confederates.” The American Civil War Museum, 2017). This introduces an important differentiation between “military service” and “forced labor” (Coski, “Black Confederates”). In Part 1 of the play, Hero debates the “choice” the Colonel has given him to join the Confederate Army as the Colonel’s bodyguard. Old Man points out the fallacy of this “crumb” of choice since Hero ultimately has no real choice but to follow the Colonel into battle.

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