Father Son Relationships In August Wilson's Fences

Despite his wickedness, an ounce of truth shines in Shakespeare’s Claudius when he reminds the grieving Hamlet “your father lost a father, that father lost, lost his.” (Shakespeare 1.2.93-94). One of the most identifiable tropes in literature remains that of father and son- the aforementioned Hamlet and Hamlet, Pap and Huckleberry Finn, Abraham, and Isaac, etc., etc. However, this relationship is out under the keen microscope of August Wilson who seemingly suggests that, for the son to grow into himself, this relationship must break apart rather than maintain its familial ties. In Fences, August Wilson uses the neglected backyard of Troy Maxson to depict the relationships between father and son and the unavoidable cycle, but absolute necessity,

of its deterioration.
Wilson first introduces this idea in the first act, using one of Troy’s many monologues to revel how Troy himself only established his identity through the experience of fighting and then abandoning his father. Troy revels that he “was scared of [his] daddy” (Wilson 1.4.282-283). That is until, at the age of fourteen while seeing a young girl, his father walks in on their “meeting” and starts beating Troy. Troy initially believes this is a punishment for having not done his work, however, he realizes his father did this “so he could have the gal for himself” (Wilson 1.4.287-288). Troy remarks quite proudly that this was the moment he “lost all fear of [his] daddy,” that “right there is where [he] become a man” (Wilson 1.4.289-291). This moment does not mark Troy’s overcoming of his father- in fact, Troy loses the fight to his father. What this moment does revel though, is the moment Troy saw his father as human. To Troy, his father was the terrifying figure he couldn’t escape from. This moment changes this assumption. This moment allows Troy to see his father just as flawed as he is, just as capable to make mistakes as Troy does, and able to want the same things Troy wants. Troy is now able to see the man he is not and who he is in his father. This allows Troy the ability to separate physically and metaphorically from his father, to go to Pennsylvania, and establish the man he is meant to become out from under his father’s thumb.
Later, a similar reenactment begins to unfold between Troy and his son Cory, who will carry on the destined cycle. In the beginning of the play, Cory fearfully gives in to his father’s demands. He hastily corrects his “Yeah” to a “Yessir” (Wilson 1. 3. 41-43). He begrudgingly promises he will get his job back and sacrifice his potential football career as his father demands (“You go on down there to that A&P and see if you can get your job back. If you can’t do both. . .then you quit the football team.” “Yessir”) (Wilson 1.3. 192-196). He even further resembles Troy’s youth by accepting these demands to his father’s face, but going behind Troy’s back to pursue his desires any way (Wilson 1.4.426-429). Cory, without realizing, mirrors Troy from the beginning; however, it will take an instance of great circumstance for Cory to see his father as human as well to step into his own.
Cory completes his and the stories thematic round by separating himself from his father.

After Troy reveals his adultery to Rose, Cory remarks all the faults he sees now in his father, how Troy was always holding him back, how Troy stole Gabriel’s money, and, ultimately, how Troy only ever tried to make Cory afraid of him (Wilson 2.3.114-170). While Troy wins the physical scuffle that ensues between father and son, Cory has won the metaphorical. He has allowed himself to put himself apart from Troy metaphorically by realizing his father’s faults and literally by leaving his father’s house and joining the military. This is even further reiterated in the next scene when Rose remarks that Cory is just like Troy, and, thematically, he is.

Cory: . . . Everywhere I looked, Troy Maxson was staring back at me. . .hiding under the bed. . .in the closet. I’m just saying I’ve got to find a way to get rid of that shadow, Mama.

Rose: You just like him. You got him in you good.

Cory: Don’t tell me that, Mama.

Rose: You Troy Maxson all over again (Wilson

2.4.158-163).
The core of these father and son disputes, the center of the cycle reveals itself as the scramble for self-identity and purpose. Jerome Thornton articulates this perfectly in his analysis of the play, stating that “The conflicts portrayed in Fences are underscored by the barriers the characters construct to articulate difference, protection of self or identity” (4). Troy, as his father before him, behaves like a bully to protect the identity he fought for. Cory, as his father before him, behaves like a rebel to protect the identity he is fighting for. When these two identities, established and establishing, collide, there is nothing but irreversible damage ahead. No matter how this force collides, its very existence is required for either men to become who they are and are meant to be.
However, this collision stands for more than just that of father and son- it also reflects the changing views of Civil Rights and the possibility held in the future.

In “Explanation of: "Fences" by August Wilson” lifted from LitFinder Contemporary Collection, “Although Cory belongs to a more hopeful generation that believes in the possibility of social change, Troy clings to his anger about the past,” and that “the conflict between father and son remains unresolved” (LitFinder 1). Cory symbolizes the emerging wave of Civil Rights leaders in the 1960’s, those who were hopeful against hope, who saw the possibility where their predecessors saw none. The relationship between Cory and his father, Troy and his, proposes the hint that this is a constant throughout generations. One cannot understand the other, but the youngest must push forth

regardless.
The cycle between fathers and sons and the way in which it resembles the generations surrounding the Civil Rights strengthens when one considers the characters themselves. “Troy’s experience with baseball”, as noted by James Robert Saunders in I Done Seen a Hundred Niggers Play Baseball Better Than Jackie Robinson: Troy Maxson's Plea in August Wilson's Fences, “has left him jaded” which forces him “to discourage his son from accepting [his] athletic scholarship” (16). Troy could very likely be the voice of previous generations, discouraging members of the generations of MLK and Malcom X from hoping to high for equality. The older generations witnessed how unequal things had been, the likelihood of that changing is slim to none in their eyes. But, just as Cory must pursue regardless to become his own man, so did the younger generations to find their own mark and experience.
Under Wilson’s carefully constructed tale, the relationships between parents and children becomes more realistic. Through Fences, it becomes visible that sometimes the ties between families must be broken for growth to occur. Sometimes, the warnings of the past must be ignored for the possibilities waiting in the future. However, more importantly, through the cleverly guised metaphors of Cory and Troy, the historical movements erupting just outside the two men’s backyard has a careful microscope under which to inspected. Cory and Troy and the generations they represent remind readers of the necessary losses needed for a society to press forward.