34 pages • 1 hour read
Summary
Background
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
The two main characters of the play are sinners. The frequent reference to their sins not only humanizes them but sets the stage for character growth and the possibility of redemption. Sin symbolizes the ability to grow past sin itself. Before he was an activist, Dr. Martin Luther King Jr. was a minister, having earned his doctorate in systematic theology at Boston University. His orations about civil rights were also sermons, and he very much presented as a pious family man. In reality, as depicted in The Mountaintop, King was not a saint: He smoked, cursed, and cheated on his wife Coretta Scott King (Corrie). When Katori Hall’s fictionalized King meets Camae, he flirts with her, unaware she is an angel. Camae herself is mortified when she curses in front of King, afraid of sinning and “fallin’ straight to hell” (9). However, he isn’t concerned about either of their sins until he suspects she is an FBI spy sent to ruin his reputation. Ironically, Malcolm X—who was not chosen to be the saintly face of the American Civil Rights Movement—“didn’t drank. Smoke. Cuss. Or… Cheat. On. His. Wife” (20). Through magical realism, Hall constructs a humanized King with human concerns—chief of which is mortality. Once Camae’s identity is revealed, one of his first questions is “I’m not going to hell, am I?” (25)—to which she reassures him that they’ll be heading to heaven.
Camae isn’t anything like the angels whom King imagined, but he isn’t how she imagined him either. Both are sinners according to Christianity and Islam, but in the play, God is a Black woman who differs from the traditional Judeo-Christian God. In fact, King and Malcolm X are two of her favorite humans, with her hinting at a crush on King. Despite earning God’s favor, King tells Camae, “I’m a sinner, not a saint. I’m not deservin’ of the title” (36). However, in the face of supernatural beings, his lifelong conception of sin is unimportant. Camae, who died the night before the play’s present, also learns a similar lesson—albeit under different circumstances: King’s sins pale in comparison to his service to humanity and subsequent martyrdom at the age of 39, while Camae was a sex worker who believed her only worth was allowing men to use her body—and thus died in anonymity. When she met God, a fellow Black woman, she wept and begged for forgiveness for hating herself—and was tasked with accompanying King to heaven partially to realize her own value. King expects an angel to be perfect, which she questions, but also voices appreciation for her as she is: In other words, he helps Camae discover her worth through debate, and she helps him pass his metaphorical baton.
As depicted in the play, there was a thunderstorm in Memphis, Tennessee, on the night that the real-life King gave his final sermon. In the play, when Camae delivers King’s coffee, she is using this night’s newspaper as an umbrella. When he sees the newspaper, he notices it states his current location (Lorraine Motel). Even with the curtains closed and phone checked for listening devices, he remains vulnerable as a public figure. Camae notes, “I heard you carried on a storm up at Mason Temple” (70), as the fury of a literal storm becomes enmeshed with the storm of the Civil Rights Movement. Camae’s mother taught her to sit still during storms, because “God’ll strike you down if you move ‘round too much” (8); Camae suggests this fear of supernatural forces is the reason why King’s latest sermon attracted a relatively smaller crowd. However, she herself sees the storm as God “actin’ up” (8), and later comments “Well, God ain’t gone stop cryin’ no time soon” (16). Both sentiments take on deeper meaning once she reveals she knows God.
Outside of God, Camae points out many Black people are simply afraid of going to churches when Black churches are being bombed. While King’s followers seek shelter from the storm, there is no cover for him, as he fears thunder and lightning. The volume of these forces suggests the storm is directly overhead, looming like white rage. Such sounds evoke the 1963 explosion of a Birmingham church that killed four Black girls, or the gunfire that killed civil rights leader Medgar Evars (1963), President John F. Kennedy (1963), and activist Malcolm X (1965). Camae tries to lighten the mood by likening thunder and lightning to fireworks on July 4th, also known as Independence Day—an apt comparison considering King’s desire for equality. After his assassination, his followers will continue his fight for independence in the form of the Civil Rights Act of 1968. With his elevated status, King is the tallest lightning rod in a storm: Despite bargaining with Camae and God, he seems to know death is imminent. In this, perhaps the storm is God crying for a world that required the sacrifice of one of her favorite humans. In King’s famous “I Have a Dream” speech, he asserts “There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges” (King Jr., Martin Luther, “I Have A Dream” Speech, August 28, 1963). In other words, a storm requires “whirlwinds” to enact change: Many Black people are waiting out or even watching the movement from afar, but understandably afraid to join the fight. To sustain a movement, one must do more than weather the storm.
On April 3, 1968 in Memphis’s Mason Temple, King gave his final, almost prophetic sermon—“I’ve Been to the Mountaintop.” In it, he describes what he would do if he were standing next to God and presented with the span of human history. Along with seeing philosophers and biblical miracles, “[…] I would turn to the Almighty, and say, ‘If you allow me to live just a few years in the second half of the twentieth century, I will be happy’” (“‘I’ve Been to the Mountaintop’ by Dr. Martin Luther King, Jr,” AFSCME). King then describes an assassination attempt in 1958 that nearly ended his life: At a book signing, a Black woman with a mental health condition stabbed him, and had the blade entered slightly differently, or if he had sneezed, he would have died. He expresses gratitude that he didn’t sneeze, that he survived to continue his work for 10 more years.
In the play, King notes his flight from Atlanta to Memphis was delayed due to a bomb threat. In Memphis, he and his followers hear rumors of threats. However, he seems undaunted:
We’ve got some difficult days ahead. But it doesn't matter with me now. Because I’ve been to the mountaintop. And I don’t mind. Like anybody, I would like to live a long life. Longevity has its place. But I’m not concerned about that now. I just want to do God’s will. And He’s allowed me to go up to the mountain. And I’ve looked over. And I’ve seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land (“King Jr.” AFSCME).
Overall, the play expands on this prophetic message by literalizing its content. In Barack Obama’s book The Audacity of Hope (2006), he compares King to the biblical Moses, who died leading his people to the Promised Land. While Hall’s King also dies before entering his promised land, Camae takes him to a metaphorical mountaintop to glimpse it.
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