ABSTRACT
The quality of Suzan-Lori Parks’ imagination is unassailable. Her plays provide ample proof: Imperceptible Mutabilities in the Third Kingdom, The Death of the Last Black Man in the Whole Entire World, Devotees in the Garden of Love, and The America Play. Through them she reaches an articulation she doesn’t quite approximate in real life, a great horn sound, drunken and lucid at the same time, and they in turn speak very well of her.
