Sex, Death, and the Drama of Aids by George Newtown - Essay Example

June 2, Critical Article Review: “Sex, Death, and the Drama of Aids” by George Newtown The article written by George Newtown entitled “Sex, Death, and the Drama of Aids” and published in the Antioch Review, Inc. was a highly prolific and verbose discourse which presented controversial issues apparently emphasizing contemporary society’s underpinning for the emergence and increased propensities for contracting AIDS to homosexuals. Newtown alleged that the erosion of the previous view that AIDS were only contracted between homosexuals transformed the world view on this disease and magnified the stigma attached to homosexuals in directly contributing to a sexual revolution that invited death within its midst. He also tried to convince that through the emergence and onset of AIDS, the divisive and restrictive elements included in literary discourses which focus on homosexuality expanded to facets that embraced a wider audience appeal and created a more unifying force which enhances social responsibility. The current discourse hereby aims to present a critical analysis of Newton’s arguments, and to support one’s views with Harvey Fierstein’s “On Tidy Endings”. The author structured his arguments by initially presenting various perspectives on AIDS from the point of views of preachers, philosophers (like Michel Foucaul), and playwrights, who apparently introduced AIDS in several dramas and literary discourses. Likewise, Newtown also emphasized that the element of sex was an important factor in the dilemma, seen to have been classified as paramount and indispensable. As Newtown averred, “gays who die of AIDS rather than give up sex behave just like any other moderns for whom sex is more important than life itself” (Newtown 210). It is the supreme importance relegated to sex that inevitably set in homosexual’s mind that pre-mature death is a fact of life. One therefore agrees with Newtown’s assertion on the tripartite integration of sex, death and the drama of AIDS, although not in this particular order. Just like the characters of Arthur and Collin in Fierstein’s drama, Newtown reminisced on different characters who apparently shared similar fate and experiences. The author expounded on the experiences of Emma in Flaubert's Madame Bovary, and of Willie Loman in Arthur Miller's Death of a Salesman, who both allegedly selected free personal and sexual expressions, and eventually succumbed to death, which likewise confirmed the presence of the sex despite the risks of death factors. These characters and dramas apparently were evaluated in the light of pre-AIDS dilemma that made the focal point of the story more skewed towards the strength of making the revelation, or ‘coming out of the closet’ where “gays risked the misunderstanding of their society and families to defend their right to exercise personal freedom” (Newtown 213). As such, Newtown made explicit mention of Fierstein’s play to focus more on “largely an extended bitchy dialogue between the two "wives" of a recent AIDS victim-Marion and Arthur-who must agree to a division of his effects” (214). But, as one is convinced that Fierstein’s literary discourse extended beyond the division of assets plot to learning more about the characters who got to be entrenched with Collin, the man they both loved. Having exhausted all possible plots and avenues that explored this perspective, one likewise agreed to Newtown’s contention that “AIDS makes a purely personal sexual expression dangerous” (213). It was really the prospect of contracting AIDS that eventually led to the realization among homosexuals, and even heterosexuals, to be facing the imminent danger of pre-mature death. Likewise, the emergence of AIDS made it possible to expand the audience of gay plays to include male and female alike due to the universal impact that AIDS apparently causes in contemporary society. As emphasized by Newtown, “the audience for pre-AIDS gay plays was largely made up of gays; only one exception among these dramas, Harvey Fierstein's Torchsong Trilogy (1981), garnered marked success among a general American audience” (213). One part of the trilogy was “On Tidy Endings” that clearly included Marion, also as a victim of AIDS for being the heterosexual partner of Collin. Thus, it was evident that the topic of AIDS virtually expanded the target audience of plays and captured a wider audience appeal than it previously did. Concurrently, Newtown also stressed that pre-AIDS dramas and plays previously delved more on the issue of immortality through the stories of Gods and Goddesses; and as such, was restricted only to Greek plays and dramas. After AIDS the possibilities of immortalizing characters were virtually impossible due to the evident natural effect that AIDS victims would end in. Therefore, there allegedly was a more universal appeal that enabled the innovative expression to reach more audiences, regardless of cultural, ethnic, or racial orientation. Likewise, one agrees with Newton’s arguments that make the readers reflect on this particular inquiry: “Can AIDS dramas cure, not the disease of AIDS, but the disease of our separation from one another?” (221). This is exactly what happened between Marion and Arthur in Fierstein’s “On Tidy Endings” as they sought to iron out differences and realized that the challenges and difficulties respectively experienced with Collin, should not be a reason for segregating them; but more so, should be a force that would inevitably bind their lives together. At the same token, the death that happened to Collin, the man they both loved, served as the element that united them – a means not to settle the assets between them; but an opportunity to know more about one another and build a bridge that would serve as a link in their future lives. As asked by Marion after their conversation: “Arthur, I want to do something for you and I don’t know what. Tell me what you want” (Fierstein 478). To this, Arthur simply replied: “I want little things. Not much. I want to be remembered” (Fierstein 478). At the end, Newtown averred that “the AIDS dramatists help raise consideration of sex (by both gays and straights) to the level of social responsibility: a responsible choice about sex can help remove the specter of death from the entire society” (221). To this awareness, one was evidently convinced that the contentions of the author in “sex, death, and the drama of AIDS” was actually a surprising and an uplifting experience, rather than a formidable tragedy. Works Cited Fierstein, Harvey. "On Tidy Endings." James, Missy and Allan P. Merickel. Reading Literature and Writing Argument. Longman, 2010. 463-480. Print. Newtown, George. "Sex, Death, and the Drama of Aids." Antioch Review, Inc. (1989): Vol. 47, No. 2, 209-222. Print. Read More