August Wilson

This article is about the late-20th-century writer. For the late-19th-century writer Augusta J. Evans Wilson, seeAugusta Wilson.For the United States Navy sailor, seeAugust Wilson (Medal of Honor).

August Wilson
Born	Frederick August Kittel Jr. (1945-04-27)April 27, 1945 Pittsburgh,Pennsylvania,U.S.
Died	October 2, 2005(2005-10-02)(aged 60) Seattle,Washington,U.S.
Resting place	Greenwood Cemetery
Occupation	Author, playwright
Notable works	Ma Rainey's Black Bottom(1984) Fences(1987) Joe Turner's Come and Gone(1988) The Piano Lesson(1990)
Notable awards	Pulitzer Prize for Drama(1987, 1990) Whiting Award(1986) Heinz Awardin the Arts and Humanities (2004)
Spouse	Brenda Burton ​ ​ (m.1969;div.1972)​ Judy Oliver ​ ​ (m.1981;div.1990)​ Constanza Romero ​ (m.1994)​
Children	2

August Wilson(néFrederick August Kittel Jr.;April 27, 1945 – October 2, 2005) was an American playwright. He has been referred to as the "theater's poet of Black America".He is best known for a series of 10 plays, collectively calledThe Pittsburgh Cycle(orThe Century Cycle),which chronicle the experiences and heritage of the African-American community in the 20th century. Plays in the series includeFences(1987) andThe Piano Lesson(1990), both of which won thePulitzer Prize for Drama,as well asMa Rainey's Black Bottom(1984) andJoe Turner's Come and Gone(1988). In 2006, Wilson was inducted into theAmerican Theater Hall of Fame.

His works delve into the African-American experience as well as examine the human condition. Other themes range from the systemic and historical exploitation of African Americans,race relations,identity, migration, and racial discrimination.Viola Davissaid that Wilson's writing "captures our humor, our vulnerabilities, our tragedies, our trauma. And he humanizes us. And he allows us to talk."Since Wilson's death, two of his plays have been adapted into films:Fences(2016) andMa Rainey's Black Bottom(2020).Denzel Washingtonhas shepherded the films and has vowed to continue Wilson's legacy by adapting the rest of his plays into films for a wider audience.Washington said, "the greatest part of what's left of my career is making sure that August is taken care of".

Early life

Wilson was born Frederick August Kittel Jr. in theHill DistrictofPittsburgh,Pennsylvania, the fourth of six children. His father, Frederick August Kittel Sr., was aSudeten Germanimmigrant, who was a baker/pastry cook. His mother, Daisy Wilson, was an African-American woman from North Carolina who cleaned homes for a living.Wilson's anecdotal history reports that his maternal grandmother walked from North Carolina to Pennsylvania in search of a better life. Wilson's mother raised the children alone until he was five in a two-room apartment behind a grocery store at 1727 Bedford Avenue; his father was mostly absent from his childhood. Wilson later wrote under his mother's surname.

The economically depressed neighborhood where he was raised was inhabited predominantly by Black Americans and Jewish and Italian immigrants. Life was tough for the Kittel siblings as they were biracial. August struggled with finding a sense of belonging to a particular culture and did not feel that he truly fit into African-American culture or White culture until later in life. Wilson's mother divorced his father and married David Bedford in the 1950s, and the family moved from the Hill District to the then predominantly White working-class neighborhood ofHazelwood,where they encountered racial hostility; bricks were thrown through a window at their new home. They were soon forced out of their house and on to their next home.

The Hill District went on to become the setting of numerous plays in thePittsburgh Cycle.His experiences growing up there with a strong matriarch shaped the way his plays would be written.

External videos
American Masters, August Wilson: The Ground on Which I Stand,PBS,1:24:39

In 1959, Wilson was one of 14 African-American students atCentral Catholic High Schoolbut dropped out after one year.He then attended Connelley Vocational High School, but found the curriculum unchallenging. He dropped out of Gladstone High School in the 10th grade in 1960 after his teacher accused him ofplagiarizinga 20-page paper he wrote onNapoleon I of France.Wilson hid his decision from his mother because he did not want to disappoint her. At the age of 16 he began working menial jobs, where he met a wide variety of people on whom some of his later characters were based, such as Sam inThe Janitor(1985).

Wilson's extensive use of theCarnegie Library of Pittsburghresulted in its later awarding him an honorary high school diploma. Wilson, who said he had learned to read at the age of four, began reading Black writers at the library when he was 12 and spent the remainder of his teen years educating himself through the books ofRalph Ellison,Richard Wright,Langston Hughes,Arna Bontemps,and others.

Career

1960s

Wilson knew that he wanted to be a writer, but this created tension with his mother, who wanted him to become a lawyer. She forced him to leave the family home and he enlisted in the United States Army for a three-year stint in 1962, but he was discharged after a yearand went back to working various odd jobs as a porter, short-order cook, gardener, and dishwasher.

Frederick August Kittel Jr. changed his name to August Wilson to honor his mother after his father's death in 1965. That same year, he discovered the blues as sung byBessie Smith,and he bought a stolen typewriter for $10, which he often pawned when money was tight.At 20, he decided he was a poet and submitted work to such magazines asHarper's.He began to write in bars, the local cigar store, and cafes—longhand on table napkins and on yellow notepads, absorbing the voices and characters around him. He liked to write on cafe napkins because, he said, it freed him up and made him less self-conscious as a writer. He would then gather the notes and type them up at home.Gifted with a talent for catching dialect and accents, Wilson had an "astonishing memory", which he put to full use during his career. He slowly learned not to censor the language he heard when incorporating it into his work.

Wilson's childhood homeat 1727 Bedford Avenue in Pittsburgh

Malcolm X's voice influenced Wilson's life and work (such asThe Ground on Which I Stand,1996). Both theNation of Islam(NOI) and theBlack Powermovement spoke to him regarding self-sufficiency, self-defense, andself-determination,and he appreciated the origin myths thatElijah Muhammadsupported. In 1969 Wilson married Brenda Burton, a Muslim, and became associated with the NOI, though he reportedly did not convert.He and Brenda had one daughter, Sakina Ansari-Wilson. The couple divorced in 1972.

In 1968, along with his friendRob Penny,Wilson co-founded theBlack Horizon Theaterin theHill District of Pittsburgh.Wilson's first play,Recycling,was performed for audiences in small theaters, schools and public housing community centers for 50 cents a ticket. Among these early efforts wasJitney,which he revised more than two decades later as part of his 10-play cycle on 20th-century Pittsburgh.He had no directing experience.He recalled: "Someone had looked around and said, 'Who's going to be the director?' I said, 'I will.' I said that because I knew my way around the library. So I went to look for a book on how to direct a play. I found one calledThe Fundamentals of Play Directingand checked it out. "

1970s

In 1976, Vernell Lillie, who had founded theKuntu Repertory Theatreat theUniversity of Pittsburghtwo years earlier, directed Wilson'sThe Homecoming.That same year Wilson sawAthol Fugard'sSizwe Banzi is Dead,staged at thePittsburgh Public Theater,the first time he attended professionally produced drama. Wilson, Penny, and poet Maisha Baton then founded the Kuntu Writers Workshop to bring African-American writers together and to assist them in publication and production. Both organizations remain active.

In 1978, Wilson moved toSaint Paul, Minnesota,at the suggestion of his friend, directorClaude Purdy,who helped him secure a job writing educational scripts for theScience Museum of Minnesota.In 1980 he received a fellowship forThe Playwrights' Centerin Minneapolis. He quit the museum in 1981, but continued writing plays. For three years, he was a part-time cook for theLittle Brothers of the Poor.Wilson had a long association with thePenumbra Theatre Companyof St. Paul, which was initially funded by a federalComprehensive Employment and Training Act (CETA) grantand which premiered some of his plays. He wroteFullerton Street,which has been unproduced and unpublished, in 1980. It follows theJoe Louis/Billy Connfight in 1941 and the loss of values attendant on theGreat Migrationto the urban North.

1980s

Throughout the 1980s, Wilson wrote the majority of his work includingJitney(1982),Ma Rainey's Black Bottom(1984),Fences(1985),Joe Turner's Come and Gone(1986), andThe Piano Lesson(1987).

In 1987, St. Paul's mayorGeorge Latimernamed May 27 "August Wilson Day". He was honored because he is the only person from Minnesota to win aPulitzer Prize for Drama.

1990s

In 1990, Wilson left St. Paul after getting divorced and moved toSeattle.There he developed a relationship withSeattle Repertory Theatre,which produced his entire 10-play cycle and his one-man showHow I Learned What I Learned.

Though he was a writer dedicated to writing for theater, a Hollywood studio proposed filming Wilson's playFences.He insisted that a Black director be hired for the film, saying: "I declined a White director not on the basis of race but on the basis of culture. White directors are not qualified for the job. The job requires someone who shares the specifics of the culture of Black Americans." The film remained unmade until 2016, whenDenzel Washingtondirected the filmFences,starring Washington andViola Davis.It earned Wilson a posthumous Oscar nomination.

Wilson received many honorary degrees, including an honorary Doctor of Humanities from the University of Pittsburgh, of which he was a trustee from 1992 until 1995.

Wilson maintained a strong voice in the progress and development of the (then) contemporary Black theater, undoubtedly taking influences from the examples of his youth, such as those displayed during theBlack Arts Movement.One of the most notable examples of Wilson's strong opinions and critiques of what was Black theater's state in the 1990s, was the "On Cultural Power: The August Wilson/Robert Brustein Discussion" where Wilson argued for a completely Black theater with all positions filled by Blacks. Conversely, he argued that Black actors should not play roles not specifically Black (e.g., no Black Hamlet). Brustein heatedly took an opposing view.

2000s

In 2005, Wilson's final installment in his ten-part seriesThe Century Cycle,titledRadio Golf,opened. It was first performed in 2005 by theYale Repertory TheatreinNew Haven, Connecticutand had itsBroadwaypremiere in 2007 at theCort Theatre.It would become known as Wilson's final work.

Post–Black Arts Movement

Although Wilson's work is not formally recognized within the literary canon of theBlack Arts Movement,he was certainly a product of its mission, helping to co-found the Black Horizon Theatre in his hometown of Pittsburgh in 1968. Situated in Pittsburgh's Hill District, a historically and predominantly Black neighborhood, the Black Horizon Theatre became a cultural hub of Black creativity and community building.As a playwright of what is considered the Post–Black Arts Movement, Wilson inherited the spirit of BAM, producing plays that celebrated the history and poetic sensibilities of Black people. His iconic Century Cycle successfully tracked and synthesized the experiences of Black America in the 20th century, using each historical decade, from 1904 to 1997, to document the physical, emotional, mental, and political strivings of Black life in the wake of emancipation.

Wilson's best-known plays areFences(1985) (which won aPulitzer Prizeand aTony Award),The Piano Lesson(1990) (a Pulitzer Prize and the New York Drama Critics' Circle Award),Ma Rainey's Black Bottom,andJoe Turner's Come and Gone.

Wilson stated that he was most influenced by "the four Bs": blues music, theArgentinewriter and poetJorge Luis Borges,the playwrightAmiri Barakaand the painterRomare Bearden.He went on to add writersEd BullinsandJames Baldwinto the list. He noted:

From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays. From Romare Bearden I learned that the fullness and richness of everyday life can be rendered without compromise or sentimentality.

He valued Bullins and Baldwin for their honest representations of everyday life.

Like Bearden, Wilson worked with collage techniques in writing: "I try to make my plays the equal of his canvases. In creating plays I often use the image of a stewing pot in which I toss various things that I'm going to make use of—a black cat, a garden, a bicycle, a man with a scar on his face, a pregnant woman, a man with a gun." On the meaning of his work, Wilson stated:

I once wrote this short story called "The Best Blues Singer in the World", and it went like this— "The streets that Balboa walked were his own private ocean, and Balboa was drowning." End of story. That says it all. Nothing else to say. I've been rewriting that same story over and over again. All my plays are rewriting that same story.

ThePittsburgh Cycle

Wilson'sPittsburgh Cycle,also often referred to as hisCentury Cycle,consists of ten plays—nine of which are set in Pittsburgh's Hill District (the other being set in Chicago), anAfrican-American neighborhoodthat takes on a mythic literary significance likeThomas Hardy's Wessex,William Faulkner'sYoknapatawpha County,or Irish playwrightBrian Friel'sBallybeg.The plays are each set in a different decade and aim to sketch the Black experience in the 20th century and "raise consciousness through theater" and echo "the poetry in the everyday language of Black America".His writing of the Black experience always featured strong female characters and sometimes included elements of the supernatural. In his book, he wrote "My mother's a very strong, principled woman. My female characters... come in a large part from my mother"

As for the elements of the supernatural, Wilson often featured some form of superstition or old tradition in plays that came down to supernatural roots.One of his plays well known for featuring this isThe Piano Lesson.In the play, the piano is used and releases spirits of the ancestors. Wilson wanted to create such an event in the play that the audience was left to decide what was real or not. He was fascinated by the power of theater as a medium where a community at large could come together to bear witness to events and currents unfolding.

Wilson toldThe Paris Review:

I think my plays offer (White Americans) a different way to look at Black Americans. For instance, inFencesthey see a garbageman, a person they don't really look at, although they see a garbageman every day. By looking at Troy's life, White people find out that the content of this Black garbageman's life is affected by the same things – love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with Black people in their lives.

Although the plays of the cycle are not strictly connected to the degree of a serial story, some characters appear (at various ages) in more than one of the cycle's plays. Children of characters in earlier plays may appear in later plays. The character most frequently mentioned in the cycle is Aunt Ester, a "washer of souls". She is reported to be 285 years old inGem of the Ocean,which takes place in her home at 1839 Wylie Avenue, and 349 inTwo Trains Running.She dies in 1985, during the events ofKing Hedley II.Much of the action ofRadio Golfrevolves around the plan to demolish and redevelop that house, some years after her death. Aunt Ester is a symbolic and recurring figure that represents the African-American struggle. She is "not literally three centuries old but a succession of folk priestesses... [s]he embodies a weighty history of tragedy and triumph".The plays often include anapparentlymentally impaired oracular character (different in each play)—for example, Hedley Sr. inSeven Guitars,Gabriel inFences,Stool Pigeon inKing Hedley II,or Hambone inTwo Trains Running.

Year of premiere	Title	Decade	Opened on Broadway
1982	Jitney	1970s	2017 –Samuel J. Friedman Theatre
1984	Ma Rainey's Black Bottom	1920s	1984 –Cort Theatre
1985	Fences	1950s	1987 –46th Street Theatre
1986	Joe Turner's Come and Gone	1910s	1988 –Ethel Barrymore
1987	The Piano Lesson	1930s	1990 –Walter Kerr
1990	Two Trains Running	1960s	1992 –Walter Kerr
1995	Seven Guitars	1940s	1996 –Walter Kerr
1999	King Hedley II	1980s	2001 –Virginia Theatre
2003	Gem of the Ocean	1900s	2004 –Walter Kerr
2005	Radio Golf	1990s	2007 –Cort Theatre

Chicago'sGoodman Theatrewas the first theater in the world to produce the entire 10-play cycle, in productions which spanned from 1986 to 2007. Two of the Goodman's productions—Seven GuitarsandGem of the Ocean—were world premieres.Israel Hicksproduced the entire 10-play cycle from 1990 to 2009 for theDenver Center Theatre Company.Geva Theatre Centerproduced all 10 plays in decade order from 2007 to 2011 asAugust Wilson's American Century.TheHuntington Theatre CompanyofBostonhas produced all 10 plays, finishing in 2012. During Wilson's life he worked closely with The Huntington to produce the later plays.Pittsburgh Public Theaterwas the first theater company in Pittsburgh to produce the entire Century Cycle, including the world premiere ofKing Hedley IIto open theO'Reilly TheaterinDowntown Pittsburgh.

TAG – The Actors' Group, in Honolulu, Hawaii, produced all 10 plays in the cycle starting in 2004 withTwo Trains Runningand culminating in 2015 withMa Rainey's Black Bottom.All shows were Hawaii premieres, all were extremely successful at the box office and garnered many local theatre awards for the actors and the organization. The Black Rep in St. Louis and the Anthony Bean Community Theater in New Orleans have also presented the complete cycle.

In the years after Wilson's death the 10-play cycle has been referred to asThe August Wilson Century Cycleand asThe American Century Cycle.

Two years before his death in 2005, Wilson wrote and performed an unpublished one-man play entitledHow I Learned What I Learnedabout the power of art and the power of possibility. This was produced at New York's Signature Theatre and directed by Todd Kreidler, Wilson's friend and protégé.How I Learnedexplores his days as a struggling young writer in Pittsburgh's Hill District and how the neighborhood and its people inspired his cycle of plays about the African-American experience.

Personal life

Wilson was married three times. His first marriage was to Brenda Burton from 1969 to 1972. They had one daughter, Sakina Ansari, born 1970. In 1981, he married Judy Oliver, a social worker; they divorced in 1990. He married again in 1994 and was survived by his third wife, costume designerConstanza Romero,whom he met on the set ofThe Piano Lesson.They had a daughter, Azula Carmen Wilson.Wilson also was survived by siblings Freda Ellis, Linda Jean Kittel, Richard Kittel, Donna Conley and Edwin Kittel.

Death

Wilson reported that he had been diagnosed withliver cancerin June 2005 and been given three to five months to live. He died at age 60 on October 2 of that year atSwedish Medical Centerin Seattle, and was interred atGreenwood Cemetery, Pittsburgh,on October 8.He reportedly requested a "Black funeral" atSaint Paul Cathedral,but permission for a non-Catholic funeral was not granted by the diocese. A memorial service was instead held at theUniversity of Pittsburgh.

Work

First Produced	First Performance	Title	Notes
1976	Penumbra Theater	Recycle	Written in 1965-1973;Originally named "Recycling"; Directed and Acted by August Wilson.
1976(not published)	Kuntu Repertory Theater	The Homecoming	Performed inSchenley High School;Directed by Vernell Lillie; Produced again in 1989.
1976	Ujima Theater	The Coldest Day of the Year	Written in 1976; part of "The Wood of the Cross" trilogy.
(not published)	(not performed)	Placebo	Written in 1978; part of "The Wood of the Cross" trilogy.
(not produced)	(not performed)	"Profiles in Science" Series	One Man and One Woman plays written while Wilson was working at theScience Museum of Minnesota.Plays include"An Evening with Margaret Mead",as well as"Profiles in Science: William Harvey"and a play about Charles Darwin.
(not produced)	(not performed)	Fullerton Street	Written in 1980; Originally intended to be Wilson's play about the 1940's.
1981	Penumbra Theater	Black Bart and the Sacred Hills	Written in 1977; Originally accepted at theO’Neill Theater Centerin Connecticut.
1982	Allegheny Repertory Theater	Jitney!	Written in 1979; Performed October 29th,1982.
1982	O'Neill Theater	Ma Rainey's Black Bottom	The 1982 production was a reading Wilson did forO'Neill TheaterWriters to introduce them to some of his work beyondBlack Bart and the Sacred Hills;the 1984 production was the play's first open performance atYale Repertory Theater.
1985		The Janitor	Part of "The Wood of the Cross" trilogy.Published inShort Pieces from the New Dramatists,edited by Stan Chervin, pp. 81-82. New York: Broadway Play Publishing, 1985.
1985	Yale Repertory Theater	Fences	Written in 1983; Produced in 1985
1986	Yale Repertory Theatre	Joe Turner's Come and Gone	Written and Published in 1984.First Performed in 1986 at Yale Repertory Theater.
1987	O'Neill Theater	The Piano Lesson	Written in 1986; Presented as a staged reading in 1987 at the O'Neill Theater's National Playwrights' Conference.
1990	Yale Repertory Theatre	Two Trains Running
1995	Goodman Theater	Seven Guitars	First Draft Finished in 1993.
1996	Princeton University	The Ground on Which I Stand[speech]	Given at the 11th biennial Theatre Communications Group national conference at New Jersey’s Princeton University.
1999	O'Reilly Theater	King Hedley II
2002	Seattle Repertory Theater	How I Learned What I Learned
2003	Goodman Theater	Gem of the Ocean
2005	Yale Repertory Theatre	Radio Golf

Awards and nominations

Year	Award	Category	Project	Result
1985	Tony Awards	Best Play	Ma Rainey's Black Bottom	Nominated
1987			Fences	Won
1988			Joe Turner's Come and Gone	Nominated
1990			The Piano Lesson	Nominated
1992			Two Trains Running	Nominated
1996			Seven Guitars	Nominated
2001			King Hedley II	Nominated
2005			Gem of the Ocean	Nominated
2007			Radio Golf	Nominated
2017		Best Revival of a Play	Jitney	Won
1985	Drama Desk Awards	Outstanding New Play	Ma Rainey's Black Bottom	Nominated
1987			Fences	Won
1988			Joe Tuner's Come and Gone	Nominated
1990			The Piano Lesson	Won
1996			Seven Guitars	Nominated
2000			Jitney	Nominated
2007			Radio Golf	Nominated
1987	Pulitzer Prize	For Drama	Fences	Won
1989			The Piano Lesson	Nominated
1990			The Piano Lesson	Won
1992			Two Trains Running	Nominated
1995			Seven Guitars	Nominated
2000			King Hedley II	Nominated
2017	Academy Awards	Best Adapted Screenplay	Fences	Nominated
1995	Primetime Emmy Awards	Outstanding Television Movie	The Piano Lesson	Nominated
		Outstanding Writing for a Miniseries or a Special		Nominated
1985	New York Drama Critics' Circle Award	Best Play	Ma Rainey's Black Bottom	Won
1987			Fences	Won
1988			Joe Turner's Come and Gone	Won
1990			The Piano Lesson	Won
1992		Best American Play	Two Trains Running	Won
1996		Best Play	Seven Guitars	Won
2000			Jitney	Won
2007		Best American Play	Radio Golf	Won

Legacy and honors

The August Wilson Theatre, New York City

The childhood home of Wilson and his six siblings, at 1727 Bedford Avenue in Pittsburgh, was declared a historic landmark by the State of Pennsylvania on May 30, 2007.On February 26, 2008,Pittsburgh City Councilplaced the house on theList of City of Pittsburgh historic designations.On April 30, 2013, theAugust Wilson Housewas added to theNational Register of Historic Places.

In Pittsburgh, there is anAugust Wilson Center for African American Culture.The center includes a permanent exhibition on Wilson's life in Pittsburgh's Hill District, "August Wilson: A Writer's Landscape."

On October 16, 2005, fourteen days after Wilson's death, theVirginia Theatrein New York City'sBroadwayTheater Districtwas renamed theAugust Wilson Theatre.It is the first Broadway theatre to bear the name of an African-American.The theatre has run many shows, includingJersey Boys,Groundhog Day,andMean Girls.

In 2007, the August Wilson Monologue Competition was founded byKenny Leonand Todd Kreidler. High school students, supported by professional actors, mentors, local drama teachers and others learn a monologue from one of Wilson's plays, and perform it in front of a professional jury. This tribute to Wilson's work is an official contest in many American cities including, as of 2020, Atlanta, Boston, Buffalo, Chicago, Dallas, Greensboro, Los Angeles, New Haven, New York, Norfolk, Pittsburgh, Portland, San Diego, and Seattle. The national winner of the contest gets the chance to perform on Broadway.

In Seattle, Washington, along the south side of the Seattle Repertory Theatre, the vacated Republican Street between Warren Avenue N. and 2nd Avenue N. on theSeattle Centergrounds has been renamed August Wilson Way.

In September 2016, an existing community park near his childhood home was renovated and renamed August Wilson Park.

In 2020, theUniversity Library Systemat theUniversity of Pittsburghacquired Wilson's literary papers and materials to establish the August Wilson Archive.

In 2021, theUnited States Postal Servicehonored Wilson with aForever stampfeaturing him as part of the Black Heritage series of stamps. It was designed by Ethel Kessler with art from Tim O'Brien.

Other awards and honors by year:

• 1985: New York Drama Critics' Circle Award for Best American PlayMa Rainey's Black Bottom
• 1986:Whiting Awardfor Drama
• 1987: Artist of the Year byChicago Tribune
• 1988: Literary Lion Award from the New York Public Library
• 1988: Golden Plate Award of theAmerican Academy of Achievement
• 1988: New York Drama Critics Circle Award for Best Play –Joe Turner's Come and Gone
• 1990: Governor's Awards for Excellence in the Arts and Distinguished Pennsylvania Artists
• 1990: New York Drama Critics Circle Award for Best Play –The Piano Lesson
• 1991:Black Filmmakers Hall of Fameaward
• 1991:St. Louis Literary Awardfrom theSaint Louis UniversityLibrary Associates
• 1992: American Theatre Critics' Association Award –Two Trains Running
• 1992,2007: New York Drama Critics Circle Citation for Best American Play –Two Trains Running
• 1992: Clarence Muse Award
• 1996: New York Drama Critics Circle Award for Best Play –Seven Guitars
• 1999: National Humanities Medal
• 2000: New York Drama Critics Circle Award for Best Play –Jitney
• 2001:Outer Critics Circle Award for John Gassner Playwriting Award –Fences
• 2002: Olivier Award for Best new Play –Jitney
• 2004: The 10th AnnualHeinz Awardin Arts and Humanities
• 2004: The U.S. Comedy Arts Festival Freedom of Speech Award
• 2005: Make Shift Award at the U.S. Confederation of Play Writers
• 2006:American Theatre Hall of Fame.
• 2013: Lucille Lortel Award for Outstanding Revival –The Piano Lesson

Further reading

• Hartigan, Patti (2023).August Wilson: A Life.New York: Simon & Schuster.ISBN9781501180668.OCLC1347429411.

External links

• August Wilson Archives, University of Pittsburgh
• August Wilson Theatre Broadway
• August Wilson Center for African American Culture
• Berkeley Rep profile of Wilson and worksArchivedFebruary 23, 2012, at theWayback Machine
• The Whiting Foundation Profile
• Pittsburgh Post-Gazettearticle
• August WilsonatIMDb
• August Wilson Journal

Interviews

• August WilsononCharlie Rose
• August Wilson on Blackness,Bill Moyers,A World of Ideas,October 20, 1988.
• Bonnie Lyons, George Plimpton (Winter 1999)."August Wilson, The Art of Theater No. 14".The Paris Review.Winter 1999 (153).
• NPR Intersections: August Wilson, Writing to the Blues,March 1, 2004, audio interview (6 mins).
• Interview with Wilson,The Believer,November 2004.
• Putting UpFences,article with video,BU Today,September 17, 2009.

Obituaries

• "Theater Is to Be Renamed for a Dying Playwright",The New York Times,September 2, 2005.
• Pittsburgh Post-Gazetteobituary,October 3, 2005
• "August Wilson, Theater's Poet of Black America, Is Dead at 60",The New York Times,October 3, 2005.
• Margaret Busby,"August Wilson – Distinguished black American playwright who reclaimed the stories of his people",The Guardian,October 4, 2005.