Poof! is a play written by Lynn Nottage that tells a fictionary story of a person’s sudden combustion in certain circumstances. Particularly, a husband and a wife had an argument that almost turned into violence, causing the husband to combust before he could do any harm. The central theme explored in this situation is domestic abuse (Perkins et al. 296). The theme is explained and illustrated in the context of guilt, female friendship, patriarchy, and the failure of police and justice systems.
Loureen is a victim of abuse, and the question of how to respond and react to it is posed within the play. At the very beginning, a note states: “Nearly half the women on death row in the United States were convicted of killing abusive husbands. Spontaneous combustion is not recognized as a capital crime” (Nottage 91). This note prematurely raises a philosophical concern – how can society convict women who were harmed in the first place? The play then suggests that Loureen has committed no crime, and anyone who defends themselves from the abuse has not committed it either.
The fact that Loureen turned her husband, Samuel, to ash with her voice shows that silencing is one of the abusers’ greatest tools for keeping power. As a partial reason for keeping silent, the play explores guilt as an entrapping and nonproductive emotion. Before Loureen realizes Samuel is gone, she experiences guilt – for instance, she apologizes for not picking up his shirt (Nottage 94). Moreover, she feels guilty and afraid of Samuel’s mother (Nottage 98). Such thoughts perpetuate Samuel’s power over Loureen, which is evident even after his death. In this context, the issue of suffering in silence defines Loureen’s friend Florence as well. The play emphasizes the importance of these female friendships, as the women quite literally kept each other alive. This deep trust is demonstrated from the beginning when Loureen calls her friend to come after Samuel’s death. Furthermore, it is shown that Florence spent many nights with Loureen when Samuel was violent, and they had been preparing a getaway plan together.
The play showcases a traditional patriarchal structure in the family, where the men hold all the power while the women are placed in subordinate positions. We can see this in the way that Loureen and Florence cook dinner for their husbands or iron their clothes – it is not an act of care but an obligation. Despite these examples seeming harmless, they originate from the same place that allows and encourages their husbands’ violence and neglect. By living within such a structure, Loureen and Florence have learned to be silent while mistreated. Moreover, Nottage also shows that society many times rejected their pleas for help, commenting on calling the police: “Why? What are you gonna tell them? About all those times they refused to help… ?’” (102). Unsurprisingly, the only way for Loureen to be free is for the whole system to explode. Unfortunately, Florence still remains stuck within it, believing her duty is not to herself but to her family.
Nottage illustrates how domestic abuse can ruin people’s lives and families. She highlights that victims often remain silent due to the sense of guilt and seeming helplessness due to the absence of systematic support from society. The only relief they can find rests in people who share the same problem, but it is only enough to prolong the suffering, not to break the cycle. Hopefully, with sufficient attention to the topic, sudden combustion would stop being the sole solution to the issue of domestic abuse.
Works Cited
Nottage, Lynn. Crumbs from the Table of Joy and Other Plays. Theatre Communications Group, 2004.
Perkins, Kathy A. et al., editors. The Routledge Companion to African American Theatre and Performance. Routledge, 2019.