Radio Golf

“MAME. I’m voting it should stay Model Cities Health Center.

HARMOND. Sarah Degree was the first black registered nurse in the city. Naming it after her fits perfectly.

MAME. Model Cities Health Center has been around for twenty-two years. The organization has some history in the neighborhood. Nobody knows who Sarah Degree was.

HARMOND. That’s why the Health Center needs to be named after her. So we remember.”

Harmond’s desire to name the health center after Sarah Degree reflects his community-oriented ideals. Harmond wants to recognize the achievements of Black people, even if those individuals are not known in their community. Mame, on the other hand, would like to keep the existing name because of the center’s history and its role within the community.

“STERLING. People think I’m dumb ‘cause I robbed that bank. I just wanted to know what it was like to have some money. Seem like everybody else had some. I said let me get me some. So I robbed that bank. I had some money. It didn’t make me smarter. It didn’t make me better than anybody else. You can’t do nothing with money but spend it. After that you back where you started from. Then what you gonna do? I found out I was looking for something that you couldn’t spend. That seem like the better of the two. To me. Everybody got their own way of looking at it but if you ask me…I‘d take something you couldn’t spend over money any day.”

Sterling reflects on his reasons for robbing a bank: Wealth is alluring to someone who has never experienced it, but he soon realized it offered no lasting value. This reflection exposes the emptiness of material wealth and reveals Sterling’s character as the antithesis of Roosevelt’s. While Roosevelt cares only for money and status, Sterling recognizes that the only things of lasting value are those that can’t be spent: love, community, and justice.

“HARMOND. Why is he painting the house?

ROOSEVELT. He say it’s his property. I told him that was our property and that it was slated to be torn down. That went right over his head. I asked him where his deed was he say it’s on record downtown.

HARMOND. That house has been abandoned for the past twelve years.

ROOSEVELT. I told him he was defacing private property and if he didn’t stop I was going to have him put in jail. He told me to go to hell.”

This exchange between Harmond and Roosevelt introduces The Unequal Impacts of Urban Development. Roosevelt’s dismissive attitude toward Old Joe reflects a profit-driven view of urban planning, where economic growth takes priority over the preservation of community history and individual rights.

“OLD JOE. But you got to have the right quarter. America is a giant slot machine. You walk up and put in your coin and it spits it back out. You look at your coin. You think maybe it’s a Canadian quarter. It’s the only coin you got. If this coin ain’t no good then you out of luck. You look at it and sure enough it’s an American quarter. But it don’t spend for you. It spend for everybody else but it don’t spend for you. The machine spits it right back out. Is the problem with the quarter or with the machine? Do you know? Somebody running for mayor ought to know that.”

The symbolic comparison between America and a slot machine offers a critique of the American Dream. In Joe’s analogy, each person has only one coin to use in the slot machine of America, and “If this coin ain’t no good then you out of luck.” His statement that “It spend for everybody else but it don’t spend for you” reflects the sense that the causes of structural inequality are often invisible and arbitrary.

“HARMOND. You teach the kids how to play golf and they have all the rules they need to win at life. You ever play golf?”

Harmond connects the game of golf to the idea of success, illustrating that at this point in the novel, his vision of success entails assimilation to the dominant, white culture. Golf, a traditionally elite and white sport, represents social status. Harmond implies that that teaching children how to play golf is not just about the game itself but about teaching them how to navigate and succeed in a system that has historically marginalized Black people.

“ROOSEVELT. I told you we’re tearing down that house. That’s abandoned property. That house belongs to Bedford Hills Redevelopment.

OLD JOE. That’s my house. I got the deed on record down at the courthouse. My mother put it down there in 1925.

ROOSEVELT. You going to jail. They got a senior citizen jail near Harrisburg. That’s where you heading. Defacing private property.”

This exchange exemplifies The Unequal Impacts of Urban Development. Roosevelt dismisses Old Joe’s claim to the house, treating it as “abandoned property” and justifying its demolition. His threat of jail exemplifies the dehumanizing tactics used to silence opposition, particularly from marginalized communities. This reflects his willingness to prioritize development and profit over respect for history and personal rights, underscoring the play’s critique of urban renewal as a force that erases Black cultural heritage in favor of commercial interests.

“MAME. You don’t have to take it back. Just keep it out of the speech. It’s already out there. People know how you feel. Just right now we don’t need it in print. Later, after we get you elected, you can say all that kind of stuff you want.

HARMOND. Stuff? What stuff? Is that all you’re hearing is stuff? An innocent man gets shot by the police and the officer gets away with it and gets a promotion? That stuff is the kind of shit that won’t happen if I’m mayor. I want people to know it.”

This exchange highlights the ideological tension between Mame and Harmond. Mame, a pragmatic strategist, advises Harmond to stay quiet on the issue of police brutality, believing that discussing controversial topics might hurt his chances of winning. However, Harmond, an idealist, is unwilling to compromise: He sees police violence as a critical issue that must be addressed. He is willing to confront controversial issues that others, like Mame, consider politically dangerous.

“HARMOND. So you’re the black face? You’re just the front?

ROOSEVELT. Naw, Harmond. Naw. I get to get in the door. Remember in school we used to say we wanted to be in the room when they count the money? You’re there already. This is my shot.

HARMOND. You’ll get in the room. All it takes is some time. You can’t let Bernie Smith use you like this.”

This conversation explores The Tension Between Personal Ambition and Communal Solidarity. Harmond sees Roosevelt’s actions as a compromise of integrity, and believes he is being manipulated for his race. Roosevelt, on the other hand, defends his position with pragmatism: He views this opportunity as a step toward gaining power, and he is willing to accept moral compromise for the sake of power.

“MAME. Do you still want the flag on it?

HARMOND. The flag’s real important. Don’t hide it down in the corner or make it too small. Make sure it’s waving high and strong, not hanging down looking defeat.”

Harmond’s insistence on prominently displaying the flag reflects his belief in the promise of the American Dream. The flag symbolizes hope, pride, and the possibility of achieving equality through ambition. He sees the flag, and the American Dream itself, as something that should be displayed proudly and unapologetically. However, the optimism of this moment is complicated by the play’s broader critique of racism and economic inequality. Harmond’s idealism contrasts with the disillusionment experienced by other characters, such as Old Joe.

“STERLING. Naw…you don’t understand. I’m my own union. I got my own everything. Except my own bank. But I got my own truck. I got my own tools. I got my own rules and I got my own union. I don’t play no games. I have to have my own. That’s the only way I got anything. I’ve been going through the backdoor all my life. See people get confused about me. They did that ever since we was in school. But I know how to row the boat, I been on the water a long time. I know what it takes to plug the holes. I ain’t dumb. Even though some people think I am. That give me an advantage.”

Here, Sterling characterizes himself as fiercely independent and self-reliant. His statement, “I’m my own union,” shows that he relies solely on himself to succeed. This comes from his difficult upbringing and the systemic barriers he’s faced. Sterling has learned to navigate the world on his terms, even when others have underestimated him. He emerges as a symbol of resistance and self-determination, a contrast to characters like Roosevelt, who seek validation within the system.

“ROOSEVELT. I’m not blaming her. I just look around and see more out there than I did before. It’s not her fault. She a good woman.

HARMOND. They hard to find. You better hold on to her.”

This quote reveals Roosevelt’s arrogance and dissatisfaction with his marriage, while showing the difference in Roosevelt’s and Harmond’s values. Roosevelt admits he’s looking for something “more” outside his marriage. Roosevelt’s greed damages all his relationships, including his marriage. Harmond, on the other hand, emphasizes the value of his wife, Mame, suggesting that good, loyal partners like her are rare.

“ROOSEVELT. Hey Harmond, if the blight don’t come through and we don’t get the fed money, we can bring Bernie in as a partner. I already felt him out and know I can get him to go for it.

HARMOND. No shit he’d go for it. Bernie Smith would love to get a piece of Bedford Hills. He’d have it so he’d be making money three ways. Owning part of the development, hiring his own construction firm and selling us all the supplies. Bedford Hills isn’t going in Bernie’s pocket.”

This exchange highlights the conflict between Roosevelt and Harmond. Roosevelt suggests they bring Bernie in, seeing the partnership as an opportunity for personal gain. Harmond, however, is more concerned about the integrity of the development and mistrusts Bernie’s intentions. This represents two different approaches to The Tension Between Personal Ambition and Communal Solidarity. Harmond isn’t willing to compromise the development’s impact on the community to secure financial backing.

“STERLING. That ain’t right.

HARMOND. Rightly or wrongly we’re going to tear down the house.

STERLING. Wait a minute…wait a minute…say that again. Did I hear that shit right? ‘Rightly or wrongly’ you’re going to tear down Mr. Barlow’s house. ‘Rightly or wrongly’? It don’t matter to you if it’s wrong?”

This confrontation between Sterling and Harmond exemplifies The Unequal Impact of Urban Development. Sterling questions the morality of the redevelopment project, and Harmond’s response, “Rightly or wrongly,” shows his willingness to proceed regardless of the moral implications. Sterling’s anger and disbelief highlight his strong sense of right and wrong: He can’t accept the idea that Harmond is willing to destroy something valuable without questioning the morality of it and without fully considering the impact of his actions. This exchange reveals Sterling as a guardian of justice and community values.

“STERLING. That’s Aunt Ester’s house. I know that house. I went up to see her a couple times. She helped me out. She was a real old lady. I was feeling sorry for myself for being an orphan. And I was walking around carrying that on my shoulders. She told me set it down. If I wanted to carry something carry some tools. I’ve been carrying tools ever since and I’ve been at peace with myself. I was sorry to hear that she died.”

This quote reveals Sterling’s deep personal connection to the house at 1839 Wylie Avenue. The house is tied to memories of Aunt Ester, a woman who helped him when he was struggling. Aunt Ester’s guidance helped Sterling transform his feelings of abandonment into a sense of purpose, symbolized by “carrying tools.” The house, therefore, holds personal and symbolic significance for Sterling. This moment emphasizes the theme of the preservation of The Importance of Preserving Historical Memory: Sterling’s attachment to the house reflects the importance of remembering the past.

“OLD JOE. I remember you had a porch. A white porch and sometimes you would sit up there out the rain. We didn’t have no porch. If we wasn’t careful we could drown. You had chairs. We’d sit on the stoop. But we all sitting just the same. If you ask somebody what they was doing they’d tell you they was sitting. We’d sit there and that was the best expression of life. At that time. Another time it be something else. You always looking to express yourself. Not in one or two things…but in everything. Even the way you scratch your head. The way you walk across the yard. The way you sit. All that’s like talking.”

Old Joe’s nostalgic monologue reflects his deep connection to historical memory. The imagery of sitting on porches and stoops symbolizes shared experiences and a sense of unity which transcended socioeconomic disparities. The contrast between Harmond’s family having a porch and his family having only a stoop highlights inequities, yet Joe focuses on the act of sitting and the shared humanity of the act as a form of self-expression.

“STERLING. Here, I don’t want your twenty dollars. Take the golf clubs as a present.

HARMOND. That’s not the same thing.

STERLING. It look like the same thing to me. But then maybe I’m wrong. What do I know? I ain’t went to school to study up on it. But some things you don’t have to study up on. You ain’t got to study up on right and wrong.”

This dialogue highlights Sterling’s pragmatic morality, in contrast with Harmond’s more structured, academic worldview. Sterling acknowledges his lack of formal education but asserts that understanding right from wrong doesn’t require scholarly knowledge. He uses this moment to challenge Harmond’s approach to morality and to critique the moral compromises that often accompany professional ambition.

“HARMOND. It’s a Federalist brick house with a good double-base foundation. I couldn’t believe it. It has beveled glass on every floor. There’s a huge stained-glass window leading up to the landing. And the staircase is made of Brazilian wood with a hand-carved balustrade. You don’t see that too often.”

This description of the house emphasizes its historical and architectural significance. Harmond’s admiration for its craftsmanship represents his recognition of The Importance of Preserving Historical Memory. The house becomes more than just a building: It represents a connection to the past, particularly the heritage of the Black community in the Hill District.

“MAME. He’s been talking about moving to the Hill. Wants to move back in the house he grew up in. Harmond hasn’t lived in the Hill in twenty-five years. I can’t move back here, Roosevelt. I don’t want to go backward. I wasn’t born backward. You’d be surprised how many white people think all black people live in the Hill.”

Harmond begins to embrace the idea of moving back to the Hill, while Mame is resistant, as she views moving back as a step backward in both social status and personal progress. Her rejection of the Hill reflects her internalized association of progress with moving away from historically Black spaces. On the other hand, by considering moving back, Harmond shows his growing commitment to the preservation of cultural heritage.

“HARMOND. Okay. Okay. Bedford Hills owns 1839 Wylie. Okay. But Bedford Hills acquired 1839 Wylie illegally. It bought it from me but I didn’t own it. I bought the house before it went to auction. That’s against the law. That’s corruption. I’m going down to the courthouse and file an injunction to stop the demolition.

MAME. Harmond, if you do that you’re throwing everything away. All your hard work. Your career. Your reputation…

HARMOND. All I’m trying to do is save Bedford Hills Redevelopment, you got to have rule of law. Otherwise it would be chaos. Nobody wants to live in chaos.”

This marks a turning point in Harmond’s character. His acknowledgment of the illegal acquisition of 1839 Wylie and his decision to file an injunction against the demolition of Joe’s house reflects his new awareness of The Unequal Impacts of Urban Development. Harmond chooses to uphold justice even at the risk of his career. This represents his commitment to morality and community over personal gain.

“MAME (Looking at the campaign poster). ‘Harmond Wilks for Mayor. Hold Me to It.’ Mayor Wilks…That was almost you. All you had to do was follow the plan.

HARMOND. I’ve been following plans my whole goddamn life.”

Harmond’s rejection of “following plans” signals a pivotal moment in his character arc. The “plans” Harmond mentions represent a life of conformity, where his ambitions have been dictated by external forces, including Mame. By reclaiming his agency, Harmond transitions from being a passive follower of societal norms to an active agent of change. He chooses to prioritize justice and historical memory over personal gain.

“MAME. I got a call from the governor’s office this morning. They canceled my next interview and said they didn’t want to reschedule any further interviews with me at this time. You jumped but I’m falling too. I’m the wife of Harmond Wilks. That’s all the governor sees. All any of the other board members see. What all our friends see. I tied myself so tight to you that there is no me. It’s time to cut loose. I don’t know what’s ahead but I have to become my own person. I can’t live for you and you can’t live for me. But I’m living life with you, I still love you, Harmond.”

Mame’s reflection on her identity reflects her evolution. She realizes that her sense of self has been overshadowed by her role as Harmond’s wife and supporter. Her metaphor of being “tied tight” illustrates the loss of autonomy she has experienced in her marriage. This moment mirrors Harmond’s own realization about the constraints of societal expectations. Mame’s decision to “cut loose” is not a rejection of their relationship but a declaration of her need for self-actualization.

“STERLING. […] What you got I ain’t got? […] What makes you special? I got a house. I got everything you got. Plus a little bit more. I got common sense. I know riddles. I can sing. And I used to have a pretty good hoop game. What you got I ain’t got? I got a dick. I got a fist. I got a gun. I got a knife. What you got?

ROOSEVELT. For one I got some money.

STERLING. I got money, too. You think you the only one got money? Money make you special?”

Sterling confronts Roosevelt, critiquing his materialism and elitism. He emphasizes the inherent value of qualities like common sense, good manners, and community over wealth and status. His repeated question, “What you got?” challenges Roosevelt to consider qualities beyond monetary success. This scene positions Sterling as the moral compass of the play, in clear contrasts with Roosevelt’s superficial values.

“ROOSEVELT. Harmond, did you really think the judge was going to let that raggedy-ass house stand in the way of a multimillion-dollar redevelopment project that’s spearheaded by the city? Common sense would tell you otherwise.”

Roosevelt’s statement underscores his pragmatic perspective and lack of morality. The dismissive tone of “raggedy-ass house” reveals his disregard for the cultural and historical significance of 1839 Wylie Avenue. He chooses to align with institutional power (“the judge” and “the city”), exemplifying how systemic forces prioritize profit over justice. This moment contrasts with Harmond’s growing commitment to preserving historical memory.