The AIDS Apocalypse
1980’s New York at the height of the AIDS crisis feels, within the context of the play, like the last days – the characters both fear an apocalypse and hope for humanity’s absolution. The supernatural elements of the play reflect this, with celestial beings struggling with the decision of mankind’s ultimate fate. On an individual level, each character wrestles with life-altering decisions and setbacks that carry just as much gravity. Joe’s crumbling marriage, his war with his own religion and sexuality; Harper’s descent into madness and addiction, Louis’s ethical and emotional turmoil and Prior’s HIV diagnosis and rapidly deteriorating health all seem to be leading up to irreconcilable personal climaxes.
However, despite these perceived urgencies, life continues, for humanity and for each of the characters. Prior receives treatment and in the epilogue, the reader sees him living with AIDs, and many of the other characters living with the results of their crises from the course of the play. It isn’t an absolution, exactly, more of a recognition of the permanence of life. Prior lives despite his sickness, seeks treatment and receives support; New York lives despite the AIDS crisis, develops new treatments and greater awareness; humanity lives despite being judged by the angels. The play’s final scene is a recognition that even if the dreaded climax occurs, whether it be medical, spiritual, emotional or intellectual, existence will continue just as it always has. There is no rapture and no cure, but there is no apocalypse, either.
I see this as a way of fighting the stigma surrounding the AIDS virus, a diagnosis of which is considered a death sentence in our culture, in more ways than one. In the article “The Denver Principles to Empower People with AIDS, 1983”, the Advisory Committee of the People with AIDS make demands that seem so tragically basic: they want to stay at their jobs and with their families. They want medical care and social services and privacy. In the words of the document, “To die – and to LIVE – in dignity”. The implication levied in these words is one that reflects the portrayal of AIDS by the media, even today – that a positive diagnosis means instant, shameful social death. It is seen to be an end-of-the-world scenario on an individual scale. “Angels in America” denies this categorically, and demonstrates the continuance of life after diagnosis, both physically and as part of a community.
April 21st, 2013 at 7:46 pm
Hi Kalliope,
This is beautifully said. The assignment of social death you point to–that continues today even though medical treatment has made it increasingly possible to live with AIDS–remains a crucial challenge to overcome. When I read comments like the ones you regularly make, it renews my hope that it can happen.