Then the reaction came. Not good.
Charley and I were disappointed, but we swallowed hard and digested the details. Finally, it came home to us that we had made a mistake in the selection of the source material. We were forced to admit that the material should have been taken not from
my
life but rather from life itself. We resolved to return to the drawing board with this new point of view.
Charley and I didn’t see much of each other over the next several months, a time spent mostly in note-gathering. Early one evening he dropped by to visit with my wife and me at our New York apartment and to report on his progress. An hour
later we shared a cab with him across town. My wife and I were on our way to the theater; Charley was on his way to somewhere else. At 97th Street and Columbus Avenue he got out. We said our goodbyes, and we never saw him again. The cancer had returned. He died on June 2, 1995.
Sometimes it seems that when crushing losses are the reality, a resistant mechanism springs into action to protect the mind from instant overload, mercifully allowing for the gradual absorption of invasive and toxic information. Charley Blackwell was no more. He had slipped into what W.E.B. Du Bois once called “that long deep and endless sleep.” Needless to say, the world we knew hung heavy in the days and months that followed.
After the magnitude of the loss had hit home and family and friends were finally able to turn the corner toward healing, I drifted back to the “material in progress.” I remember thinking of it at the time more as “material in shambles,” due to Charley’s untimely departure.
As to questions that remain standing in the face of humanity’s relentless pursuit of answers, maybe Nature arranges it to her benefit that some of us set out on journeys that can have no end. Consider, for a moment, that the amount of energy spent by human beings in pursuit of something that doesn’t exist might, in very real terms, represent a sizable chunk of the energy Nature needs to make the world go ’round. Which might also explain why—even after a lifetime of struggle—most of us never find the rainbow we promised ourselves would lead us to our pot of gold.
Charley never lived to see our dream fulfilled. The same cancer that declined to take me called him back to Nature. I don’t know why he died any more than I know why I went from being a stargazer on the beaches of Cat Island to an actor in Hollywood. But I
do
know that I’m responsible not for what happens but for what I make of it. It’s up to me to take my own measure, to claim what’s real, to answer for myself.
I’m still here, and truth be told, the compulsion to create and express is still here. Our first efforts at a one-man show met with failure, and oh, how I hate to fail. My colleague has succumbed, and to an illness that I’ve shared, which is at times doubly dispiriting. But I still dream of that final moment onstage.
Surely this must be the highest-stakes game of all. And maybe the oracles are trying to tell me that this is one I can’t win. That my survival instincts aren’t going to help me this time. That I won’t be able to charm this opponent into neutral, no matter how much drive and hard work and talent I apply. But there’s still a beating heart at the center of my being, and while there’s life…
Human life is a highly imperfect system, filled with subordinate imperfections all the way down. The only thing we know for sure is that in another eight billion years it will all be over. Our sun will have spent itself; and the day it expires, you’ll hear the crunch all over this solar system, because then everything will turn to absolute zero.
But you can’t live focused on that. You can’t hang on to that. Anyway, luckily we puny individuals have only seventy-five
or eighty-two or ninety-six years to look forward to, which is still a snap in the overall impenetrableness of time. So what we do is we stay within the context of what’s practical, what’s real, what dreams can be fashioned into reality, what values can send us to bed comfortably and make us courageous enough to face our end with character.
That’s what we’re seeking. That’s what it’s all about, you know? We’re all of us a little greedy. (Some of us are
plenty
greedy.) We’re all somewhat courageous, and we’re all considerably cowardly. We’re all imperfect, and life is simply a perpetual, unending struggle against those imperfections.
Acapulco, Mexico
Acting: Academy Award, Best Actor
American Negro Theatre
black actors
black filmmakers, pioneers
blacklisting and loyalty oaths
camera and “presence,”
directing by Poitier
dramatic focus, determining
inherited talents
pantomime
Poitier’s box office success
Poitier’s craft and approach to
Poitier’s early audition
Poitier’s first ambitions
Poitier’s first film
Poitier’s first theatrical role
Poitier’s janitor job in exchange for acting class
Poitier’s love of
Poitier’s mentors and teachers
Poitier’s personal standards
Poitier’s roles and congruency with principle
preparing for roles and finding character
purity of profession and power to transfix
racial barriers broken and
racially stereotyped roles
Raisin in the Sun
and acting challenges
studio contracts
values and selfhood conveyed in
See also specific films and plays
Actors’ Equity Association
Actors Studio
All the Young Men
American Negro Theatre
Belafonte and
Poitier and
Anger
acting and
evil and rage
turned inward
Anna Lucasta
Ashe, Arthur
Bad Day at Black Rock
Baker, Josephine
Balance, searching for
Basie, Count
Bassett, Angela
Baum, Marty
Beavers, Louise
Belafonte, Harry
Berman, Pandro
Bethune, Mary McCloud
Bibb, Leon
Black Panthers
Blackboard Jungle
Blackwell, Charley: career of
death of
discussion with
one-man show and
Branch, William
Brando, Marlon
Brooks, Richard
Brown, H. Rap
Browne
v.
Board of Education
Bunche, Ralph
Carmichael, Stokely
Cassavetes, John
Cat Island
Arthur’s Town
Arthur’s Town ditch
beauty of
color issue and class on
daily life on
landowning by blacks
Poitier childhood on
Poitier claim on land
Poitier family emigration to
Poitier home on
poverty on
simplicity of life on
tomato farming on
Childress, Alice
Civil Rights Movement
Cole, Nat
Commitment
to craft of acting
cultural influence on
Cyril Poitier and
Evelyn Poitier and
Sidney Poitier’s motto
values and
Compassion
Consciousness
grand, or divine
ignorance, removal of, and
Lilies of the Field
and
Cooper, Ralph
Cosby, Bill
Cruelty, human
Cry, the Beloved Country
Curtis, Tony
Dark side of life/humanity
Army arrest of Poitier and
cruelty and
demons, personal
facing at Catskills resort by Poitier
sin and vice
violence turned inward
Davis, Sammy, Jr.
Davis, Ossie
Death: Acapulco brush with, and taking stock
Du Bois on
prostate cancer and introspection
Dee, Ruby
Defiant Ones, The
Dixon, Ivan
Dreams and aspirations
racism and
Du Bois, W.E.B.
Edge of the City
Ellington, Duke
Ellison, Ralph
Emotional intelligence
Faith.
See
Spirituality
Fanny
Farrah, Damite
Fetchit, Stepin
Forgiveness
Fox, William
Franklin, John Hope
Freeman, Morgan
Freud, Sigmund
Furman, Glen
Gaia (Mother Earth)
Gandhi, Mahatma
Garvey, Marcus
Geeson, Judy
Genocide
Gordy, Berry, Jr.
Grant, Lee
Greaves, William Garfield
Green. Guy
Guess Who’s Coming to Dinner
Hansberry, Lorraine
Hartman, Elizabeth
Hepburn, Katharine
Hernandez, Juano
Hope
Horne, Lena
Hughes, Langston
Identity, search for
acting roles and
discussion with Charley Blackwell
dual
nature and
opposites and
Imagination
In the Heat of the Night
Ingram, Rex
Inherit the Wind
Integrity
It’s a Mad Mad Mad Mad World
Jackson, Jesse
Jackson, Samuel L.
Jeffries, Herb
Johnson, Johnny
Judgment at Nuremberg
Jumper church
King, Martin Luther, Jr.
Korda, Zoltan
Kramer, Stanley
Language, command of
Lee, Canada
Legacies: Acapulco brush with death and taking stock
values through family
Lilies of the Field
Logan, Joshua
Luce, Clare Booth
Lulu
Lysistrata
Man Is Ten Feet Tall
, A
Mandela, Nelson
Mankiewicz, Joseph
Mann, Paul
Margulis, Lynn
Marshall, Thurgood
Marshall, William
Materialism
Mayfield, Julian
McDaniel, Hattie
McNeil, Claudia
McQueen, Butterfly
Merrick, David
Miami, Florida, Poitier in
police car incident
Micheaux, Oscar
Mills, George
Mirisch, Walter
Moore, Juanita
Moreland, Mantan
Morrow, Vic
Mozart, Wolfgang Amadeus
Mysteries
in Bahamas
God as ultimate
NAACP
Nassau, New Providence Island, Bahamas
Baron Smith and movie incident
class structure
Jumper church
Poitier childhood in
Poitier family moves to
Poitier family poverty in
racism in
Nature
Negro Actors Guild
Nelson, Ralph
New York, New York: Harlem
Sidney Poitier arrives in
theaters
Theresa Hotel
New York Times
No Way Out
One Hundred and Ten in the Shade
Outsider: concept of
daughter, Beverly Poitier, and
Poitier as
racism and
Parenting: discipline
divorce and
materialism and
Poitier and daughters
Poitier’s parents
values, clarity of and
Patch of Blue, A
Philco Playhouse
Piece of the Action, A
Pleasures, hedonism, or instant gratification
Poitier, Beverly (daughter)
Poitier, Caroline (aunt)
Poitier, Cedric (brother)
Poitier, Cyril (brother)
Poitier, David (uncle)
Poitier, Evelyn (mother): bush medicines and
character and personality
clothes-making
discipline of children
life on Cat Island
marriage of
Nassau move
parents “Pa Tim” and “Mama Gina,”
siblings Ya-Ya and Augusta
Sidney’s birth and
soothsayer’s prediction
Sidney’s departure for Florida
Sidney’s first film, sees
Sidney’s swimming lesson
stone selling
survival tactic
tomato farming
Poitier, Juanita (first wife)
Poitier, March (grandfather)
Poitier, Pam (daughter)
Poitier, Reginald James “Reggie” (father)
character and personality
death of, and inheritance
discipline of children
economic struggles of
as father and provider
life on Cat Island
marriage
Nassau move
parents
Sidney’s birth
Sidney’s departure for Florida and
Sidney’s first film, sees
Sidney’s return to Bahamas and
Sidney’s swimming lesson
tomato farming
Poitier, Sidney:
ACTING CAREER
: agent, acquiring
box office success
childhood ambitions
craft and approach to
directing
dissention with Claudia McNeil
first auditions
first film
No Way Out
, family at
first theatrical role
focus of drama
income from
janitor job at American Negro Theatre in exchange for acting class
lack of roles for
looking for work
mentors and teachers
one-man show, desire to do
Oscar for Best Actor
pantomime and
personal standards for
power of performance and
preparing for roles
Raisin in the Sun
and acting challenges
television drama,
A Man Is Ten Feet Tall
on theatrical acci
dents
troublemaker, branded as
work, importance of
see also
FILMS, PLAYS
(
below
)
CHARACTER AND PERSONALITY
: anger and
charm
contradictions in
danger, reaction to at Catskills resort
fear of failure
forgiveness and
identity, recognition of
maturing of, New York City
military, problems in and
motto
moving-on lifestyle
as outsider
personal standard of high achievement
principles, adherence to
prostate cancer and introspection
psychoanalysis and
risk-taking
rogue tendencies
role models, heroes, mentors
self-esteem
shaping of
spending habits and care with money
tolerance and
work ethic of
CHILDHOOD
: birth and soothsayer’s prediction
Cat Island
chores
clothes
discipline
education
life’s lessons from Cat Island
Miami
Nassau, Bahamas
poverty of
rhythms of early life
swimming “lesson,”
EMPLOYMENT
(
OTHER THAN ACTING
): construction
delivery boy
kitchen help
restaurant (Ribs in the Ruff)
FAMILY
: ancestry
brother (Cyril)
daughters
divorce from first wife
father
mother
reunion with parents at age
and guilt toward
sister (Teddy)
wife (first, Juanita)
FILMS
:
All the Young Men
Blackboard Jungle
Cry, the Beloved Country
The Defiant Ones
Edge of the City
Guess Who’s Coming to Dinner
In the Heat of the Night
Lilies of the Field
No Way Out
A Patch of Blue
Porgy and Bess
Something of Value
Stir Crazy
(director)
Sir, with Love
NEW YORK CITY
: arrival in
black culture in
Harlem and
learning about
racial acceptance in
Raisin in the Sun
and new kind of theater brought to Broadway
self-improvement embarked upon
“time of ashes” in
winter in
PLAYS
:
Anna Lucasta
Lysistrata
Raisin in the Sun
POLITICS
: contemporaries, influence of
criticism of Poitier’s, by contemporaries
Louise, relationship with
loyalty oaths, refusing to sign
in New York City
social movements, heroes of
RACISM
: acting career and removal of barriers
Atlanta restaurant incident
Cat Island and lack of exposure to
charm as survival tactic
Defiant Ones
, message of, and
discussions with Louise and
escape from Southern Jim Crowism
first exposure to, Nassau
in Hollywood
livelihood, maintaining and
in Miami
outsider status and
reaction, internal, to
social conscience of filmmakers and
social violence and
theater and
voting rights
Whipper, Leigh, and
RESIDENCES
: Bahamas 1970s
Beverly Hills
Cat Island
Harlem
Miami
Mt. Vernon, NY
Nassau
Pleasantville, NY
Riverside Drive, NY
SPIRITUALITY AND BELIEFS
: discussion with Charley Blackwell
educability of human beings
evolution of
false
fate, luck, mysteries
Gaia (Mother Earth) and
grand consciousness or divine force
interconnectedness of life
Nature and
knowing, innate
organized religion and
sensitivity panel (inherited talents and tendencies)
VALUES
: Acapulco brush with death and taking stock
acting roles rejected or accepted and
conveyed through acting
environment and
father’s teaching, “true measure of a man,”
forgiveness
integrity
legacy through family
reaching beyond human frailties