“You can’t be nobody but who you are… That shadow wasn’t nothing but you growing into yourself. You either got to grow into it or cut it down to fit you.” — Rose, Fence
There is a unique privilege in medicine, particularly in family medicine, to be invited into the sacred space of people’s multi-generational stories. We don’t just see a patient; when we pay attention, we also see their ancestors, their elders, their children, and the living history that has shaped them. Over the years, I have learned that the stories we carry—both our own and those entrusted to us—shape how we present ourselves in the world.
For me, August Wilson has always been there when I needed to reflect, both personally and professionally. His work has walked beside me through some of the most defining seasons of my life, offering clarity, grounding, and a reminder of the deep roots that sustain us.
My journey with August Wilson began in 1987, during a tender and uncertain moment. I was returning to my training after a year away, learning how to balance motherhood with the demands of a medical career. In the middle of that transition, I found myself in a Broadway theater watching Fences—just days before the Tony Awards. James Earl Jones and Mary Alice were extraordinary, but what stayed with me was how the play held the tension between duty, love, sacrifice, and longing. I was a young mother and a young physician, trying to figure out how to hold it all together myself.
In 2010, Wilson met me again at another crossroads. I was starting a new position and wrestling with what it meant to stay in academic medicine—how to teach, lead, and continue growing. Once again, I saw Fences just days before the Tonys, this time with Viola Davis and Denzel Washington. Their performances were fierce and tender in equal measure. Sitting there, I felt reminded of why I chose academic medicine: to nurture growth, to witness transformation, and to honor the stories unfolding before me.
And then came 2023. I had just stepped away from the STFM Board and completed the third year of our Now Leadership through Scholarship Fellowship. I was in a season of rediscovery—figuring out who I was becoming after years of leadership and service. That was when I caught the 2023 revival of The Piano Lesson before the Tony Awards. It felt like Wilson was once again holding up a mirror, asking me to think about legacy, purpose, and what we choose to carry forward. I had seen other productions, but this one was riveting.
Across the decades, his plays have been a kind of compass for me. I’ve seen two productions of Joe Turner’s Come and Gone, two of Two Trains Running, at two of The Piano Lesson ( not including the TV production), the unforgettable screen version of Ma Rainey’s Black Bottom, the aching humanity of Jitney—which finally earned its Tony for Best Revival in 2017—and the final chapter, Radio Golf. Each time, I walked away with something I didn’t know I needed.
In medicine, we now talk about the social drivers of health—the conditions in which people are born, grow, work, live, and age, as well as the broader forces that shape daily life. These include economic stability, education, neighborhood environment, access to care, and the impact of racism and historical trauma. They are not abstract concepts; they show up in our exam rooms every day. They influence blood pressure, diabetes control, mental health, and healing. They shape how people navigate stress, opportunity, and survival.
August Wilson sheds light on the profound impact that various social forces have on the human spirit. He illustrates how economic hardship, migration, structural inequity, and generational trauma affect not just the body but the soul as well. His characters bear the burden of these societal challenges long before the terminology entered our medical dictionary. Through their experiences, we gain insight into how external conditions influence identity, relationships, hope, and resilience.
Wilson reminds us of something family medicine teaches every day: that a person’s health story is inseparable from the world that formed them. To truly care for someone, we must understand both their biology and their biography—their lived experiences, history, and the various forces that have influenced their journey. His plays highlight what we, as family physicians, often observe: healing requires acknowledging the whole story, not just the symptoms.
When you sit in the dark watching his characters, you aren’t just watching actors. You’re watching your family members. You see the patriarch whose dreams were cut short too soon. You see the matriarch holding the household together with strength and elegance. You see the younger generation striving to build a future while bearing the weight of the past.
Wilson’s work resonates because it tells the truth: that struggle and joy live side by side, that music and memory are forms of survival, and that our stories—no matter how heavy—are worth honoring.
I am still waiting to complete my journey through all ten plays, with three left on my map of Wilson’s century:
- Gem of the Ocean (1900s): The spiritual beginning of everything, anchored by Aunt Ester, the keeper of memory.
- Seven Guitars (1940s): A blues‑infused meditation on art, exploitation, and community.
- King Hedley II (1980s): A raw, unflinching look at generational wounds and the fight for dignity.
As a physician, I understand that an incomplete medical history signifies that there is more to learn, more to comprehend, and more to heal. Having accompanied Wilson’s characters through various seasons of my life, I believe that when I finally experience these last three plays, they will resonate with me in exactly the way they always have.
“I ain’t never found no place for me to fit. Seem like all I do is start over. It ain’t nothing to find no starting place in the world. You just start from where you find yourself.” — Joe Turner’s Come and Gone









