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University of California Press

About the Book

Preface by Julie Dash, Ayoka Chenzira, Zeinabu irene Davis, Michelle Parkerson, and Seret Scott.

A landmark collection restoring Black luminary Kathleen Collins’s visionary plays and screenplays to their rightful place in American film and literature.

The writer and filmmaker Kathleen Collins was a groundbreaking figure in the Black arts and literary cultures of the 1970s and 1980s, yet her work has only recently begun receiving the mainstream recognition it deserves. For the first time, Women, Sisters and Friends shares the plays and screenplays that were central to Collins’s creative practice, which illuminated Black women’s lives, artistic ambitions, intimacies, and losses with remarkable emotional depth. These evocative works reveal why Collins inspired contemporaries such as Toni Morrison and Julie Dash and paved the way for generations of Black feminist creators.

Drawing on unpublished manuscripts, this richly illustrated volume pairs Collins’s scripts with contextual essays, archival materials, and reflections from family members, collaborators, and fellow artists. Arriving amid a major revival of Collins’s work—with acclaimed volumes of her fiction, national film screenings, new stage productions, and renewed popular interest—Women, Sisters and Friends is both an essential act of restorative history and a vital contribution to American culture.

About the Author

Kathleen Collins (1942–1988) was a playwright and filmmaker best known for her film Losing Ground. Since her untimely death at the age of forty-six, her daughter, Nina Lorez Collins, has published two posthumous collections of her writing: Whatever Happened to Interracial Love? and Notes from a Black Woman’s Diary. 

Samantha N. Sheppard is Professor of Cinema and Media Studies in the Department of Performing and Media Arts at Cornell University, author and coeditor of four books, and Academy Film Scholar recognized by the Academy of Motion Picture Arts and Sciences. 

Hayley O’Malley is Assistant Professor in the Department of Art History and Program in Media Studies at Rice University and is completing her first book, Dreams of a Black Cinema. 

Alix Beeston is Reader in Literature and Visual Culture at Cardiff University, author of In and Out of Sight: Modernist Writing and the Photographic Unseen, and coeditor of the award-winning volume Incomplete: The Feminist Possibilities of the Unfinished Film.

Table of Contents

Contents

Glossary vii

The Kitchen Table: A Preface
Ayoka Chenzira, Julie Dash, Zeinabu irene Davis, Michelle Parkerson, and Seret Scott, edited by Samantha N. Sheppard

Introduction: Kathleen Collins, a Writer at Work
Alix Beeston, Hayley O’Malley, and Samantha N. Sheppard

1. Women, Sisters and Friends (1971)
Screenplay introduced by Alix Beeston

2. Lila (1974)
Screenplay introduced by Hayley O’Malley

3. In the Midnight Hour: A Play in Three Acts (1978)
Play introduced by Hayley O’Malley

4. Almost Music: A Cabaret Play (1980)
Play introduced by Alix Beeston

5. Only the Sky is Free: A Fictional Meditation on Bessie Coleman (1985)
Screenplay introduced by Hayley O’Malley

6. Madame Flor . . . (1987)
Screenplay introduced by Alix Beeston

7. Looking for Jane: A Play in Three Acts (1988)
Play introduced by Hayley O’Malley

8. Conversations with Julie: A Comedy for the Screen (1988)
Screenplay introduced by Alix Beeston

Inheriting All the Love I Could Handle: A Postscript
Samantha N. Sheppard

Acknowledgments

Reviews

“A multilayered delight. Since I first encountered Kathleen Collins’s writing as an MFA student, I’ve long wanted to inhabit the sultry, brilliant rooms she is uniquely able to render, and all the more so now. On their own, Collins’s scripts and plays offer up a vibrant kaleidoscope of Black life teeming with artists, activists, daredevil pilots, heartbroken women, caddish men, and just a bit of magic. But taken together—with the loving, diligent scholarship of Samantha N. Sheppard, Hayley O’Malley, and Alix Beeston—this collection becomes a meditation on the fortitude and self-belief required of the female artist. Against rejection, poverty, setbacks, and misunderstandings, again and again and again Kathleen Collins returns to her page, committed to actualizing her singular voice and vision—and in the process, discovering honesty and brilliance that jump off the page.”—Xochitl Gonzalez, New York Times–bestselling author of Need Blind: A Memoir of Class and Climbing in America

“The inimitable Kathleen Collins produced a body of work that brilliantly ventures beyond the limits and expectations imposed on Black women and our storytelling. In this inspiring collection, Sheppard, O’Malley, and Beeston recover and contextualize Collins’s radical visions for the screen and stage. Read the words of Kathleen Collins aloud, and experience the depths of her intellect, insight, wit, and humanism.”—Jacqueline Najuma Stewart, host of Turner Classic Movies’ Silent Sunday Nights and author of Migrating to the Movies: Cinema and Black Urban Modernity

“Sheppard, O’Malley, and Beeston have done a tremendous service for film, theater, and performance studies. Pulling from Kathleen Collins’s voluminous body of work, they creatively blend razor-sharp contextual prefaces, interviews with women directors influenced by Collins, and a poignant postscript as they offer access to some of Collins’s most dynamic plays and screenplays. This compilation is a wonderful gift to stage and film directors, drama students and teachers, and scholars who will now have the opportunity to read, produce, and teach Collins’s works. Hallelujah!”—L. H. Stallings, author of The Afterlives of Kathleen Collins: A Black Woman Filmmaker’s Search for New Life

“This groundbreaking collection gathers, for the first time, Kathleen Collins’s unpublished and previously unavailable plays and screenplays and presents them with rigorously researched context, brilliant analysis, and vital critical frameworks for the deep appreciation of Collins’s masterful works. The result is essential reading that expands the known oeuvre of this remarkable twentieth-century playwright and filmmaker.”—Allyson Nadia Field, author of Acts of Love: Black Performance and the Kiss That Changed Film History

“Having witnessed and contributed to Kathleen Collins’s rediscovery and restoration within our cinematic imaginary, I am thrilled to welcome this indispensable collection that brings Collins’s literary and cinematic work into sustained conversation. It offers a fuller account of her singular artistic vision and affirms the enduring, vital dialogue between Black literature and Black cinema.”—Terri Simone Francis, author of Josephine Baker’s Cinematic Prism