How we cite our quotes: In consultation with my editor, we decided (against standard practice) to go with page numbers—since The Sunset Limited is one long act and it would be unwieldy and impractical to number all the lines.
Quote #1
BLACK: You live in a apartment?
WHITE: Yes.
BLACK: What. They don't let black folks in there?
WHITE: No. I mean of course they do. Look. No more jokes. I've got to go. I'm very tired. (9)
Black likes to use racial humor to lighten the mood. This is just one example, and here, he's likely trying to get White to relax a little.
Quote #2
BLACK: Numbers is the black man's friend. Butter and eggs. Crap table. You quick with numbers you can put the mojo on you brother. Confiscate the contents of his pocketbook. You get a lot of time to practice that s*** in the jailhouse. (17)
Black explains that his swift facility with numbers is the result of his experiences as an African-American from a downtrodden part of the country. Coming out of poor circumstances, he had to think fast if he wanted to survive.
Quote #3
BLACK: So what are we sayin here? You lookin at some big black angel got sent down here to grab your honky ass out of the air at the last possible minute and save you from destruction? (23)
Black mocks the idea that he might be part of some kind of supernatural intervention. By the time the play is finished, Black definitely seems like an actual human and not an angel. However, the idea that he was meant to save White never really disappears: Black believes God intended it to happen.
Quote #4
WHITE: Do most blacks call the penitentiary the jailhouse?
BLACK: Naw. Just us old country n*****s. We kind of make it a point to call things for what they is. I'd hate to guess how many names they is for the jailhouse. I'd hate to have to count em. (36)
Black uses the n-word to knock White off-balance at times. White seems uncomfortable with it—which you could argue shows that he still cares about humanity at least a little bit after all.
Quote #5
BLACK: You dont want to hear n***** but you about to bail out on me on account of I wont tell you some terrible s*** the n***** said. You sure about this?
WHITE: I just dont see why you have to say that word.
BLACK: Well it's my story aint it? Anyway I dont remember there bein no Afro-Americans or persons of color there. To the best of my recollection it was just a bunch of n*****s. (47)
Yeah, this is pretty rough talk. Black might think that if he can keep White off-balance, though, he may be able to get him in the "trick bag" by springing a good point on him out of nowhere.
Quote #6
BLACK: Well. Wonder what this crazy n***** fixin to do. He liable to put the mojo on me. Be speakin in tongues here directly. I better get my ass out of here. He's liable to try and steal my pocketbook. Need to get my ass down to the train depot fore somethin happen to me. What we goin to do with you, Professor? (64)
Black imagines White's internal monologue as a racist reflection on Black's religiosity. It's probably not what White's really thinking, but it's Black's way of joking around. He thinks White is worried he might actually get converted into wanting to live again—which is why he's so eager to leave.
Quote #7
WHITE: What's the dozens?
BLACK: It's when two of the brothers stands around insultin one another and the first one gets pissed off loses…
WHITE: I dont get it.
BLACK: You aint supposed to get it. You white. (72-73)
The dozens actually gave birth to freestyle battle rap. So if you're a hip-hop fan, you need to respect it.
Quote #8
BLACK: You know where I learned to fix this? […] Right here in the ghettoes of New York City. They's a lot of influences in a dish like this. You got many parts of the world in that pot yonder. Different countries. Different people.
WHITE: Any white people?
BLACK: Not if you can help it.
WHITE: Really?
BLACK: Messin with you, Professor. Messin with you. (100)
This is just another example of Black's racial humor. In reality, he doesn't believe there's such a thing as white or black people—he's all about that "forever thing," which exists inside everyone.