Miss Lulu Bett -- by Zona Gale (1921)

Description

Zona Gale became the first woman to win the Pulitzer Prize for Drama with her Miss Lulu Bett, which was the third winner of the prize. Female playwrights have received the prize in the following years: 1921*, 1931, 1935*, 1945, 1956, 1958, 1981, 1983, 1989*, 1998, 1999, 2002, 2009, 2012, 2014*, and 2017 (*indicates plays I've read thus far). That means only 16 out of 86 of these plays were written by women. That's a whopping 18.6%. Representation matters, and even "the most inclusive portion of entertainment" has not always recognized talent in diverse backgrounds.

It amazes me to consider the content of Miss Lulu Bett, given the stats I just gave. Zona Gale classifies her play as an "American comedy of manners." The indication struck my eye, for such categorizations for some reason connote antiquity or an Anglican sophistication. Why? No clue. Gale writes an accessible, not-didactic play to challenge American society about female liberation.

So what exactly is this play about?

So glad I asked myself that question.

Miss Lulu Bett is about Miss Lulu Bett.

The end.

Just kidding.

Okay. The play occurs in the '20s, and Gale cheekily notes that it takes place in "The Middle Class" (88). Miss Lulu Bett serves as a "spinster" or servant for her sister's family. Here is a quick character rundown:

Lulu, servant of Deacon family
Ina Deacon, Lulu's sister
Dwight Herbert Deacon, Ina's selfish husband
Monona Deacon, Ina and Dwight's devilish daughter
Diana Deacon, Ina and Dwight's love-stuck daughter
Bobby Larkin, Diana's boyfriend
Neil Cornish, store owner who loves Lulu
Mrs. Bett, Lulu's mother
Ninian Deacon, Dwight's brother who "marries" Lulu

The basic plot goes like this: Lulu serves the Deacon family who is filled with selfish individuals who are incapable of running their own household. Throughout the show, Monona chants and dictates her desires. Meanwhile, Diana and Bobby continuously try to make room for their affection. The central plot accelerates when Ninian and Lulu are accidentally married at the end of Act One. Unintentionally, the two recite vows in front of Dwight, who is a magistrate. They deduce that Lulu and Ninian are married. This all occurs after the Deacon family is perplexed at how Ninian gets Lulu out of the house. He states that it was simple: he invited her.

In Act Two, Ninian has abandoned Lulu because he is to verify if he is still married to a woman from the West who had left him. Lulu hopes that Ninian is still married, not because she wants to break their marriage, but because she wants to ensure that Ninian truly sought her for her love. Lulu believes people only admire her for her cooking. Dwight and Ina are frazzled by the situation--if Dwight is still married, it will make Dwight look foolish and bring shame upon the family. If Dwight isn't still married, it will make him look bad for abandoning his wife and not telling the public why. If he does not love Lulu and has simply abandoned her, Lulu will be crushed and shame will be brought to the family. So what is the truth? The truth is that Dwight realizes he is still married out West. Lulu is content with this news, for she finds pride in his pursuit of her. The family feels as if everything must be kept secret for the sake of everyone's pride. Ultimately, Lulu decides to runaway from the Deacon household in pursuit of a life marked by her decision-making. The family is confused by her independence.

The play is an ultimate feminist story. The messages are notably controversial for its time period in America-- a time when female independence was not embraced by the masses.

Candid Reactions

• The characters repeat phrases. This is both funny, rhythmic, and develops character. 
• When will I see toast in literature and not think of True West?
• Dwight keeps asking questions, but won't allow or accept Lulu's answers. Misogyny in disguise. 
• The family operates on mottos and maxims. 
• So was it just a time period thing that playwrights would say that characters are "discovered" in the scene?
• Poor Lulu is only acknowledged for her cooking. 
• Lulu explains, "But, you see, I can't do any other work--that's the trouble--women like me can't do any other work" (103). Ninian envisions a liberated life for Lulu. However, Lulu argues that her skill-set and the time they live in only allows her to live the life she has. 
• How sad for Lulu to say her nicest clothes she would only where on her deathbed (106). 
• Monona has the funniest exit in a scene I think I have read (beginning of Act Two Scene 1). 
• Dwight is the worst. 
• I think it is interesting how Cornish points out that she is still "Miss Lulue Bett" (133). The role of titles upon social image is intriguing. 
• Lulu returns Dwight's egocentrism with her personal rights. 
• Lulu supposes, "I thought I wanted somebody of my own. Well, maybe it was just myself" (160). Female identity is addressed here and is Dwight is flabbergasted. 
• Lulu's parting words are: "I'm going I don't know where-- to work at I don't know what. But I'm going from choice!" (161). These words ring out triumphantly and capture the gritty pioneering of determined American women. 

Top Two Aspects/Reasons for Winning

1. Structure

The play is structured so tightly and follows the guidelines of a comedy of manners perfectly. The pacing, subplots, and rhythm are crafted thoughtfully.

2. Feminism

I think my previous notes speak alone.

Classroom Implications

I actually think this text could be a great text for discussing theme, narrative structure, genre, and feminism. I could see this being used in grades 10-12. It could be paired with Pride and Prejudice.

Personal Takeaway

Plays can be prophetic.

Ranking

	Dialogue	Characters	Plot/Conflict	Symbol/Literary Devices	Overall Enjoyment	TOTAL SCORE 7.5
0	Unfollowable; unrealistic; diction does not match character	Undeveloped; does not reflect humanity	Not engaging; predictable; reader can step away from text because it isn’t gripping	Devices are apparent for cleverness and do not enhance the story	Reader has no interest in re-reading play
1	Not consistently realistic (1.5)	Well-developed; most depictions reflect humanity (1.5)	Semi-engaging; some unnecessary plot-points (1.5)	Devices somewhat enhance story  (1.5)	Reader would re-read with pleasure and reminded of work (1.5)
2	Realistic; connotative; diction matches characters	Fully-developed; depictions reflect humanity	Engaging; unique; reader finds it impossible to put down text because the conflict is so gripping!	Devices seamlessly enhance the story and provide rich interpretation	Reader would re-read the play on own volition, enthusiastically