Abdelfadeel, M. (2024). Setting as Character: The Poetics of Space and Human Anxiety in Stephen Karam’s The Humans. CDELT Occasional Papers in the Development of English Education, 88(1), 493-512. doi: 10.21608/opde.2024.404558
Mahmoud Gaber Abdelfadeel. "Setting as Character: The Poetics of Space and Human Anxiety in Stephen Karam’s The Humans". CDELT Occasional Papers in the Development of English Education, 88, 1, 2024, 493-512. doi: 10.21608/opde.2024.404558
Abdelfadeel, M. (2024). 'Setting as Character: The Poetics of Space and Human Anxiety in Stephen Karam’s The Humans', CDELT Occasional Papers in the Development of English Education, 88(1), pp. 493-512. doi: 10.21608/opde.2024.404558
Abdelfadeel, M. Setting as Character: The Poetics of Space and Human Anxiety in Stephen Karam’s The Humans. CDELT Occasional Papers in the Development of English Education, 2024; 88(1): 493-512. doi: 10.21608/opde.2024.404558
Setting as Character: The Poetics of Space and Human Anxiety in Stephen Karam’s The Humans
This research paper argues that Stephen Karam elevates the setting in his family drama, The Humans, from a mere physical backdrop for the narrative to an active participant in the play, mirroring the Blake family members’ fears, anxieties, and insecurities. Drawing on Gaston Bachelard’s The Poetics of Space, which explores the intimate relationship between physical space and one’s psychological state, this paper attempts to analyze the dynamic relationship between the setting of The Humans and the psychological landscape of its characters. The New York ground-floor duplex in which the family gathers for celebrating Thanksgiving turns to be an extended metaphor for the Blakes’ precariousness and vulnerability under the pressures of their external and internal worlds alike. With its creaking floors, eerie noises, flickering lights, and suffocating atmosphere, the apartment externalizes the characters’ deepest psychological tensions and unresolved conflicts about aging, mortality, lack of recognition, and financial insecurity, while its basement level structure mirrors their own entrapment within their repressed fears and secrets. In this sense, boundaries between psychological and physical space are blurred and the setting becomes a living being that both aggravates and reflects the family’s vulnerability, fragility, and anxiety.
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