The black community in Maycomb is quite idealized, especially in the scenes at the black church and in the “colored balcony” during the trial. Lee’s portrayal of the black community isn’t unrealistic or unbelievable; it is important to point out, however, that she emphasizes all of the good qualities of the community without ever pointing out any of the bad ones. The black community is shown to be loving, affectionate, welcoming, pious, honest, hardworking, close-knit, and forthright. Calpurnia and Tom, members of this community, possess remarkable dignity and moral courage. But the idealization of the black community serves an important purpose in the novel, heightening the contrast between victims and victimizers. The town’s black citizens are the novel’s victims, oppressed by white prejudice and forced to live in an environment where the mere word of a man like Bob Ewell can doom them to life in prison, or even execution, with no other evidence. By presenting the blacks of Maycomb as virtuous victims—good people made to suffer—Lee makes her moral condemnation of prejudice direct, emphatic, and explicit.
Beckett’s literary reputation was made by the success of his play En attendant Godot (pb. 1952; Waiting for Godot , 1954), a work that alone has sold more copies than all of his other drama and fiction combined. Along with his second important play Fin de partie (pr., pb. 1957; Endgame , 1958), Waiting for Godot established Beckett as the central figure in the Theater of the Absurd. Although each of these early plays presents a world of severely limited possibilities in which mortals have no effective control over their physical condition, each also portrays mobile characters who interact with one another.