In the framework of the Critical Race theory, the pygmy is a victim of unconcealed racism: “ If you were a Congolese pygmy, imprisoned for sixteen years in a three-foot by three-foot mahogany box, with just some paper and a pencil for company” ( Part 1, scene 1). Stating the woman’s Congolese origin surmises that her race underwrites her prejudicial imprisonment.
According of the Critical Disability theory, the woman’s disability ( of being a Pygmy) imperils her: “You’re a pygmy, and you’re a woman, and you were born in the Congo is 1869,the worst time for anybody to be born anywhere” ( Part 1, scene 1). Perchance, if the woman were not a pygmy she would have endeavored for her liberty. Her disability makes her astonishingly defenseless: manifestly, the woman’s disability converges with her gender, which contributes to the unfortunate intricacy of her exposure.
Writing is a therapeutic remedy for the pygmy’s apparent solitude and suicidal outlooks: “But maybe you aren’t going to hang yourself at all. Maybe that’s being a little too defeatist. Maybe you are going to write your way out of it?” (Part 1, scene 1). For the pygmy, writing is the perfect commitment that would divert her from her morbid considerations. Perhaps, if she were not a writer, her suicide would have emerged already.
