Introduction Jones’ Dutchman is one of the few works that managed to address the controversial and despicable era of racial discrimination in the United States. The play has not only a very passionate story but also a rather complex method of conveying the essential ideas at its core. Jones used the method of acting out as opposed to scripted. As a result, he managed to pinpoint the problems that lied at the core of the U.S. society of the 60s and, in fact, still define the nature of racial profiling in the 21 st century. Conflict Development Analysis The author marks the development of the conflict primary through dialogue between the characters. Therefore, the entire play is built on a series of narrations as opposed to the dynamic interactions between the characters. The specified strategy can be viewed as very efficient. It helps the readers get to know the people in the play. As a result, people relate to the characters easily and in a faster manner. The choice of the focus on acting as the primary means of conveying the essential message of the story becomes evident as the author emphasizes the double consciousness of the character. The phenomenon of double consciousness is traditionally interpreted as the split of one’s identity into the one foisted onto them by the society and the internal one. The latter is associated with one’s culture yet may be stifled by the people unwilling to accept one’s unique identity. According to Du Bois, the phenomenon of double consciousness shapes the lives of African Americans to a considerable extent being the “sense of always looking at one’s self through the eyes of others” (Du Bois 2). The subject matter manifests itself quite vividly in Dutchman , where the lead character is forced to be ashamed of his culture and, therefore, deny it so that he could belong in the society. The specified idea is rarely spelled out in the novel. However, Jones hints at it whenever possible as Lula pokes fun at the lead character’s lifestyle choices, African American culture, in general, and the specimens thereof, such as music, in particular: “If Bessie Smith had killed some white people she wouldn’t have needed that music” (Baraka “Dutchman” 9). As the example provided above shows, most of the story unwraps as a rather slow cadence of interactions between the lead characters. Although the novel is told mostly in a dialogue, the latter creates the dynamic impression that makes the characters live. With every phrase that they say, the weight of the conflict that the American society was facing at the time becomes increasingly evident, making the environment, in which Lula and Clay interact, disturbingly realistic. As the Story Unwraps Apart from focusing on the interactions between the characters as opposed to narrating the story, the author also picks a rather unusual pace for the problem to brew. The narration starts at a reasonably slow pace, marking the evident problems in interracial relationships. However, as the story unravels, the pace gets increasingly quicker, finally bringing the conflict to its catharsis. Apart from revolving around the action rather than the narrative, the story starts at a rather slow speed. The issue of music, which is touched upon in the play quite a few times, serves as the primary means of locating the nature of the play and the direction that the author is going in as it progresses. The very fabric of the African American music, which is mentioned in the play several times as a hint to the structure there