As the third play in August Wilson's ten-play series, Fences marks a milestone for Wilson in the commercial arena and unquestionably affirms his mastery of the art of play-writing. Under the theoretical framework of Julia Kristeva's broad-sensed intertextuality, this paper explores the intertextual features of Fences to reveal that to survive in a hostile white-dominated environment where the idea of melting pot was advocated and racial discrimination remained widespread in 1950 s, African Americans must discover the value of their true self.