This program dissects Lorraine Hansberry’s A Raisin in the Sun through the sharp insights of actors, directors, and producers of the play's productions.
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“Hansberry’s A Raisin in the Sun and the ‘Illegible’ Politics of (Inter)Personal Justice.” Kalfou (Santa Barbara, Calif.), vol. 1, no. 1, 2014, pp. 27–60At the emotional climax of Lorraine Hansberry's landmark 1959 play, A Raisin in the Sun Walter's sister Beneatha is on the verge of totally rejecting him. Walter is planning to take a payoff from Mr. Lindner, a neighborhood association representative, for agreeing not to racially integrate their all-white community. This seeming acceptance of white people's rejection and dehumanization of them enrages Beneatha and Walter's wife, Ruth, for two reasons: first, because of its seeming internalization of the hatred represented by the payoff, and second, because it occurs right after Walter had been scammed out of a significant portion of Mama's deceased husband's insurance money in a liquor store scheme by his runaway friend, Willy Harris. Hansberry was not celebrating US nationalist dreams of the bourgeois white nuclear family, nor was she celebrating an "emasculating" Black matriarchy, as those who cheered and jeered the play respectively claimed.
“African Americans and the Crisis of Modernity: An Interpretation of Lorraine Hansberry’s A Raisin in the Sun.” Ethnic Studies Review, vol. 41, no. 1–2, 2018, pp. 53–60This article examines Lorraine Hansberry's play A Raisin in the Sun by exploring the conflict between a traditionally Southern, Afro-Christian, communitarian worldview and certain more destabilizing elements of the worldview of modernity. In addition to examining the socio-economic problems confronted by some African Americans in the play, this article investigates the worldviews by which these Black people frame their problems as well as the dynamics within the relationships of a Black family that lives at the intersection of racial, class, and gender inequality in Chicago during the latter 1950s.