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calarco 's review for:
A Raisin in the Sun
by Lorraine Hansberry
This play is pretty amazing; Lorraine Hansberry’s talent shines in the layered narrative of [b:A Raisin in the Sun|5517|A Raisin in the Sun|Lorraine Hansberry|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1165522672l/5517._SX50_.jpg|3154525]. Moreover, the Youngers are one of the most memorable families in a play I’ve seen since the Wingfields.
Published in 1959, so much seems to be ahead of its time. This is especially true with Beneatha, the objective best character. She is set on having a career, seeks a meaningful relationship that is intellectually stimulating, doesn’t mute her voice to be and questions established norms—including religion. To question faith, especially as a woman (and a black woman at that) is a pretty big deal in this time period.
“Mama, you don’t understand. It’s all a matter of ideas, and God is just one idea I don’t accept. It’s not important. I am not going out and be immortal or commit crimes because I don’t believe in God. I don’t even think about it. It’s just that I get tired of Him getting credit for all the things the human race achieves through its own stubborn effort. There simply is no blasted God—there is only man and it is he who makes miracles!”
This is a big declaration to make, especially in the 50s. In general, when a family has so little due to structural socioeconomic inequity, faith is an incredibly important cultural cornerstone; one that can help to cope with grief and trauma, as well as provide a basis for community building. But as any religion has its positives, it also has it’s detracting elements; notably in that it can be used to allow for passive acceptance of unjust situations on the basis that it is a higher power’s “plan.”
Now religion really is not the major issue tackled in this play, just to be clear, the star topic is racial strife. There is a lot I would like to say, especially in terms of the Youngers’ discrimination, but I feel like I could be entering spoiler territory as this is the crescendo of the play’s drama. It is still worth noting, because even though the play takes place in 1950s Chicago, red lining continues to remain a pressing matter today all across the United States. Whether by overt state/municipal policy, or by more subtle individual-levels of covert racism, it all results in the same bullshit.
Just as Beneatha questions religion, she also sarcastically exclaims of polite segregation, “He said everybody ought to learn how to sit down and hate each other with good Christian fellowship.” In general, messages delivered with a tone of civility or spirituality can still be inherently malignant if they only serve to maintain an unjust status quo that defiles the justice of others.
Overall, this play is filled with a number of really thought-provoking conversations and arguments that only a family cooped in a too-small apartment are capable. This is a great read, and I definitely recommend it.
Published in 1959, so much seems to be ahead of its time. This is especially true with Beneatha, the objective best character. She is set on having a career, seeks a meaningful relationship that is intellectually stimulating, doesn’t mute her voice to be and questions established norms—including religion. To question faith, especially as a woman (and a black woman at that) is a pretty big deal in this time period.
“Mama, you don’t understand. It’s all a matter of ideas, and God is just one idea I don’t accept. It’s not important. I am not going out and be immortal or commit crimes because I don’t believe in God. I don’t even think about it. It’s just that I get tired of Him getting credit for all the things the human race achieves through its own stubborn effort. There simply is no blasted God—there is only man and it is he who makes miracles!”
This is a big declaration to make, especially in the 50s. In general, when a family has so little due to structural socioeconomic inequity, faith is an incredibly important cultural cornerstone; one that can help to cope with grief and trauma, as well as provide a basis for community building. But as any religion has its positives, it also has it’s detracting elements; notably in that it can be used to allow for passive acceptance of unjust situations on the basis that it is a higher power’s “plan.”
Now religion really is not the major issue tackled in this play, just to be clear, the star topic is racial strife. There is a lot I would like to say, especially in terms of the Youngers’ discrimination, but I feel like I could be entering spoiler territory as this is the crescendo of the play’s drama. It is still worth noting, because even though the play takes place in 1950s Chicago, red lining continues to remain a pressing matter today all across the United States. Whether by overt state/municipal policy, or by more subtle individual-levels of covert racism, it all results in the same bullshit.
Just as Beneatha questions religion, she also sarcastically exclaims of polite segregation, “He said everybody ought to learn how to sit down and hate each other with good Christian fellowship.” In general, messages delivered with a tone of civility or spirituality can still be inherently malignant if they only serve to maintain an unjust status quo that defiles the justice of others.
Overall, this play is filled with a number of really thought-provoking conversations and arguments that only a family cooped in a too-small apartment are capable. This is a great read, and I definitely recommend it.