Hansberry also got involved in student theatre, and her nascent political and artistic aspirations fed off each other. In another letter, she wrote, “One either writes, paints, composes or otherwise engages in creative enterprises . . . on behalf of humanity—or against humanity.” Never a strong student, Hansberry left school during her sophomore year and moved to New York.
Hansberry and Nemiroff shared political commitments, but “desire” in a deeper sense was missing from their marriage. Hansberry wrote to her husband obliquely about her attraction to women: “I want one or two things which you simply cannot give.” In letters, she seems torn between her radicalism and the social conservatism of her upbringing.
It is hardly surprising, then, to encounter Hansberry writing to Nemiroff, in 1956, that she was “terribly lonely, almost to the point of madness.” Adding to her despair was the torture of writing. In her early twenties, she had finished several plays and staged readings with her friends, but she considered the work inadequate. In a letter, Nemiroff wrote, “You are so obviously grappling with yourself, uncertain, unresolved about many things.
Success tends to make itself seem inevitable, but at every stage “A Raisin in the Sun” was an unlikely prospect. The initial producers were record-label owners who knew little about developing a Broadway show. Fund-raising stalled, and there were disputes over who should direct. In January, 1959, after stops and starts, the play premièred in New Haven, with Sidney Poitier starring as Walter Younger, Jr. On March 11th, it opened at the Ethel Barrymore Theatre, in New York.
For starters, Black radicals even younger than Hansberry. Amiri Baraka later recalled thinking that the play was “middle class”; the Youngers’ fixation on “moving into white folks’ neighborhoods” looked like an endorsement of an assimilationist agenda. But this was never Hansberry’s intent. Of the critic who understood her characters to be carefree, she wrote, in the“It did not disturb the writer that there is no such implication in the entire three acts.
newyorker Not among real Americans!!!
Well, apparently it helps if you've died over 50 years ago.
Because she wrote a compelling play about a family's experience of racism.
an absolute must-read for everyone who hasn’t yet learned about this amazing woman:
Fr 👀
marifercom16 a autora da peça e roteiro daquele filme p&b do poitier que assistimos
Ask Brandon, who thinks America is a hood-covered bigoted hellhole.
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