Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
A Raisin in the Sun is a play written by Lorraine Hansberry in 1959, inspired by Sean O'Casey's Juno and the Paycock. It details the life and times of the Younger family, a poor black family living in a small apartment in Chicago. Due to the passing of the elder Mr. Younger, the family is now in the position of receiving a large life-insurance check. Each of the adult members of the family has an idea as to what he or she would like to do with this money, and over the next few weeks, it's shown how each character's hopes and dreams affect the other family members.
Notable for being the first play by a black woman to be shown on Broadway as well as the first play with a black director. Despite Hansberry's worries, the play was a huge success, and would have probably been Hansberry's big break had she not died a few years afterwards. It has been adapted into a 1961 theatrical film (starring most of the original Broadway cast, including Sidney Poitier and Ruby Dee), made-for-TV productions in 1989 and 2008, and the 1971 musical Raisin.
Contains examples of
- Affectionate Parody: Clybourne Park, a Perspective Flip and a sort-of Distant Finale.
- Bittersweet Ending: The money is gone and the Youngers will likely receive nothing but hostility from the residents of Clybourne Park, but Walter's confidence has been restored and the family is prepared to face whatever challenges their new life will offer them.
- Chuck Cunningham Syndrome: The character of Mr. Johnson, at least in the original script. He doesn't show up at all in later versions of the story.
- Deadpan Snarker: Beneatha.
- Despair Event Horizon: Both Walter and Mama pass this when Willie Harris makes off with the money. Bobo too, as he tells Walter, "I had my life staked on this deal, too."
- Despair Speech: Walter's chilling 'Takers and Tooken' speech when he decides to cave to the racism of Clybourne Park in exchange for money, in which he condemns the rest of the family for worrying about 'right and wrong' when ultimately it comes down to how much you can 'take'.
- Fainting: Ruth does this in the first scene. It comes as a result of stress and pregnancy.
- Foil: Joseph Asagai and George Murchison, Beneatha and Ruth.
- Forgiveness: In spite of Walter carelessly spending the money, Mama finds it in herself to forgive him when he beats himself up over it and urges a reluctant Beneatha to do the same.
- Gender-Blender Name: Beneatha's nickname is Bennie.
- The Ghost: Willy Harris. He's briefly seen in the film and TV versions.
- Good Girls Avoid Abortion: Played straight with Ruth, who gets a down payment on an abortion when she finds out she's pregnant, but she ends up keeping the baby when the family gets a bigger house.
- Greed: Walter's tragic flaw.
- Hollywood Atheist: Beneatha is portrayed as ignorant and selfish for not believing in God. Her mother slaps her for saying so.
- Idiot Ball: Mama giving all of the money to Walter, rather than at least giving Benetha her own portion for her tuition, and Walter for giving it all to Willie.
- Important Haircut: Beneatha cuts her hair and lets it be natural when Asagai mentions that keeping it straightened is "mutilating" it.
- I Need a Freaking Drink: Walter has a real nasty habit of doing this when he gets stressed. And this turns into Drowning My Sorrows when he thinks that Lena spent all the insurance money on Travis's house—so much that he blows off work to go to the bar for three days straight.
- It's All About Me: Walter throws a huge fit at the notion that the money will be divided equally between him, his sister, and a down payment on a house for them all. He cries at his mother about how she's killed his dream, and then refuses to go to work. He then steals his sister's share of the money and gives it all to Willy to start his liquor store business.
- Literary Allusion Title: The title comes from Langston Hughes' poem "Harlem", first published in his 1951 collection Montage of a Dream Deferred.
- Men Are Better Than Women: Lena is rather dismissive of Beneatha's ambitions to be a doctor, even though she does set a portion of the inheritance aside for her tuition, but then she gives it all to Walter to deposit it. Walter himself then takes all of the money to invest in the liquor store, clearly feeling that his aspirations are more important than Benetha's.
- Motif: Plants, sunlight, dreams.
- Plucky Comic Relief: Beneatha, for the most part.
- Politically Incorrect Villain: Mr. Lindner plays with this. He has no personal animosity towards the Youngers and never utters a single slur, but he goes along with his town's plan to bribe the family into keeping out of it because that's what's expected of him. The Youngers don't think of him any better than they would overtly racist characters.
- Posthumous Character: Big Walter, whose death and subsequent life-insurance settlement triggers the plot.
- Purple Prose: An odd case of a play doing this; if you read the script, you'll see that the stage directions and set descriptions are unusually detailed and precise.
- Say My Name: In the movie, Walter repeatedly calls out Willy's name after finding out he's disappeared with the money.
- The Unfavorite: Beneatha. It seems no matter how much Walter screws up, Lena is determined to coddle him, while Beneatha is treated with derision, despite being a hard-working student with aspirations to be a doctor (a major accomplishment for a black woman even today, much less back then)"Mama, why can't you be on my side for once?"
- "Well Done, Son!" Guy: Inverted. Lena wants to know that her children love her as much as she loves them.
- Wham Line: "Mama... I never... went to the bank at all..."