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In Her Own Words
The supreme test of technical skill and creative imagination is the depth of art it requires to render the infinite varieties of the human spirit—which invariably hangs between despair and joy.
To Be Young Gifted and Black: Lorraine Hansberry in Her Own Words. Adapted by Robert Nemiroff with an introduction by James Baldwin, p.xvii. NJ: Prentice-Hall, 1969.
The thing that makes you exceptional, if you are at all, is inevitably that which must also make you lonely.
Lorraine Hansberry writing in her journal, May 1, 1962. In To Be Young Gifted and Black: Lorraine Hansberry in Her Own Words. Adapted by Robert Nemiroff, with an introduction by James Baldwin, p.137. NJ: Prentice-Hall, 1969.
Write if you will: but write about the world as it is and as you think it ought to be and must be—if there is to be a world. Write about all the things that men have written about since the beginning of writing and talking—but write to a point. Work hard at it, care about it. Write about our people: tell their story. You have something glorious to draw on begging for attention. Don’t pass it up. You have something glorious to draw on begging for attention. Don’t pass it up. Use it. Good luck to you. The Nation needs your gifts.
Lorraine Hansberry speech, “To Be Young, Gifted, and Black,” given to Readers Digest/United Negro College Fund creative writing contest winners, NYC, May 1, 1964.
If the world is engaged in a dispute between survival and destruction...then we, as members of the human race, must address ourselves to that dispute.
Lorraine Hansberry, “The Negro Writer and His Roots: Toward a New Romanticism,” The Black Scholar 12 (March/April 1981): 3
I believe that one of the most sound ideas in dramatic writing is that in order to create something universal, you must pay very great attention to the specific.
Lorraine Hansberry radio interview with Studs Terkel, broadcast on WFMT Radio, Chicago, Illinois, May 12, 1959, “Make New Sounds: Studs Terkel Interviews Lorraine Hansberry.” American Theater (November 1984): 6
I can’t believe that a government that has at its disposal a Federal Bureau of Investigation which cannot even find the murderers of Negroes, and by that method shows that it cares very little about American citizens who are black—really is off somewhere fighting a war for a bunch of other colored people, several thousand miles away.
Lorraine Hansberry, speech given at the “The Black Revolution and the White Backlash” Forum at Town Hall sponsored by The Association of Artists for Freedom in New York City, June 15, 1964. Panelists included writers Paule Marshall, John O. Killens, Leroi Jones, and Charles Silberman, actors Ossie Davis and Ruby Dee, producer David Susskind, and journalist James Wechsler.
I wanted to be able to come here and speak with you on this occasion because you are young, gifted, and black…I, for one, can think of no more dynamic combination that a person might be. . . And that is why I say to you that, though it be a thrilling and marvelous thing to be merely young and gifted in such times, it is doubly so, doubly dynamic—to be young, gifted, and black.
Lorraine Hansberry speech, “The Nation Needs Your Gifts,” given to Readers Digest/United Negro College Fund creative writing contest winners, NYC, May 1, 1964.
I was born on the Southside of Chicago. I was born black and a female. I was born in a depression after one world war and came into adolescence during another. While I was still in my teens, the first atom bombs were dropped on human beings and by the time I was twenty-three years old my government and that of the Soviet Union had entered actively into the worst conflict of nerves in history—the Cold War.
Lorraine Hansberry, “The Negro Writer and His Roots: Towards a New Romanticism,” speech given at the American Society of African Culture, First Conference of Negro Writers, March 1, 1959. The Black Scholar Vol. 12, No. 2 (March/April 1981), pp. 2–12.
I sit at this desk for hours and hours and sharpen pencils and smoke cigarettes and switch from play to play—Sidney, Touissant, Les Blancs and—nothing happens. I begin to think more and more of doing something else with my life while I am still young. I mean, almost anything—driving an ambulance in Angola or running a ski lodge in upstate New York, instead of this endless struggle. I expect the theatre will kill me.
Lorraine Hansberry, Journal entry, September 16, 1964.
Children see things very well sometimes—and idealists even better.
Asagai to Beneatha, Act III. Lorraine Hansberry, A Raisin in the Sun. With an introduction by Robert Nemiroff. NY: Vintage, 2004.
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