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In Her Own Words

And as of today, if I am asked abroad if I am a free citizen of the United States of America, I must only say what is true:  No. 

Lorraine Hansberry. “The Negro Writer and His Roots: Towards a New Position.” Originally printed as “A Destiny is in the Stars” in Crisis, 1969 and reprinted in The Black Scholar, Vol. 12 No. 2. (March/April 1981): 2–12. 

…All art is ultimately social; that which agitates and that which prepares the mind for slumber. The writer is deceived who thinks that he has some other choice.  The question is not whether one will make a social statement in one’s work—but only what the statement will say, for if it says anything at all, it will be social.

Lorraine Hansberry, “The Negro Writer and His Roots: Toward a New Romanticism” The Black Scholar, Volume 12, Number 1, March/April 1981, p.5. Originally presented to The American Society of African Culture on March 1, 1959.

Don’t get up. Just sit a while and think. Never be afraid to sit a while and think.

Asagai to Beneatha, Act III. Lorraine Hansberry, A Raisin in the Sun. With an introduction by Robert Nemiroff. NY: Vintage, 2004.

I think that imagination has no bounds in realism—you can do anything which is permissible in terms of the truths of the characters. That’s all you have to care about.

Lorraine Hansberry. “Interview with Lorraine Hansberry by Studs Terkel.” Radio interview with Studs Terkel, broadcast on WFMT Radio, Chicago, Illinois, May 12, 1959. Transcript reprinted in “Make New Sounds: Studs Terkel Interviews Lorraine Hansberry.” American Theater (November 1984): 6. 

It isn’t a circle—it is simply a long line—as in geometry, you know, one that reaches into infinity. And because we cannot see the end—we also cannot see how it changes. And it is very odd that those who see the changes—who dream, who will not give up—are called idealists…and those who see only the circle we call them the “realists”!

Asagai to Beneatha, Act III. In Lorraine Hansberry, A Raisin in the Sun. With an introduction by Robert Nemiroff. NY: Vintage, 2004.

It is in the nature of men to take life for granted; only the absence of life will seem to you the miracle, the greatest miracle—and by the time you understand that it should be the other way around—well, it will be too late, it won’t matter then.

Lorraine Hansberry. From What Use are Flowers? in Les Blancs: The Collected Last Plays. Includes The Drinking Gourd and What Use are Flowers? Edited, with critical background by Robert Nemiroff, with a Foreword by Jewell Handy Gresham Nemiroff and an Introduction by Margaret B. Wilkerson, 254. New York: Vintage Books, 1994. 

Do I remain a revolutionary? Intellectually—without a doubt. But am I prepared to give my body to the struggle or even my comforts? This is what I puzzle about.

Lorraine Hansberry. In To Be Young Gifted and Black: Lorraine Hansberry in Her Own Words. Adapted by Robert Nemiroff with an introduction by James Baldwin, p.83. NJ: Prentice-Hall, 1969

I am a writer. I am going to write.

Lorraine Hansberry writing to Robert Nemiroff, December 26, 1952. In To Be Young Gifted and Black: Lorraine Hansberry in Her Own Words. Adapted by Robert Nemiroff with an introduction by James Baldwin, p.87. NJ: Prentice-Hall, 1969.

I am ashamed of being alone. Or is it my loneliness that I am ashamed of? I have closed the shutters so that no one can see. Me. Alone.

Lorraine Hansberry, Easter, 1962. Lorraine Hansberry, To Be Young Gifted and Black: Lorraine Hansberry in Her Own Words. Adapted by Robert Nemiroff with an introduction by James Baldwin. NJ: Prentice-Hall, 1969.

If anything should happen—before ‘tis done—may I trust that all commas and periods will be placed and someone will complete my thoughts—This last should be the least difficult—since there are so many who think as I do—

Lorraine Hansberry, undated. In To Be Young Gifted and Black: Lorraine Hansberry in Her Own Words. Adapted by Robert Nemiroff with an introduction by James Baldwin, p. 261. NJ: Prentice-Hall, 1969.