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In Her Own Words
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.
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.
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.
We’ve been trying very hard. . .in America to pretend that this greatest conflict didn’t even have at its base the only thing it had at its base. . . Person after person will write a book today and insist that slavery was not the issue.
Lorraine Hansberry. “…Integration into a Burning House.” From a radio symposium on “The Negro Writer in America” on January 1, 1961; two excerpts from a Civil War Centennial program that included James Baldwin, Langston Hughes, Nat Hentoff, Alfred Kazin, and Emile Capouya. 4:49. Lorraine Hansberry Speaks Out: Art and the Black Revolution. Harper Audio/Caedmon: Abridged edition (April 2009).
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
…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.
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