Lorraine Hansberry stands as a pivotal figure in American literature and theater, renowned for her profound exploration of racial identity, social justice, and the complexities of the human condition. Born on May 19, 1930, in Chicago, her career, though tragically cut short, left an indelible mark on the cultural landscape. But what was Lorraine Hansberry’s career that made her such an important voice? This article delves into her impactful journey as a writer and playwright, highlighting her significant contributions and lasting legacy.
Hansberry’s early life in Chicago’s South Side, as the youngest of four children to Nannie Perry Hansberry and Carl Augustus Hansberry, profoundly shaped her perspectives. Her father, a successful real estate businessman and founder of one of Chicago’s first Black-owned banks, and her uncle, William Leo Hansberry, a scholar of African studies at Howard University, provided a stimulating intellectual environment. Their home became a meeting place for prominent African American leaders like W.E.B. DuBois, Langston Hughes, Paul Robeson, Duke Ellington, and Jesse Owens, exposing young Lorraine to crucial dialogues on social and political issues.
Despite their middle-class status, the Hansberry family experienced the harsh realities of segregation. An incident when Lorraine was eight years old, where her family challenged restrictive housing covenants by moving into a white neighborhood, became a landmark legal battle. Though initially forced out by the Illinois Supreme Court, the U.S. Supreme Court eventually reversed the decision on a technicality, opening up housing opportunities in Chicago’s South Side. This early experience with racial injustice deeply influenced Hansberry’s understanding of societal inequalities and fueled her commitment to social change, themes that would permeate her writing.
After graduating from Englewood High School in Chicago, where her interest in theater began, Hansberry attended the University of Wisconsin but did not complete her degree. She pursued painting studies in Chicago and Mexico before moving to New York City in 1950 to embark on her writing career. Her foray into professional writing started with Paul Robeson’s Freedom newspaper, a progressive publication. This role placed her amongst influential literary and political figures like W.E.B. DuBois and Freedom editor Louis Burnham, further solidifying her political and artistic viewpoints. It was during a protest against racial discrimination at New York University that she met Robert Nemiroff, a Jewish writer who shared her political convictions. They married in 1953, marking a significant personal and professional partnership.
In a pivotal turn that enabled Hansberry to dedicate herself fully to writing, her husband, Robert Nemiroff, co-wrote the hit song “Cindy, Oh Cindy” in 1956. The financial success of this song provided her the freedom to concentrate on her creative endeavors. She began working on a play initially titled The Crystal Stair, inspired by Langston Hughes’ poem “Mother to Son,” which later evolved into her most celebrated work, A Raisin in the Sun, taking its title from Hughes’ poem “Harlem: A Dream Deferred.”
A Raisin in the Sun premiered on Broadway in 1959 and was a monumental achievement. It was the first play written by an African American woman to be produced on Broadway, earning critical acclaim and widespread recognition. The play, drawing deeply from Hansberry’s observations of working-class Black families in Chicago’s South Side, resonated powerfully with audiences. Her characters were richly drawn, reflecting the aspirations, struggles, and dreams of a community grappling with racial and economic barriers. Hansberry openly acknowledged that her family members served as inspiration for the characters, noting similarities between her mother and Mama Younger, and her father and Big Walter. She humorously identified with the character Beneatha Younger, stating, “Beneatha is me, eight years ago,” highlighting the autobiographical elements woven into her work.
Following the success of A Raisin in the Sun, Hansberry continued to explore complex social themes in her subsequent works. Her second play, The Sign in Sidney Brustein’s Window, which centered on a Jewish intellectual in Greenwich Village, opened on Broadway in 1964. Despite receiving mixed reviews, the play ran for 101 performances, bolstered by the support of her friends and admirers. Tragically, The Sign in Sidney Brustein’s Window closed on January 12, 1965, the very day Lorraine Hansberry passed away from cancer at the young age of 34.
Even after their divorce, Robert Nemiroff remained a devoted champion of Hansberry’s literary legacy. As her literary executor, he diligently edited and published her unfinished plays, including Les Blancs, The Drinking Gourd, and What Use Are Flowers? He also compiled her unpublished writings, speeches, and journal entries into the powerful autobiographical montage To Be Young, Gifted and Black. The title itself is derived from a speech Hansberry delivered in 1964, celebrating the potential and dynamism of being “young, gifted and black.”
Lorraine Hansberry’s career, though brief, was extraordinarily impactful. She broke barriers, challenged societal norms, and gave voice to the African American experience with depth, nuance, and unwavering honesty. Her plays continue to be studied and performed worldwide, ensuring that her contributions to literature and social dialogue remain vital and relevant for generations to come. Her legacy is not just in the groundbreaking nature of her Broadway success, but in the enduring power of her words to provoke thought, inspire empathy, and advocate for a more just and equitable world.
Sources
- McKissack, Patricia C. and Fredrick L. Young, Black and Determined: A Biography of Lorraine Hansberry. Holiday House, 1998.
- Wilkerson, Margaret B. “Lorraine Hansberry.” African American Writers 2. 2001.
Content last updated: May 4, 2021
