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Since it was first produced on Broadway in 1959 and by Hollywood in 1961, Lorraine’s Hansberry’s A Raisin in the Sun has been widely ranked as a modern classic — though perhaps not a completely understood one. For a full appreciation of this self-consciously-literary work requires not only, in general, a deep appreciation of a large number of subtle allusions in the text, but also, in particular, a deep appreciation of a few seemingly-trivial allusions to two of the most important American movies to come out of the World War II era: Mrs. Miniver (1942) and Gone With the Wind (1939). Once these contextual and intertextual allusions are fully understood, individually and collectively, the full significance of A Raisin in the Sun as a “war film” about the “home front” of America’s “race war” — indeed, as an “African American war film” about the “home front” of America’s “race war” — comes easily into view. Hansberry’s work thus exemplifies the dictum of T.S. Eliot’s “Tradition and the Individual Talent”: that no artist “has his complete meaning alone” but rather can only be fully appreciated when set “for contrast and comparison, among the dead”.