A Raisin in the Sun!

I'd like to start off by saying that I actually really enjoyed A Raisin in the Sun. I didn't expect to enjoy it at all because, to be entirely honest, I usually hate the things we read for class. I felt like I could relate to this work, though, especially to Beneatha's character. Beneatha is indecisive in all aspects of her life. On page 47, Mama asks "Why you got to flit from one thing to another, baby?" This occurs in the middle of the argument between Beneatha and Mama and Ruth which brings out Beneatha's true indecisive side. The audience learns that she has quit almost everything she has ever tried, and she still continues to try new things. That made me feel like I could relate to Beneatha best. I still have no concrete plans for the future, and neither does she. And like her, I think I want to be a doctor. Both of us are by no means sure, and it was cool for me to see that there are people even older than I am who are unsure about the future. It was reassuring in a way.

A Raisin in the Sun! (1119 #7)

On page 22, Lorraine Hansberry directly relates the amount of time covered in the play to the reader. Since this occurs before Act I, the audience would not be informed of this, but Hansberry lists the time covered for readers: "Act I, Scene One: Friday Morning. Scene Two: The following morning. Act II, Scene One: Later, the same day. Scene Two: Friday night, a few weeks later. Scene Three: Moving day, one week later. Act III: An hour later." Even with this information, it was difficult for me to tell how much time had really passed between acts and scenes.

Over the course of the play, all action takes place on the stage in front of the audience. The play lacks a narrator who steps onto the stage to explain events. Everything happens right there in front of the audience.

The play feels fairly loose in its construction. Unlike Othello, events are realistic in A Raisin in the Sun. The events which take place could take place in everyday life and often do take place in many people's lives. Nothing had to fall perfectly into place for the play to end the way it did. The loose feeling this creates makes the play easier to relate to. Nothing ever falls perfectly into place for everyone, and people will always have struggles. The fact that the Younger family has to endure struggles proves that they are a normal family affected by normal circumstances like anyone else would be. Honestly, it makes them more likable.

A Raisin in the Sun! (1119 #5)

In A Raisin in the Sun, a strong theme of oppression is obviously present. This is apparent especially when Mr. Lindner comes to the house to tell the Youngers that "for the happiness of all concerned, that our Negro families are happier when they live in their own communities" (118). Lindner makes an attempt to be respectful of the Youngers, although it could also be argued that he seems to fear them, and he fails. I have trouble believing that Ruth, Beneatha and Walter ever had a moment of completely belief in Lindner's words because they were so out of the ordinary.

Another prominent theme in the play is the difficulty in life that many families, black or white, struggle with daily. This theme is timeless. All societies in all time periods have at least some families who are not well-off. For the Youngers, this is highlighted by Ruth's pregnancy and the scam in which Walter invested their money. It seems that the Younger family just can't catch a break. They represent that family or group in every society that struggles with everything life throws at them.

The power of these themes definitely increases the theatrical experience. Having multiple themes which converge on one family creates suspense and interest for the audience. Both themes also present lessons for the audience, but they're not overpowering or boring.

Amanda

I can't decide if Amanda is legitimately crazy/losing her mind or if she's just a paranoid, somewhat psycho mom. The way she treats Tom when he's eating is ridiculous. I mean, my mom tells my brothers to eat politely all the time, but she doesn't yell at them because she thinks they're not enjoying their food. The worst is in scene 5 when she tells him that he's "going to listen" and that she's "at the end of [her] patience" with him. He has to be close to 20 years old, and there's no reason for the mother of a 20-year-old to give him instructions like that. Amanda clearly has issues with how similar Tom is to his father, but she's losing her mind because of it. If she can brag so easily about how many guys wanted to date her when she was young, can her husband leaving really have hurt her that badly? I'm not a big fan regardless of her circumstances.

The Glass Menagerie--1119 #8

The primary means of dramatic exposition in The Glass Menagerie is through dialogue, but Tom's narration clarifies that drama. Tom's asides serve as an explanation or preparation for the audience so that they are not confused by the new information in the scene. A clear example of this is at the beginning of scene 6 when Tom explains that he "had known Jim slightly since high school (1261)." The audience gains a better understanding of why Tom would invite Jim over for dinner from this explanation. Most guys wouldn't invite some random guy from work home, so it helps to know that Tom had known Jim for a while. This clarifies a past event, but narrations like Tom's at the beginning of the play explain events that have not yet happen. They prepare the audience for the upcoming scene.

The Glass Menagerie--1119 #1

Tennessee Williams uses both realistic and nonrealistic conventions in The Glass Menagerie. The structure of the Wingfield family is a realistic trait of the play. I don't know a single mother who hasn't corrected her child for eating impolitely. It's not uncommon, so Amanda's "And chew--chew!" comment on page 1237 is not out of place. But certain aspects of the play, such as Tom's frequent asides, are completely unrealistic. I understand that the soliloquies are necessary to the audience's understanding of the events taking place, but no one actually believes that turning around prevents anyone from hearing anything. Most of the play, however, seems quite realistic. Laura's reaction to her mother's comments about her having a defect are understandable. I'd be upset too. But I also understand why Amanda doesn't like the word "crippled." Who wants to accept that fact that their child has a disability, even if it is somewhat slight? The play is a literalistic imitation of reality. Many of the things that happen in the play can and do take place in families everywhere. There really are no breaks from the normal behavior of each of the characters in the play. They all act pretty much the same way the entire time.