Hansberry, and everything they’ve ever worked for is
Hansberry, Baldwin, and Hughes all argue that it is nearly impossible to find one own’s freedom when following societal norms, leading to human suffrage. Mr. Lindner and his neighbors see the Youngers’ presence in the Clybourne Park neighborhood as a threat to their way of life. Mr. Linder offers the Youngers’ extra money in exchange for them not moving in the Clybourne Park neighborhood. He says, “‘Well – I don’t understand why you people are reacting this way … moving into a neighborhood where you just aren’t wanted … when they feel that their whole way of life and everything they’ve ever worked for is threatened'” (Hansberry, 119). His bribe to persuade the Younger family not to move into the all-white neighbourhood does threaten to pull the family apart by challenging their value base. Here we see the direct racial discrimination the Youngers’ face. The entire premise of moving is based on the idea that their lives can be made better with a move out of where they live. The aspirations for something better is challenged by Lindner’s racism, and the hopes of the Younger family in a better tomorrow is directly opposed by racism. Racial discrimination and the hurdles that come along with it represent the challenge to the family’s ability to dream. The way Linder is portrayed and what the Youngers have to endure, Hansberry here makes it possible to construct a greater meaning on what it means to dream. Since racial discrimination threatens it, the ability to dream is something praised and louded precisely. People’s dreams could not be fully recognized due to the racial discrimination in the 1950s into the 1960s, which is why racial discrimination gives greater meaning in the play. In illuminating this with the Younger family, Hansberry is able to construct a narrative in which the power to dream is something that might be threatened by racial discrimination, but. through the will of the Younger family, is not denied because of it. In James Baldwin’s, “Sonny’s Blues”, Sonny cannot passively accept the suffering and pain that have been imposed on him by the outside world. He attempts to assert control over his suffering by manufacturing a reason for his suffering. He says, “‘No there’s no way not to suffer. But you try all kinds of ways to keep from drowning in it, to keep on top of it, and to make it seem—well, like … ‘why do people suffer? Maybe it’s better to do something to give it a reason, any reason” (Baldwin, 1950). To Sonny, music sets him apart from the rest of society and its constraints. His soul is often tortured from society’s limitations and discrimination, and his only relief comes from facing the pain in the music that he plays. He finds his piece in mind from the music he plays, which goes against his brothers views, which Baldwin uses to depict society’s views. Sonny’s music exposes the truth of suffering to different people for different reasons, but the suffering is still there. The suffrage which comes from people who continue to follow society and succumb to their limitations. Hughes similarly shares the same ideas as Hansberry and Baldwin. In “Harlem,” the speaker asks the condition of dreams when not pursued, “What happens to a dream deferred? Does it dry up like a raisin in the sun” (Hughes, 1-3). Hughes begins his poem with a question, inviting all readers into the conversation. A raisin, already a dry form of a grape, may be an appealing taste to some. However, a raisin itself dried up further would be an unnattractive image, which Hughes uses to set an unpleasant tone and mental image. Hughes uses simile to give descriptions of the psychological consequences of not following your dreams. Unfulfilled dreams will eventually cause one to give up or let their dreams go.