A Matter of Pride (p 1119, Question 1)

For the most part, Lorraine Hansberry's A Raisin in the Sun employs realistic conventions. The plot evolves within the normal, realistic context of the Youngers' apartment. The family's financial and social situation, their mannerisms and actions toward each other, their hopes and dreams--all of these are very much realistic and true to African American culture in Hansberry's time. Hansberry wrote this play to reflect upon the status of her people at the time of its writing; in order to serve this reflection proper justice, she entrenched the plot within reality.

Near the middle of the play, however, Hansberry briefly departs from reality through Walter and Beneatha's African ritualistic dance. Thus far in the play, the Younger family has acknowledged their African heritage but has not done much to show interest or pride in it. This lack of African culture vanishes, however, through the fervid (and in Walter's case, drunken) dancing to the Nigerian tribal music. This scene presents the audience with a significant glimpse into the strong pride held by the Youngers for their African heritage. Though they may not openly show their pride in their culture, that pride is still very much present.

Abandoned Child (Epiphany)

In Alice Walker's "Everyday Use," the narrator struggles to understand Wangero's distorted cultural pride throughout the majority of the story. In many ways, it appears that Wangero takes great pride in her culture, changing her name from Dee to Wangero Leewanika Kemanjo because she refuses to be "named after the people who oppress [her]." She claims to understand her "heritage" and claims that her mother and sister do not. Yet it is clear that Wangero chooses to supposedly embrace her culture simply as a way to be different. She has grown up in white-dominated world and has thrived in it, accepting "words, lies, other folks' habits, [and] whole lives." In all senses, she has received the best of what the white world has to offer; yet she claims to be oppressed by that same world. Considering that it was the narrator who paid for her education, it is clear why the narrator is understandably confused at this behavior.

Wangero reveals her hypocrisy later by searching through the narrator's belongings in search of handmade tools and furniture. She seems to adore them for their beauty and homeliness, for the fact that they were handcrafted. Yet she admits that she only seeks to use these tools as art, whether it be "a centerpiece for the alcove table" or "something artistic." She claims to love these "heritage" pieces for their cultural value, yet she completely ignores the significance and function that these pieces actually served. Wangero is not truly proud of her heritage; she acts more as a tourist than as a member of her culture.

The narrator finally confronts Wangero over the handmade quilts which were promised to Maggie. After having to deal with Wangero's condescension toward Maggie for years, the narrator finally has an epiphany. She realizes that it is not actually Wangero who has embraced her heritage, but herself and Maggie who have respected their culture by living it. In refusing to give Wangero the quilts, the narrator makes it clear that Wangero is an outsider to her own culture, while she and Maggie are still members of that culture. In that moment of truth, the narrator detaches herself from her posing daughter.

Identity Crisis

I think M. Carl Holman's "Mr. Z" is a rather powerful reflection of most African-Americans' struggle to maintain an identity that they can take pride in, especially those who lived during the Civil Rights Era. It is clear that the man in the poem--presumably, Mr. Z--is African-American: his mother's skin (color) is described as "the sign of error" (1), and he works hard to become completely "Anglo-Saxonized" (8). Mr. Z appears to have been an extremely successful man in life, with "not one false note...struck" (23). Yet along the way, Mr. Z lost an extremely important part of him: his cultural identity. He "disclaimed kinship with jazz and spirituals" (4), two types of music distinctly identified with African-American culture. He "firmly seized/ Whatever ground was Anglo-Saxonized" (7-8), deliberately rejecting any opinion that could be indicative of African-Americans. He even refuses to acknowledge the African-American struggle for equality, instead "choosing the the right addresses...[and] shunn[ing] those places where [he] might be barred" (17-18). Even mingling with those of his race seems to be too much of a social risk for Mr. Z.

In the end, however, the speaker leaves the audience with an ironic closing comment. After Mr. Z dies, his widow is perceived as savagely wrathful toward those who wrote his obituary (as line 24 indicates, she "could have flayed" them). Why? It is because they described Mr. Z as "'One of the most distinguished members of his race'" (26). Now, there are two possible interpretations of the widow's reaction and of its implications that I see. It is possible that the irony lies in the fact that Mr. Z is attributed to the African-American race, when in all actuality, he did everything in his power to avoid connection to that race. More likely, though, the widow's angry reaction simply emphasizes the intent of the last line of the poem. This intent is to state that no matter how hard one attempts to hide an aspect of one's identity, that aspect does not fade. Mr. Z attempted all of his life to avoid being labeled African-American, yet in the end, he is immediately classified as of that race. I think his widow's angry reaction simply stresses the foolishness of such endeavors. Most people would consider being named one of the most distinguished people of one's race as an unimaginably incredible honor. Yet Mr. Z's widow only sees the qualifier "of his race" (26) instead of seeing the honor. Like so many of us, instead of focusing on his talents and embracing his identity, Mr. Z attempted to hide a significant part of him. Yet as is always the case, he could not hide who he was. He simply either could have accepted his identity, embrace it, and use it as a tool to bring about both personal and social success, or he could have futilely tried to kick it under the rug. Obviously, Mr. Z foolishly chose the latter.

Yet could you choose the former and truly and wholeheartedly accept who you are?

I doubt it.

Peaceful Thoughts (Local Color)

“The drinker waggled his little finger at him and smiled at us with his eyes. Then he bit the stream off sharp, made a quick lift with the wine-bag and lowered it down to the owner. He winked at us. The owner shook the wine-skin sadly….We were going through farming country with rocky hills that sloped down into the fields. The grain-fields went up the hillsides…The road was white and dusty, and the dust rose under the wheels and hung in the air behind us…We turned sharply out to the side of the road to give room to pass to a long string of six mules, following one after the other, hauling a high-hooded wagon loaded with freight. The wagon and the mules were covered with dust…This was loaded with lumber, and the arriero driving the mules leaned back and put on the thick wooden brakes as we passed. Up here the country was quite barren and the hills were rocky and hard-baked clay furrowed by the rain.”

-The Sun Also Rises, p 111

I have decided to temporarily refrain from discussing the pointlessness of Hemingway’s writing in order to discuss the one useful aspect of his writing—namely, that it contains the literary devices I need to discuss for the assignment. This passage contains a bit of the local color that has been evident throughout the novel. The biography on the back of the book mentions that Hemingway lived in France, and his knowledge of European culture and land is evident. At the beginning of the novel, Hemingway described Parisian night life. Now he contrasts that life with the slow, easygoing, friendly lifestyle of the Basque people along the Pyrenees Mountains. His vivid descriptions and attention to detail help emphasize the simplicity and beauty of the land. He thoroughly describes the innocent, trusting playfulness of the Basque people, which greatly contrasts the pessimistic, untrusting attitudes of the expatriates while in Paris. I think perhaps Hemingway is describing the life he would like to live: a life of simplicity, free from excessive stress and worry. Hemingway is describing everything his life was not.