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The problems which might have destroyed the Youngers have unified them, made them stronger as individuals and as a family because they have gained self-knowledge and learned to love one another more.
The dream of owning your own business and having all the money you will ever need is a goal held by many in society, then and now.
Walter Lee Younger becomes obsessed with his dream of a business venture that will give him financial and social independence, after getting and losing the money that will help this dream become reality he realizes that pride and dignity are more important for him and his family.
When each family member dreams of his or her plans for the money, the family transforms from one solid unit into a pack of people fighting against each other in the hopes that their dreams will come true.
Generational conflicts are apparent through the characters of Mama, Walter Lee, and Travis, all members of the same family, but very different in their own right.
Mama after realizing that Walter needs to feel like the man of the house, gives him the balance of the money.
The dream of having the money gets bigger and bigger as he talks to his son Travis.
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Beneatha, his younger sister, wants to go to medical school. In this generally complimentary biography, Cheney cites both Paul Robeson (as political radical) and Langston Hughes (as poet of his people) as major influences on Hansberry. She also makes the point that Hansberry understood and tried to dramatize the difference between Lena’s notion of material advance for the family and Walter Lee’s crass materialism. Hansberry’s husband and executor of her estate has put together bits and pieces of her work—published and unpublished—letters, autobiographical statements, and speeches—which give a clear picture of this extraordinary woman. Part of a series subtitled “They Found a Way,” this biography written for young readers stresses events in the playwright’s life which show her determination to succeed.
Lena, their mother, wants to buy a decent house in an all-white neighborhood. She also defends Hansberry’s assimilationist views, which some African Americans criticized harshly. Furthermore, she asserts that the playwright had come to terms with her lesbianism, but she gives no concrete evidence for this assumption. and the fact that Hansberry was the youngest dramatist to win the Best Play award, Cruse is vehement in his criticism of the dramatist simply because she represents assimilation and integration as a solution for racial difficulties. As a work for the stage, it had a long run at the Cherry Lane, off-Broadway in 19, and it has been done in a number of university and regional theatres since that time. Focuses on the universality of themes in Hansberry’s plays.