Do I remain a revolutionary? Intellectually — without a doubt. But am I prepared to give my body to the struggle or even my comforts? This is what I puzzle about.
I believe that one of the most sound ideas in dramatic writing is that in order to create the universal, you must pay very great attention to the specific. Universality, I think, emerges from truthful identity of what is.
Beneatha: You didn’t tell us what Alaiyo means… for all I know, you might be calling me Little Idiot or something… … Asagai: It means… it means One for Whom Bread–Food–Is Not Enough.
Though it be a thrilling and marvellous thing to be merely young and gifted in such times, it is doubly so – doubly dynamic – to be young, gifted and black.
I happen to believe that most people – and this is where I differ from many of my contemporaries, or at least as they express themselves – I think that virtually every human being is dramatically interesting. Not only is he dramatically interesting, he is a creature of stature whoever he is.
Sometimes, I can see the future stretched out in front of me – just as plain as day. The future hanging over there at the edge of my days. Just waiting for me.
A woman who is willing to be herself and pursue her own potential runs not so much the risk of loneliness, as the challenge of exposure to more interesting men – and people in general.
Big Walter used to say, he’d get right wet in the eyes sometimes, lean his head back with the water standing in his eyes and say, ‘Seem like God didn’t see fit to give the black man nothing but dreams – but He did give us children to make them dreams seem worth while.’
