In A Raisin in the Sun by Lorraine Hansberry and Everyday Use by Alice Walker, themes of non-assimilation are very prevalent. Assimilation, in the case of these two stories is where African Americans adapt to white American culture, rather than reverting to traditional African customs. In A Raisin in the Sun, Beneatha Younger is a young African American woman who has a busy love and family life. Dee, or Wangero from Everyday Use, arrives at her childhood home as a completely transformed woman from when she left. Both women have similar characteristics which cause them to be influenced into accepting non assimilationist ideals and traditional African culture. Wangero and Beneatha have alike qualities, and are persuaded by different societal
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For example, both Beneatha and Wangero’s involvement in non assimilation seem to escalate after meeting an African man. As a child, Wangero had “wanted nice things” (Walker 239), so her sister and mother are astonished when Wangero arrives home in a “dress long and flow[ing]” with “[gold] earrings… hanging down to her shoulders” (Walker 240). Wangero is accompanied by Hakim-a-barber, a man with “hair… a foot long and hanging from his chin like a kinky mule tail” (Walker 240). The couple’s traditional style appears different than Wangero’s formerly desired outfit of choice which included “black pumps” (Walker 239). As a girl, Wangero was ashamed of her home, her mother expressing that “when [she] see it she will want to tear it down.” (Walker 239). However, when Wangero approaches the home she cannot get enough of it. Wangero continues to snap pictures of the home, and revelled over the heirlooms inside. As a result of her involvement with Hakim-a-barber, Wangero’s style as well as her attitude toward her upbringing have changed. Correspondingly, during her time at school, Beneatha encounters and African man named Joseph Asagai. In A Raisin in the Sun, Asagai is not introduced in the story until Act 1, Scene II. Up until his introduction, Beneatha has mentioned nothing about non assimilationist ideals. However, when Asagai brings …show more content…
Wangero and Beneatha have similar qualities, which may have aided their acceptance of African culture. The character’s similarities in their education, family trauma and their relationships with the men in their lives resulted in the women’s transition into non assimilationist
For example, both Beneatha and Wangero’s involvement in non assimilation seem to escalate after meeting an African man. As a child, Wangero had “wanted nice things” (Walker 239), so her sister and mother are astonished when Wangero arrives home in a “dress long and flow[ing]” with “[gold] earrings… hanging down to her shoulders” (Walker 240). Wangero is accompanied by Hakim-a-barber, a man with “hair… a foot long and hanging from his chin like a kinky mule tail” (Walker 240). The couple’s traditional style appears different than Wangero’s formerly desired outfit of choice which included “black pumps” (Walker 239). As a girl, Wangero was ashamed of her home, her mother expressing that “when [she] see it she will want to tear it down.” (Walker 239). However, when Wangero approaches the home she cannot get enough of it. Wangero continues to snap pictures of the home, and revelled over the heirlooms inside. As a result of her involvement with Hakim-a-barber, Wangero’s style as well as her attitude toward her upbringing have changed. Correspondingly, during her time at school, Beneatha encounters and African man named Joseph Asagai. In A Raisin in the Sun, Asagai is not introduced in the story until Act 1, Scene II. Up until his introduction, Beneatha has mentioned nothing about non assimilationist ideals. However, when Asagai brings …show more content…
Wangero and Beneatha have similar qualities, which may have aided their acceptance of African culture. The character’s similarities in their education, family trauma and their relationships with the men in their lives resulted in the women’s transition into non assimilationist