The historical-literary processes of the second half of the 20th century demonstrate the fusion of the civil rights movement with the left-wing literary movement, driven by critical sentiments and a deep desire of social justice. This convergence is exemplified by influential figures such as Lorraine Hansberry, a playwright and publicist who played an important role in the black revolution (Thomas 77-78). Hansberry was a clear opponent of possessive morality, economic oppression, and political oppression, and his works resonated with his contemporaries and millions of readers. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Hansberry's plays and journalism reflect his passionate commitment to restoring human dignity. He detested the pursuit of wealth, seeing it as the root of social evils in a possessive society, where individuals compromise their conscience and become accomplices in the hands of the powerful. His characters are depicted in a struggle against various realities, supporting the fight against social evil despite personal circumstances, personal interests and potential consequences. In his play A Raisin in the Sun (1959), Hansberry presents his characters with a dilemma: whether to accept racist morality or resist its obvious injustice. Compared to his previous works, this work introduces new political content and broadens the range of issues explored, including individuality, politics, racial discrimination, art, business and the destiny of individuals in a bourgeois world. The way he builds his characters is also different in this play. Each character in A Raisin in the Sun is driven by a specific purpose, and their determination defines the integrity of their personality: "I will return home and much of what I have to say will seem strange to the people of my village... But I will teach, I will work, and things will happen, slowly and quickly. Sometimes it will seem like nothing changes…and then again…” (Hansberry 45). Hansberry's contributions to black drama after World War II were exceptional. According to Sheader, she can be considered "the mother of modern black drama no less than Eugene O'Neill is the father of national drama" (36). A Raisin in the Sun, in this sense, served a similar function to Richard Wright's novel Native Son. Both Hansberry's characters and Wright's protagonists reside in Chicago's black neighborhood on the South Side in poor living conditions (Perry 138). Walter Lee Younger, the protagonist of A Raisin in the Sun, shares similarities with Wright's Bigger Thomas, as they both work as drivers for white men and aspire to a better life. However, Hansberry's characters belong to a different generation of African Americans who possess a strong desire for a better life and express their self-worth more courageously. It is worth noting that Hansberry's writing style is distinct from Wright's. While Wright tends to use dark and deliberately dramatic language, Hansberry's style is vibrant and infused with humor, relying on subtle psychological nuances inherent in drama. Unlike Wright, who often sharply contrasts the worlds of blacks and whites, Hansberry depicts not only conflicts between blacks and whites but also the internal struggles of African-American families. It portrays both blacks and whites impartially, without condescending simplifications or idealizations. While Wright's works primarily depict blacks as victims of racism, Hansberry's characters embody all the richness of their human identities (Perry 138-149). One of the main themes of A Raisin in.