Richard Wright’s “Down by the Riverside” and Lorraine Hansberry’s A Raisin in the Sun are both works of African American protest literature, but they differ in the ideologies and tone in which the authors' message is presented. Wright’s story, portrayed through a socialist-driven naturalism, portrays racism and poverty as systemic forces that destroy an African American’s independence and self-direction. On the other hand, Hansberry’s play embodies liberal-influenced realism, showing the audience the possibility of progress in the American democratic system through dialogue. Although one piece of work uses naturalism and the other realism, they both take on and confront the racism present in day-to-day life, as well as segregation in A Raisin in the Sun. Wright’s story takes place in a fatalistic world, and Hansberry’s in a hopeful one. These differences directly reflect the changes in black political thinking from the Great Depression to the civil rights era.
In “Down by the Riverside,” the protagonist, Mann, is a flooded Mississippi that directly mirrors the harsh and suffocating social conditions of Jim Crow America. Mann is trying desperately to save his family, but all his actions are simply futile in the oppressive and racist system that denies him at every turn. Wright uses a socialist naturalism to depict racism as unavoidable because it stems from hierarchies–economic and social. This is reflected in the bleak tone of the story displayed when Mann goes to the hospital with his pregnant wife, but is denied and called racial slurs. While reading this poem, I interpreted the flood as a symbolic force that echoes and mirrors the theme that black people are trapped in this ongoing cycle of below-human conditions shaped by exploitation. Wright's overall goal was to get the reader to come face-to-face and confront the grotesque reality of racial suffering without illusion.
Alternatively, Hansberry’s A Raisin in the Sun dramatizes his protest of racial oppression. She sets her story in a cramped Chicago apartment, focusing on how systemic racism limits black families from dreaming for the stars. This is exemplified when Beneatha Younger wanted to become a doctor, but ultimately was not able to because she did not have the funds. Hansberry’s liberal realism humanizes her characters and black people’s experiences. Mann is trapped in his belief that there is no escaping racism; however, Hansberry’s protagonist, Walter Younger, is doubtful yet hopeful about his circumstances. Although Walter does not achieve the material success he was hoping for, he was able to be content with his actions at the end of the story. Hansberry wanted her audience to acknowledge black humanity. Later, it contributed to the civil rights movement's framing of equality as a fulfillment of democratic ideals.
The most noteworthy difference between Wright’s and Hansberry’s stories rests in their relationship to hope and moral agency. While Wright tries to deny it, Hansberry tries to exemplify it. The socialist framework of Wright’s work demands revolution; in contrast, Hansberry is looking for reform through her liberal humanist style of writing. In addition, Hansberry shows how moral integrity and boldness can translate to renewal–personal and collective. However, Wright is more blunt in exposing the reality of the inhuman racism faced by African Americans, making it hard to ignore. Overall, both of these works of literature serve to demonstrate the broader struggle for racial equality. Together, they show the evolution of the black rights movement in America.
