• “In that moment I realise how much cities are not just geographical locations but psychic spaces of existential melancholy and desire. That we are always listening to the city inside us: L […]

  • Having read this section of Graceland by Chris Abani, I was drawn to the passage at the beginning of Chapter 15 and chose to do a close reading on the subject matter. The mention of Freedom Square instantly evoked […]

    • I liked your blog ost, you definitely gave a lot of outside information and connected it to “Graceland” very well. I noticed that a lot was directed to the western culture and how Lagos, Nigeria was trying to become a city like the ones in western cultures. One thing that comes to my mind is when Elvis had a conversation on the bus with the random man and he was talking about how chaotic Lagos is and how theres so many humans dying by getting hit by buses and cars. He was also saying how nobody cared to even move the dead bodies off the roads. He was very mad about this and he wished that this can sto. For some reason this came to mind because if this were more organized like how they are in western cultures, for examle, they wouldnt have these sorts of roblems.
      I feel like the movement in Lagos will have a significant imact because i believe by trying something, they can make Lagos city more attractable and a better lace for everyone to be able to live and have a better lifestyle.
      I agree with you in your comarison with the arts of dissent. “Through art and literature, individuals have responded to their historical moment and have paved the path for revolution through both artistic and literary movements.” I believe this is very relevant to what we have discussing and learning throughout this semester and i also think that this is very relevant in many situations throughout the book.

  • Having read “No Rest for the Weary”, by Ben Brantley, a review of the 2014 production of Lorraine Hansberry’s 1959 play, “A Raisin in the Sun”, I have gained insight on the ideas and ideals depicted within th […]

    • This was a good display of how the play’s directions can be interpreted differently among differing versions. I was particularly interested in your retelling of the difference with this version of Walter Lee. It made me want to look up the version of the play this review is on (if I could find it online) and see for myself how this version of Walter is different. It brings up questions such as “How would this character be viewed by an audience?” and “Would this make him a more likeable character (considering I don’t particularly like him throughout the play)?”.
      I also found it good that you were able to take one of our discussions from class and apply it to this review of the play. “Hansberry’s set description leaves it open to the directors interpretation.” And it does. It would have been interesting if, for a class, we could have compared different sets from different versions of the play perhaps. Just to see how it’s interpreted differently and what stays the same.

    • Hi Brittany, I found your blog very interesting and insightful. I also chose a more recent production of the play, though ten years previous to your own and outside of the Broadway sphere. I agree that the more recent productions do hint at somewhat of a softening of Walter’s character. I agree that though there have been adjustments to characters, and seemingly most often Walter specifically, these adjustments don’t necessarily deminish the character but add new layers to the portrayal for modern auidences. I think these more recent productions are really interesting in that they prove what we’ve been saying in class all along, that the ideas, struggles, and themes within the play are still relevent even with the separation of more than 50 years.