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“Harlem” captures the tension between the need for black expression and the impossibility of that expression because of American society’s oppression of its black population. In the poem, Hughes asks whether a “dream deferred”—a dream put on hold—withers up “[l]ike a raisin in the sun.” His lines confront the racist and dehumanizing attitude prevalent in American society before the civil rights movement of the 1960s that black desires and ambitions were, at best, unimportant and should be ignored, and at worst, should be forcibly resisted. His closing rhetorical question—“ Or does [a dream deferred] explode? ”—is incendiary, a bold statement that the suppression of black dreams might result in an eruption. It implicitly places the blame for this possible eruption on the oppressive society that forces the dream to be deferred. Hansberry’s reference to Hughes’s poem in her play’s title highlights the importance of dreams in A Raisin in the Sun and the struggle that her characters face to realize their individual dreams, a struggle inextricably tied to the more fundamental black dream of equality in America.
The family is entirely dependent on the money: they already have made plans to move, and are in the midst of packing up their things. Devastated, Walter seriously considers taking an offer from Mr. Lindner, a representative from the white neighborhood, that would pay the Youngers extra not to move into their neighborhood. The option is immoral in the family's eyes, and prioritizes money over human dignity. Walter is determined to make the deal despite his scruples, but at the last moment Walter is unable to make the transaction under the innocent gaze of his son, Travis. In the end, the family decides to move. Even though the road ahead will be difficult, they know that they have made an honorable choice.