Symbolism and Imagery in Hurston, Brooks, and Hansberry

The usage of natural imagery is a significant literary device employed by Zora Neale Hurston, Gwendolyn Brooks, and Lorraine Hansberry to explore experiences within their narratives.

Hurston and Hansberry, in particular, utilize symbolism as a form of figurative language to illustrate how plants can play a pivotal role in the realization of dreams. On the other hand, Brooks contrasts natural imagery with urban imagery in her work, "Kitchenette Building," providing a unique perspective on the intersection of nature and urban life.

Symbolism in Hansberry's "A Raisin in the Sun"

In Lorraine Hansberry's play, "A Raisin in the Sun," natural imagery is transformed into the household motif of Mama’s plant, which symbolizes perseverance, strength, and determination to overcome racial oppression and poverty. The plant embodies Mama’s dream of one day owning her own home with a garden, a vision she has nurtured for years. This fragile plant serves as a metaphor for hope and is a testament to the family's resilience and aspirations for growth, both emotional and financial.

The first appearance of Mama’s plant in Act 1, Scene 1, coincides with her children's debate over what to do with the insurance money. The play describes Mama's actions as she tends to the feeble plant on the windowsill, emphasizing the family's financial struggles and living conditions. This imagery serves as a microcosm of the challenges faced by the Younger family, a reflection of the broader societal issues of racial segregation and economic hardship prevalent in 1950s Chicago.

Hansberry uses vivid imagery to highlight the cramped living conditions in the Youngers' apartment, illustrating the weariness that permeates their lives. Each character's dreams are explored against the backdrop of these challenges, from Beneatha's aspirations to become a doctor in a male-dominated field to Walter Lee's desire to open a liquor store, despite its potential negative impact on the community. Ruth, like Mama, dreams of a better life, symbolized by the plant's enduring presence.

Urban Imagery in Brooks' "Kitchenette Building"

Chicago-native Gwendolyn Brooks reflects on her personal struggles within the impoverished neighborhoods of Chicago in the 1950s through "Kitchenette Building." Rather than employing natural imagery, Brooks uses urban imagery to tackle social issues, painting a vivid picture of life in the cramped, subdivided apartments known as "kitchenettes." These living conditions are emblematic of the systemic inequalities faced by black Americans, a theme that resonates throughout Brooks' work.

In the opening stanza, Brooks uses the pronoun "We" to emphasize the collective experience of black Americans living in these conditions. The term "Grayed in, and gray" suggests a lack of vitality and hope, with dreams reduced to mere illusions. The poem's metonymic use of "kitchenette building" conveys the dehumanizing nature of these spaces, where individuals are forced together by societal constraints, much like the characters in Hansberry's play.

Brooks' descriptive imagery evokes the sensory realities of urban poverty, where dreams are intertwined with "onion fumes," "fried potatoes," and "yesterday’s garbage ripening." These vivid descriptions mirror the lived experiences of many who reside in government public housing, better known as "the projects." Urban poverty, as Brooks suggests, interferes with the pursuit of dreams, as individuals are preoccupied with basic survival needs, leaving little room for aspirations.

Natural Imagery in Hurston's "Their Eyes Were Watching God"

In "Their Eyes Were Watching God," Zora Neale Hurston employs natural imagery to explore Janie's journey of self-discovery and the pursuit of love. The pear tree, hurricane, horizon, and bee serve as symbols throughout the novel, offering insight into Janie's innermost desires and motivations. The pear tree, in particular, represents Janie's quest for true love, self-awakening, and sexual liberation.

Janie's initial encounter with the pear tree at the age of 16 sets the stage for her idealized vision of love and marriage, inspired by the harmonious relationship between the bee and the blossom. This ideal becomes a benchmark for Janie's relationships, influencing her decisions and shaping her expectations. However, as the narrative unfolds, Janie learns that the fantasy of the pear tree is not achievable, leading her to a deeper understanding of self-love and freedom.

Throughout her marriages to Logan Killicks and Jody Starks, Janie grapples with the disparity between her dreams and reality. It is not until her relationship with Tea Cake that Janie experiences a semblance of the pear tree fantasy, allowing her to fully embrace her desires and find fulfillment. Hurston's use of natural imagery underscores Janie's transformative journey, illustrating the complexities of love, identity, and personal growth.

Conclusion

Through their use of natural and urban imagery, Hurston, Brooks, and Hansberry offer nuanced portrayals of the struggles and aspirations of black Americans. These literary devices serve as powerful symbols of hope, resilience, and the pursuit of dreams. While Hansberry and Hurston focus on natural imagery to convey themes of growth and self-discovery, Brooks employs urban imagery to highlight the stark realities of poverty and its impact on the human spirit. Together, these works provide a rich tapestry of experiences, inviting readers to reflect on the enduring challenges and triumphs of the human condition.

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