conversations.from: human
conversations.value: Give me the first three paragraphs for a story with the title 'A Raisin in the Sun'.
conversations.from: assistant
conversations.value: A Raisin in the Sun
  Produced in 1959, the play presaged the revolution in black and women's consciousness—and the revolutionary ferment in Africa—that exploded in the years following the playwright's death in 1965 to ineradicably alter the social fabric and consciousness of the nation and the world. As so many have commented lately, it did so in a manner and to an extent that few could have foreseen, for not only the restored material, but much else that passed unnoticed in the play at the time, speaks to issues that are now inescapable: value systems of the black family; concepts of African American beauty and identity; class and generational conflicts; the relationships of husbands and wives, black men and women; the outspoken (if then yet unnamed) feminism of the daughter; and, in the penultimate scene between Beneatha and Asagai, the larger statement of the play—and the ongoing struggle it portends.
  The scene in which Beneatha unveils her natural haircut is an interesting example. In 1959, when the play was presented, the rich variety of Afro styles introduced in the mid-sixties had not yet arrived: the very few black women who wore their hair unstraightened cut it very short. When the hair of Diana Sands (who created the role) was cropped in this fashion, however, a few days before the opening, it was not contoured to suit her: her particular facial structure required a fuller Afro, of the sort she in fact adopted in later years. Result? Rather than vitiate the playwright's point—the beauty of black hair—the scene was dropped.
  Thus, in many reviews (and later academic studies), the Younger family—maintained by two female domestics and a chauffeur, son of a laborer dead of a lifetime of hard labor—was transformed into an acceptably "middle class" family. The decision to move became a desire to "integrate" (rather than, as Mama says simply, "to find the nicest house for the least amount of money for my family.... Them houses they put up for colored in them areas way out always seem to cost twice as much.").
conversations.from: human
conversations.value: Give me four more paragraphs.. End with the sentence ' I am a Yoruba.'.
conversations.from: assistant
conversations.value: BENEATHA You see! You never understood that there is more than one kind of feeling which can exist between a man and a woman—or, at least, there should be.
  ASAGAI It's just that every American girl I have known has said that to me. White—black—in this you are all the same. And the same speech, too!
  ASAGAI It's how you can be sure that the world's most liberated women are not liberated at all. You all talk about it too much!
  ASAGAI Oh—"Alaiyo." I hope you don't mind. It is what you would call a nickname, I think. It is a Yoruba word. I am a Yoruba.
conversations.from: human
conversations.value: Give me the last four paragraphs.
conversations.from: assistant
conversations.value: BENEATHA Be on my side for once! You saw what he just did, Mama! You saw him—down on his knees. Wasn't it you who taught me to despise any man who would do that? Do what he's going to do?
  MAMA Yes—I taught you that. Me and your daddy. But I thought I taught you something else too... I thought I taught you to love him. So does my mother. I mean—we are plain people...
  WALTER Girl, if you don't get all them silly ideas out your head! You better marry yourself a man with some loot...
conversations.from: human
conversations.value: Add another sentence about WALTER, worked.
conversations.from: assistant
conversations.value: BENEATHA Be on my side for once! You saw what he just did, Mama! You saw him—down on his knees. Wasn't it you who taught me to despise any man who would do that? Do what he's going to do?
  MAMA Yes—I taught you that. Me and your daddy. But I thought I taught you something else too... I thought I taught you to love him. 
  WALTER I mean—I have worked as a chauffeur most of my life—and my wife here, she does domestic work in people's kitchens. So does my mother. I mean—we are plain people... 
  WALTER Girl, if you don't get all them silly ideas out your head! You better marry yourself a man with some loot...