Big Black Good Man

Richard Wright paved the way for all the writers to come, transcending the virile categories of black population in America. Richard Wright has taken a stand against the homogenizing, ultimately obliterating impact of modernity on historical memory. But modern Americans do not lack a sense of history, historic places, or distinctive regions. What they lack is a sense of how regional identity shaped, and has been shaped by, national identity of how we have spatialized time and historicized space.

This book begins to answer to explain the complexities and overlapping contradictions of society. Frequently characterized as an exception to American social, political, and economic development, the black population remains one of the nations most contentiously discussed and yet most engaging peoples. With a tragic history marked by slavery, exploitation, civil war, defeat, racial prejudice, segregation, poverty, underdevelopment, and race conflict, both black and white have long contested the meaning of being ‘American’.

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Wright wrote this narrative to the very core of American phobia, i.e. sexual fright and sexual violation. He understood that the fantasy of rape is a consequence of guilt, what the whites infer themselves to deserve. He understood that the white man's notion of uncontaminated Negro vitality, little as it had to do with the bitter facts of Negro life, reflected some ill-formed and buried feeling that our culture has run down, lost its blood, and become frenetic.

And he grasped the way in which the sexual issue has been intertwined with social relationships, for even as the white people who hire ‘nigger’ as their chauffeur. He says that the whites are decent and charitable, as they possess the power and the privilege of all sorts. In his autobiography, Black Boy, Richard Wright explained why he left school at the earliest opportunity. The bleakness of the future feigned his desire to study. What had he learned so far that would help me to make a living?

The novel barely stops to provide a recognizable social world, often contenting itself with simplicities and yielding almost entirely throughout the novel. The mood is apocalyptic, the tone superbly determined. Wright was an existentialist long before he heard the name, for he was committed to the literature of extreme situations both through the pressures of his rage and the gasping optimism of an ultimate cleansing. Wright kept struggling toward the perfection of his craft and toward a grasp of the strange world that in his last years was coming into birth.

In the most fundamental sense, however, he had done his work, he had told his contemporaries a truth so stingy and harsh, that they paid him the tribute of trying to forget it. Wright was struggling to communicate with white people to put it bluntly. In fact, the later part of Wright's life he spent in France. He couldn't stand the attitudes in his homeland. Open hatred and open acts of violence ecause of the color of someone's skin, drove him to another country of tolerance. Yet Wright continued to struggle to communicate. (Dusty)