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Research
Paper Topics - 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)
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