Native Son

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Native Son

Product Description
Not regularly is a black man the protagonist in American literature, but in Native Son, there is fiery, dramatic conflict in the tale of Larger Thomas, the man who wages a war between himself and the outside white world. Wright has agreed us a dramatic and impassioned look at life in the oppressed Black America.Amazon.com Review
Larger Thomas is doomed, trapped in a downward spiral that will lead to arrest, prison, or death, driven by despair, frustration, poverty, and incomprehension. As a young black man in the Chicago of the ’30s, he has no way out of the walls of poverty and racism that surround him, and after he murders a young white woman in a moment of panic, these walls start to close in. There is no help for him–not from his hapless family tree; not from liberal do-gooders or from his well-meaning yet naive friend Jan; certainly not from the police, prosecutors, or judges. Larger is debased, aggressive, treacherous, and a violent criminal. As such, he has no aver upon our compassion or sympathy. And yet…

A more compelling tale than Native Son has not been written in the 20th century by an American writer. That is not to say that Richard Wright made a novel free of flaws, but that he wrote the first novel that successfully told the most painful and unvarnished truth about American social and class relations. As Irving Howe asserted in 1963, “The day Native Son appeared, American culture was changed forever. It made impossible a repetition of the ancient lies [and] brought out into the open, as no one ever had before, the hatred, dread and violence that have crippled and may yet ruin our culture.”

Additional books had all ears on the experience of growing up black in America–including Wright’s own highly successful Uncle Tom’s Children, a collection of five tales that all ears on the victimization of blacks who transgressed the code of racial segregation. But they suffered from what he saw as a kind of lyrical idealism, setting up sympathetic black characters in oppressive situations and evoking the reader’s pity. In Native Son, Wright was aiming at something more. In Larger, he made a character so hurt by racism and poverty, with dreams so perverted, and with human sensibilities so eroded, that he has no aver on the reader’s compassion:

“I didn’t want to kill,” Larger shouted. “But what I killed for, I am! It must’ve been pretty deep in me to make me kill! I must have felt it dreadful hard to murder…. What I killed for must’ve been excellent!” Larger’s voice was full of hyperactive anguish. “It must have been excellent! When a man kills, it’s for something… I didn’t know I was really alive in this world until I felt things hard enough to kill for ‘em. It’s the truth…”

Wright’s genius was that, in preventing us from feeling pity for Larger, he forced us to confront the hopelessness, misery, and injustice of the society that gave birth to him. –Andrew Himes

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