Richard Wright was a Black man born on a white, Mississippi plantation, and carried, by fits and starts, from one white, southern town to the next. In short, he was born into the antagonistic context of hostile whites wielding power against him. In this, his background mirrors our majority Black experience. And so, we readily accept the validity of Native Son/Bigger Thomas, who pits himself against overwhelming, white force. Moreover, Native Son (undoubtedly Wright's most influential book) conforms to white standards we have swallowed regarding literary weight: It is apparently symbolic (rather than realistic), "serious" (unrelievedly grim), socio-political (rather than "personal") in its scale, and not so much "emotional" as impassioned in its deliberate execution.
Given the antagonistic premise of Native Son/the personal beginnings of Richard Wright, a Black man on enemy turf, it follows that his novel should pull you forward with its furious imagination, saturate the reader with varieties of hatred, deal horror, climax in violence, and ram hard—ram hard—against a destiny of doom. But suppose the premise is a different one? (pp. 5-6)
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