Wright at his best was master of a taut psychological suspense narrative. Even more important, however, are the ways Wright wove his themes of human fear, alienation, guilt, and dread into the overall texture of his work. Some critics may still today stubbornly cling to the notion that Wright was nothing more than a proletarian writer, but it was to these themes that a postwar generation of French writers responded, and not to Wright's Communism—and it is to these themes that future critics must turn primarily if they wish to re-evaluate Wright's work. (p. 3)
Wright not only wrote well but also he paved the way for a new and vigorous generation of Negro authors to deal with subjects that had hitherto been regarded as taboo. [His] portraits of oppressed Negroes have made a deep impression on readers the world over. (p. 4)
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