Wounded as he was by southern birth and upbringing, Richard Wright fought back blindly with the nearest weapon at hand—in his case, anger. Anger mounting to rage rushes across the pages of his work; too often it overflows and drowns it before it can take shape. And it is the terrible anger of a man who accepts and can see no way out, for his rage is thrust in against himself. That is the greatest irony of all, that a man should be guilty in America by reason of his difference from the majority and acquiesce in his guilt. But Wright is involved in guilt, not irony.
There is a further irony in the fact that the shaping tools he used for his work were first Communism and later, after his self-exile in France, existentialism. Both philosophies had the ultimate effect of weakening his work. (p. 110)
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