Newspaper article The Christian Science Monitor

A Native Son without a Country ; Richard Wright Gave a Voice to Black America like No One before Him, but He Still Couldn't Find Home

Newspaper article The Christian Science Monitor

A Native Son without a Country ; Richard Wright Gave a Voice to Black America like No One before Him, but He Still Couldn't Find Home

Article excerpt

In a letter to his literary agent's assistant dated Oct. 24, 1960, just one month before his strange, inexplicable death, Richard Wright exclaimed, "The Western world must make up its mind as to whether it hates colored people more than it hates Communists or does it hate Communists more than it hates colored people."

It was perhaps difficult to tell in 1960, but for many it seemed as if the Western world hated both communists and coloreds with equal passion. They both symbolized the havoc that was plaguing the Western world, from the political challenge of the civil rights movement to the aesthetic and social "degeneracy" of rock 'n' roll. Indeed, in the minds of white American Southern segregationists, this was in effect a distinction without a difference: People of color who complained about their condition were tantamount to being communists.

In the so-called third world, where the cry for nationalist independence from colonialism was nearly universal, there, too, it seemed to the European mind that the colored and the communist were the same.

Wright had been a staunch anticommunist since the early 1940s, but the kind of anticommunist he was did not help him either with American whites (because he remained critical of American racism and white American hypocrisy) or with his fellow black intellectuals and artists (because he saw himself unapologetically as a Westerner).

He could never be the centrist anticommunist that some white intellectuals of the 1950s were, like Lionel Trilling and Arthur Schlesinger.

He had mythologized the marginal man in many of his writings, and by the last decade of his life, he had become such a man himself, without a faction to protect him. He was hated by the communists and distrusted by the anticommunists. Without a country to claim him, he felt abandoned by America, unwanted by England, and, finally, weary and skeptical of France. As a result of being a faithless husband and an absent father, he also found himself without a family.

Hazel Rowley, author of this new, well-written account of Wright's life, gives us Wright in his final years as proud, even vain, about this state of things and more than a little frightened.

Richard Wright was born in Mississippi in 1908, and had only an eighth-grade education in one of the poorest, most segregated school systems in the most rabidly racist state in the Union. His family, or rather, the women of his family, were highly religious and highly repressed and repressive.

Despite this unpromising beginning under a system that was geared to produce a submissive, frustrated, thoroughly defeated man, Wright fashioned himself into a writer and a thinker of great power and accomplishment. He shaped himself into one of the monumental writers of the American Century.

He was the first black American writer to achieve an international reputation of considerable dimension, having his work translated into a number of languages, and the first black American writer to produce several bestsellers and to be taken with a degree of seriousness by the white American literary establishment.

He became a famous expatriate, living the last 13 or so years of his life in Europe, which he had hoped would help him as both a man and writer, but seemed to do not quite either.

Rowley tells the story of the determined black boy who came north to Memphis and then Chicago, during the wave of the Great Black Migration of the 1920s, who ate canned pork and beans in his lonely room at night while reading Mencken and Dreiser, who persevered in the face of criticism from his family.

What helped Wright immeasurably was the Communist Party and the foothold it gained in the United States during the 1930s, particularly in artistic and intellectual circles, when Wright was a young man. …

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