Bigger 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 begin to close in. There is no help for him--not from his hapless family; not from liberal do-gooders or from his well-meaning yet naive friend Jan; certainly not from the police, prosecutors, or judges. Bigger is debased, aggressive, dangerous, and a violent criminal. As such, he has no claim upon our compassion or sympathy. And yet...

A more compelling story than Native Son has not been written in the 20th century by an American writer. That is not to say that Richard Wright created 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 old lies [and] brought out into the open, as no one ever had before, the hatred, fear and violence that have crippled and may yet destroy our culture."

Other books had focused on the experience of growing up black in America--including Wright's own highly successful Uncle Tom's Children, a collection of five stories that focused 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 Bigger, he created a character so damaged by racism and poverty, with dreams so perverted, and with human sensibilities so eroded, that he has no claim on the reader's compassion: "I didn't want to kill," Bigger 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 awful hard to murder.... What I killed for must've been good!" Bigger's voice was full of frenzied anguish. "It must have been good! 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 Bigger, he forced us to confront the hopelessness, misery, and injustice of the society that gave birth to him. --Andrew Himes


From Library Journal
After 58 years in print, Wright's Native Son has acquired classic status. It has not, however, lost its power to shock or provoke controversy. Bigger Thomas is a young black man in 1940s Chicago who accidentally kills the daughter of his wealthy white employer. He tries to frame the young woman's fianc? for the crime and attempts to extort ransom from the victim's family, but his guilt is discovered, and he is forced into hiding. After a terrifying manhunt, he is arrested and brought to trial. Though his fate is certain, he finds that his crimes have given meaning and energy to his previously aimless life, and he goes to his execution unrepentant. Wright avoids the trap of making his hero a martyr, for Bigger is a vicious and violent bully. But out of this tale the author develops a profoundly disturbing image of racism and its results that puts Bigger's experience in horrifying perspective. The unabridged recording includes material edited out of the original edition (Audio Reviews, LJ 10/15/98), including one major scene and some significant dialog. Peter Francis James's narration is thoughtful and polished but lacks intensity. When the text clearly demands an outburst of emotion, James repeatedly holds back, allowing the book's climaxes to drag by unrecognized. This recording will stand well until a better version appears. Recommended for all public libraries; librarians should be aware of extremely violent language and situations.AJohn Owen, Advanced Micro Devices Lib., Santa Clara, CACopyright 1999 Reed Business Information, Inc.


The New York Times Book Review, Peter Monroe Jack
Certainly, Native Son declares Richard Wright's importance ... as an American author as distinctive as any of those now writing.

FROM THE PUBLISHER

With an introduction by Arnold Rampersad

"The Library of America has insured that most of Wright's major texts are now available as he wanted them to be read." —Alfred Kazin, New York Times Book Review

Right from the start, Bigger Thomas had been headed for jail. It could have been for assault or petty larceny: by chance, it was for murder and rape. Native Son tells the story of this young black man caught in a downward spiral after he kills a young white woman in a brief moment of panic. Set in Chicago in the 1930s, Wright's powerful novel is an unsparing reflection of the poverty and feelings of hopelessness experienced by people in inner cities across the country and of what it means to be black in America.

"This new edition gives us a Native Son in which the key line in the key scene is restored to the great good fortune of American letters. The scene as we now have it is central both to an ongoing conversation among African-American writers and critics and to the consciousness among all American readers of what it means to live in a multi-racial society in which power splits among racial lines." —Jack Miles, Los Angeles Times

Author Biography: Richard Wright won international renown for his powerful and visceral depiction of the black experience. He stands today alongside such African-American luminaries as Zora Neale Hurston, James Baldwin, and Toni Morrison, and two of his novels, Native Son and Black Boy, are required reading in high schools and colleges across the nation. He died in 1960.

FROM THE CRITICS

Gloria Naylor

Native Son taught me that it's all right to have passion within your work.

Sacred Fire

Richard Wright was born in 1908, thc first of two sons of a sharecropper. After publishing his first novel, Uncle Tom's Children, in 1938, Wright discovered to his alarm that "he had written a book which even bankers" daughters could read and feel good about. He swore that his next novel would be different. That book was Native Son, the story of Bigger Thomas's short and tragic life, which plumbs the blackest depths of human experience.

Native Son is told in three parts —Fear, Flight, and Fate— which sum up, perfectly, Bigger Thomas's life. Badly in need of a job to help support his family, the ne'er-do-well Bigger goes to work as a driver for the Daltons, a rich white family. As he is pulled every which way by his mother, who wanted him to do the things she wanted him to do; by Mrs. Dalton, who wanted him to do the things she felt that he should have wanted to do; by Mary Dalton, the young mistress of the house, who challenged him to stand up for things he didn't understand; and by his need for independence and autonomy in the midst of a dependent situation￯﾿ﾽhe missteps, accidentally killing Mary.

Native Son is not an uplifting book with a happy Hollywood resolution. It has been criticized for its cardboard portrayal of black pathology and heavy-handed Marxist message. But the book is an absolutely gripping potboiler that is also intellectually provocative. It is on one level a seedy, simple story of an unsympathetic character meeting his fate at his own hands, and on another an illuminating drama of an individual consciousness that challenges traditional definitions of heroism, character, and integrity. Bigger was less a character caught in a specific criminal activity than he was a crime waiting to happen.

Peter Monro Jack

The story is a strong and powerful one and it alone will force the Negro issue to our attention. Certainly, Native Son declares Richard Wright's importance, not merely as the best Negro writer, but as an American author as distinctive as any of those now writing.-- Books of the Century; New York Times review, March 1940

Jack Miles

This new edition gives us a Native Son in which the key line in the key scene is restored to the great good fortune of American letters. The scene as we now have it is central both to an ongoing conversation among African-American writers and critics and to the consciousness among all American readers of what it means to live in a multi-racial society in which power splits along racial lines. -- Los Angeles Times

WHAT PEOPLE ARE SAYING

"This new edition gives us a Native Son in which the key line in the key scene is restored to the great good fortune of American letters."  — Harper Collins - New Media