By Sterling Professor of the Humanities Harold Bloom
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Additional resources for Richard Wright's Black Boy (Bloom's Modern Critical Interpretations)
Sample text
Fifteen years later, at the Reverend Clayton Williams’s American Church in Paris, Wright delivered an address that summarized the portraits of the Southern whites he had presented in Black Boy: “Slavery and halfslavery destroyed them as men. ” When young Richard works at a white table he marvels at the cruelty of white people toward each other, their compulsive obscenity, their reflexive meanness. ” A half-decent white man cannot believe that his workers have beaten Richard and keeps asking “which one” it was.
Most of it was sheer luck. That saves the book from any hint of mere strutting; we see over and over again that when Richard pulled out of a beating, or escaped a fire, or didn’t get a bullet in his brain—all those survivals had little to do with his own power or his own brains. When he wins a fight, he wins it out of utter desperation, backed against a wall fighting for his life; his tormentors lay off because they don’t want to get hurt (one of those wild blows might, after all, land), but they’re not afraid of getting beaten.
Wright, said Ellison, was free to present himself as a hunger-crazed kid, desperate for values, but he should have had the grace and the sense not to project his troubles onto his people, and certainly not to do it in the name of literature. But this is surely being “literary” On Ellison’s part. The passage in Black Boy is by no stretch of the imagination comparable to James’s list; that Ellison could think so (or say so, as a way of getting back at Howe) is a sign of desperate confusion. Wright was saying that in the terrible cultural bind of the South, the Negro’s pain and desire to get out of that violence was all 32 Dan McCall bottled up, constantly turning on other Negroes.