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Wright, Richard,--1908-1960.--Native son, African American men in literature, Tragic, The, in literature.
publication date
:
1986
lcc
:
PS3545.R815N34 1986eb
ddc
:
813/.52
subject
:
Wright, Richard,--1908-1960.--Native son, African American men in literature, Tragic, The, in literature.
Page iii
Richard Wright's Art of Tragedy
By Joyce Ann Joyce
University of Iowa Press Iowa City
Page iv
University of Iowa Press, Iowa City 52242 Copyright 1986 by the University of Iowa All rights reserved Printed in the United States of America First paperback printing, 1991
Typesetting by G & S Typesetters, Austin, Texas Printing and binding by Thomson-Shore, Dexter, Michigan
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher.
Library of Congress Cataloging-in-Publication Data
Joyce, Joyce Ann, 1949 Richard Wright's art of tragedy. Bibliography: p. Includes index. 1. Wright, Richard, 19081960. Native son. 2. Afro-Americans in literature. 3. Tragic, The, in literature. I. Title. PS3545.R815N34 1986 813'.52 86-6906 ISBN 0-87745-148-6 ISBN 0-87745-320-9 (pbk.)
Page v
For my parents, Henry and Edna Joyce
Page vi
At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance.
From "Burnt Norton" in T. S. Eliot's Four Quartets
Page vii
Contents
Acknowledgments
ix
Prologue
xi
1. The Critical Background and a New Perspective
1
2. Setting and Structure: The Cosmology of Bigger's World
29
3. Characterization and Point of View: The Tragic Hero
52
4. Technique: The Figurative Web
75
5. The Unity of Book 3: A Synthesis of the Theme
100
Epilogue
117
Works Cited
121
Index
127
Page ix
Acknowledgments
Time and support for the initial stage of research were provided by a Graduate Research Award I received from the University of Maryland in the summer of 1980; the university's General Research Board also provided a Book Subsidy Award to assist with publication. Yet, without the generosity of a rather large number of friends, I do not know how I would have acquired the time and serenity I needed to complete this book. Thus I shall always be grateful for the "personal grants" I received from my brother Ralph Joyce, Professor Rodney Baine, Professor Dorothy Graham, Marie Davidson, Professor Eugene Hammond, Professor Linda Merians, Betty Fern, Julia Freelove Blondet, Professor Neil Isaacs, Carolyn and Hank Parks, Professor Theresa Coletti, and Steve and Mary Freelove, Georgiana and Roy Harvey, and Susie Harper.
I would like to thank Betty Fern and Beatriz Dailey for the long hours of typing and for their patience in helping me meet deadlines. Beth Alvarez was also quite generous with the hours she spent proofreading the manuscript twice.
I am especially grateful to Lisa McCullough for editing the manuscript and for her faith and encouragement. And finally, not only did Professor Michel Fabre critique the manuscript in its very early stages, but he also provided me with the diverse professional support I needed to mature as a scholar and teacher.
Page xi
Prologue
Approximately eleven years ago, my major professor in the English department at the University of Georgia handed me a copy of Richard Wright's Native Son. I was instantly entranced by Bigger Thomas. I read everything the library at the University of Georgia had to offer by and about Richard Wright. On a surface level, it might appear that the University of Georgia system had done virtually nothing to prepare me for a career in Black American literary criticism. The English department, at the time I was there, offered only one undergraduate course in Black American literature. But I was quite lucky: like Wright, I had my own equivalent to the white Catholic with the library cardmy major professor, Dr. William Free, a Tennessean who suggested that I use Wright's works as the subject for all my seminar reports and term papers in his classes. We both intuitively agreed that Wright would be the subject of my dissertation. Engrossed by the stylistic similarities between Wright's last novel,
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