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Richard WrightA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Wright enters the world of work in earnest by finding jobs in the homes of white people in Jackson. At his first job, the woman who hires him regularly addresses him with racial slurs, is offended when he laughs after she asks him if he is dishonest, and (the final straw for Wright) scoffs at the idea that Wright wants to be a writer when he grows up. Wright secures another job with a white family and is astonished at the spoiled food the family attempts to serve him and the crude curses they use to address each other. Wright stays, however, because he needs the money and is able to steal enough food to go without hunger for the first time in a while. The stress of always having to act subordinately to avoid running afoul of white people takes its toll: he is too exhausted to stay on top of school work.
Meanwhile, Mrs. Wright begins to recover. Wright begins going to a Protestant church to please her and to feel more a part of the community. Once again, a revival brings pressure from his family and peers to convert, with the pinnacle of the pressure coming when the minister has all the mothers of the unconverted pray on their knees in front of the whole church for the redemption of their unconverted children. Wrights allows himself to be baptized but feels nothing but shame, anger, and (later) boredom, much like the other boys who converted that day.
Things worsen at home. Uncle Tom and his family come to live with the family to save money, but Wright runs into conflict with Uncle Tom, who believes he is the man to teach Wright to behave himself. When Tom threatens to beat Wright, Wright rebels and defends himself by pulling razor blades on his uncle and insulting his uncle’s subservience to white people. This act of defiance stuns Uncle Tom, who predicts that Wright’s impudence and refusal to bow to authority will lead to his death one day. Wright feels like he has finally won a battle against the adult authority figures in his life.
It is 1924, and Wright is 14 years old. His home life is lonely and isolating, and he spends his time working, reading, and dreaming of going to the North. He has a job as a water boy in a brickyard, then another as a caddie. When school begins in the fall, Wright doesn’t have the money to even buy his books at first, and he is as hungry and shabby as ever. He manages to get another job so he can buy his books, but he begins to question the need to go to school since he has few options as a young Black person and school teaches him nothing about how to navigate life in a racist world. He begins to wonder if he has essentially misunderstood something about the world and even considers that maybe his family is right about his poor prospects.
The one bright spot in his life that year is that he finally publishes a story, “The Voodoo of Hell’s Half Acre” in The Southern Register, a local paper. The editor convinces Wright to accept publicity instead of pay for the story. Despite Wright’s pride in finally breaking into print, he finds that his peers, family, and even the principal of his school disapprove of his aspirations. Granny Wilson and Addie in particular are offended that he has included the word “hell” in his story, leading his grandmother to conclude once again that this kind of writing is “‘Devil’s work’” (168).
The lack of any encouragement over his efforts confounds Wright. On the one hand, he has dreams—he wants to go north and become a writer. On the other hand, each aspect of his life in Mississippi—his family, the educational system, his peers, the Jim Crow laws—seems designed to keep him from his aspirations. He lives his days with dread and tension that even his mostly clueless peers and teachers can sense. At 15, Wright knows that his yearning for a different life places him outside of the mainstream, and to fail to conform is dangerous for a young Black man.
In the summer of 1925, Wright can’t find a full-time job, so he continues working part-time as a servant for a white family. His situation is difficult. An acquaintance of his is lynched that summer after having sex with one of the sex workers at the hotel where he worked, and Wright is once again confronted with the overwhelming presence of death for Black people who violate racial boundaries.
At home, Wright comes to an even greater understanding of his position in the house when he discovers that Uncle Tom has instructed his children to shun Wright, likely because of the time Wright confronted him with the razors. Wright realizes at that point that he must leave home. Wright enrolls in school for his final year (ninth grade) and manages to be selected as valedictorian based on his grades. Ordinarily, valedictorians are shoo-ins for jobs teaching in the school system, but Wright insists on reading his defiant valedictory speech at graduation, which angers the school principal, a man most interested in placating the white school board. Wright gives the speech in a borrowed suit. He is seventeen and has decided that he is through with his family and community.
Having completed his education, Wright is now forced to find full-time work. He runs into Griggs, a high school classmate, who tells him that Wright will only succeed if he learns to be more subservient, especially to white people. Griggs refers Wright for a job in a white-owned optical shop. The owner, a man from Illinois, aims to train a Black person in the trade. Wright is excited about the pay, but he does nothing but clean the shop floor for the entire time he works there. The job ends when his white coworkers threaten him with violence or worse if he shows up again. The owner attempts to intervene, but Wright refuses his offer to keep him on despite the threats. Wright feels ashamed of the sympathy with which the owner treats him, and the nervous tension of dealing with threats of racial violence almost completely overwhelm him.
Wright works a series of jobs at a drugstore, a hotel, and a theater, and at each place, he discovers that his inability to be uniformly subservient or look the other way when co-workers and owners engage in corrupt behavior prevent him from holding on to the job. Desperate to escape from the South, Wright goes along with a ticket stealing scheme at the theater, netting him $50 more for his fund to escape Mississippi. Having violated his own conscious out of desperation, Wright goes even further, reasoning that he will either die in the South because of his failure to fit in or end up in the chain gang unless he manages to leave. Wright steals a neighbor’s gun, recruits two old schoolmates as conspirators, and robs a warehouse of fruit preserves that he then sells. He at last has enough money for a ticket to Memphis, what he hopes will be his first stop before heading to the North. After a brief goodbye to his mother, he takes the train to Memphis that night.
Wright’s account of his life during these years continues to develop themes related to the impact of race, racism, and class on his life, and he once again does so using conventions from multiple genres. He also shows how these experiences occurred alongside his development as a writer.
In most coming-of-age narratives, there is a moment when the narrator has a rite of passage in which he or she finally enters the world of work and begins taking on more adult responsibilities. Wright is so poverty-stricken as a boy of coming of age in the Jim Crow South that this rite of passage happens early and exposes him directly to the corrosive influence of white supremacist ideology on Black people. Wright is a pre-teen when he is forced to work in order to make his way, and the daily confrontations with being called the n-word and hearing stories about the lynching of people who violate racial boundaries at work scar him. Although Wright is a boy, he has to function as an adult in a world that does not distinguish between children and adults when it comes to racialized violence.
The home life Wright represents is one in which his relatives insist on teaching him the importance of absolute submission to authority before white people get around to doing the same. Wright makes it clear that he sees this insistence on conformity as self-protective, considering that the actions of one Black person could become the pretext for destroying an entire Black community. That understanding of cultural and historical context is one Wright gets at through retrospection: Wright’s increasingly violent efforts to fend off any imposition of religion or discipline shows that the young Wright’s rejection of authority as governed by youthful will, not a mature, sociological analysis of his family.
Wright also picks up on an important theme in Black memoir, namely, the relationship between identity and geography. Wright latches on to the idea of going to the North as a means of escaping what feels like certain death to him in the South. His movements back and forth between rural towns and Memphis, and then to Memphis before finally heading North, demonstrates how many Black Americans migrated to Southern cities before ultimately leaving the South during waves of the Great Migration. Wright’s decision to do anything in order to escape the South—fighting, stealing, violence—is a measure of just how dire circumstances were for Black Americans during this period of Jim Crow.
We also get to see Wright making his first forays into claiming an identity as a writer. Wright is only 14 when he gets his first publication credit, and it is here that he is first forced to come to terms with the contradiction between society’s expectations of him. His family, community, and white employers are in complete agreement that it is ludicrous for a poor and Black boy to want to grow up to be a writer. The notion that there is something unseemly about such a desire reflects the impact of legal restrictions on Black people achieving literacy during slavery and deliberate efforts to keep Black people illiterate with poor education and lack of access to public institutions like libraries. Wright’s successful effort to claim an identity as a Black and working class writer shows that his achievement of his goal is the result of a great struggle.
We learn that Wright is a survivor who achieved an education, made a living, and found the ability to express himself creatively within a society built to suppress the desire for and access to such things. The grave costs of that survival are many, however. The young man Wright represents is one who experiences so many traumas that he can barely function as he goes about his work and education. He is forced to become the stereotype he despises—the Black criminal—in order to achieve any sort of freedom. His aside on the white need for “black deceit” (200) is important because it points out that racism and white supremacy in America are such that they almost guarantee that Black people will be forced to criminality or else self-destructive behavior just to survive.
The personal story of how these conditions broke him points out the absurdity of such a system but also provide more evidence for his analysis of race and class in America.
By Richard Wright