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Editorial Reviews
Amazon.com
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...
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, CA
Copyright 1999 Reed Business Information, Inc. --This text refers to the Audio Cassette edition.
See all Editorial Reviews
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, CA
Copyright 1999 Reed Business Information, Inc. --This text refers to the Audio Cassette edition.
See all Editorial Reviews
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