Matt Altstiel
Instructor Lauren Curtwright
English 1201 W
7/11/05
A “Bigger” and Bigger Problem
Race relations play an important role in modern literature as well as modern politics. The treatment of minority groups continues to be a contentious issue to evoke a myriad of emotions for the different groups involved. Ignorance and mistrust on each side of the divide can lead acts of crime and violence directed at members of a particular race. The inequality of power between white American and black Americans still exists and produces far reaching social psychological implications. In the era of Richard Wright’s Native Son, racial tensions simmered and boiled over to acts of oppression and violence even in northern cities like
In such an environment, little progress could be made directly since white Americans who detested the mistreatment of minorities could not voice their opinion for fear of reprisal. Even members of the white community who “helped” the black community continued the disparity. The Dalton Family gives millions to African American charities to encourage education yet, “exacts an exorbitant rent of eight dollars per week from the Thomas family for one unventilated, rat-infested room in which four people eat and sleep,” (Wright 326). Mr. Dalton gives money to charities which help relieve his social consciousness and allow him to sleep at night, however when it comes down to it, no change in the social structure occurs as a result of his donations. The high rent rates only make the powerful white power structure further entrenched and the tenement dwelling African Americans more impoverished, resentful and desperate. The lack of a relationship between owner and renter allows the owner to see his occupants not as fellow human beings, but as numbers which derive profit and do not merit consideration. A symbol for monolithic capitalism, Mr. Dalton only manages the properties and does not have direct relations with any one of his occupants. Mr. Dalton carries a smug air towards those he hires, insisting in an air of condescending paternalism that they receive higher education. He encourages scholarship while at the same time denies scholarship recipients the opportunity to work within his company. As a result, a fundamental ignorance exists on both sides which color any interaction with fear and distrust rendering a change in conditions impossible.
The lawyer Mr. Max draws out another key motivating emotion that serves to produce the inequity and the hate and violence that result: the fear of reprisal by mob and influential people of power. When pressed by Mr. Max, Mr. Dalton reveals why he does not lower the rent rates in his black belt apartment when he says, “I would be underselling my competitors,” (Wright 328). Thus even if Mr. Dalton feels it is wrong to overprice black belt apartments, he feels as one man he does not have the power to change the system. A sort of gentleman’s agreement exists that codifies that rents will be higher for African Americans, and that they can only live in a certain section of the city, and any residential integration will be staunchly opposed. Tradition dictates that the power disparity and process of ghettoization have social value and will preserved by those in power at all costs. Lowering rates would ostracize Mr. Dalton from the business community and make him target of reprisal.
The use of media and the injections of the mob crowds also show how ignorance and imbalance lead to fear, violence, and a devaluation of human life. African Americans are continually referred to only in the most base and derogatory stereotypes that relegate them to a subhuman level. Phrases such as “ape,” “beast,” and “out of place in a white man’s civilization,” all conjure up images of a man deserving of severe punishment. Without considering the conditions that have fostered a sense of helplessness that has led to crime, Black criminal behavior is seen as inherent and natural. Misguided stereotypes portray black males as violent and as a threat to the purity of white women produce fear that incites otherwise calm and rational individuals to form mobs. In the novel, a mob drags Bigger Thomas through the streets and performs hate crimes against innocent African Americans simply because of their skin color. A newspaper mentions, “police reported that many windows in the negro section were smashed,” and “reports were current that several Negro men were beaten in various North and West Side neighborhoods,” (Wright 244). Thus, a misguided fear based upon the crime of one man incites a mob of white people to commit more crime and continue a cycle of violence and hate. White Americans often view Black Americans as subservient, but at the same time fear and distrust them, clouding any normal social interaction between the two groups.
For as much as the poisoning influence of racism, ignorance and inequality shapes the interaction of the white characters in the novel, the impact resonates much more deeply within the consciousness of the novel’s black characters. The novel’s protagonist, feels the constraint of these societal forces and rebels more severely than any other character to counter this system. Bigger Thomas, a poor African American living in the Southside of Chicago faces a hopeless economic and social situation. His economic status and his level of educational attainment are predetermined by the White power structure which attempts to blunt the opportunities and prospects for Bigger’s future. All avenues of self expression are road blocked by a restrictive society forces Bigger to lash out in violent and unpredictable ways in order to feel some degree of control. The omniscient narrator tells the reader, “the moment he allowed what his life meant to enter fully into his consciousness, he would either kill himself of someone else. So he denied himself and acted tough,” (Wright 10). Thus, the reinforcement of societal restrictions prevents Bigger from pursuing self-exploration and dulls any chance of meaningful social interaction with other individuals, both white and black.
Bigger feels alienation even inside of his own life which causes him to fear and hate a world he does not understand. Societal conditions have reinforced in Bigger that as a young black male, he holds no real power, and therefore has no understanding of the White world and its institutions. Furthermore, Bigger shuns religion and artistic expression which offer other African Americans a way of making life tolerable. Such a feeling of ignorance and helplessness allow for only one way of expression: violence. As the narrator makes clear, “confidence could only come again now through action so violent that it would make him forget. These were the rhythms of his life: indifference and violence; periods of abstract brooding and periods of intense desire,” (Wright 29). The constant fear Bigger lives with only subsides when acts violence of momentarily free himself from responsibility and duty. Bigger feels only through violent acts can he controls his surroundings and other people. He is powerless against societal forces, a cog in the gears of a greater force. Violence at once signifies Bigger’s desire for recognition by a society that has denied him a place, as well as his desire to subvert the white system of oppression that has held his people down.
As a product of his environment, Bigger cannot unable to relate to other human beings in a normal manner. When kindness is showed toward him, he is unable to respond in a fitting manner. When Mary Dalton and Jan Erlone show treat Bigger as an equal rather than someone of a subservient group, Bigger responds with bewilderment followed by embarrassment and hate. The narrator reflects, “He was very conscious of his black skin and there was within him a prodding conviction that Jan and men like him had made it so that he would be conscious of that black skin, “(Wright 67). Therefore, Bigger immediately distrusts the intentions of white people. He believes they only mean to demean and embarrass him by reminding him of his skin color and inferiority. The contempt and hatred Bigger hold for himself transfers itself onto the subjects who make Bigger aware of his feelings. Therefore, even benevolent acts toward Bigger, (representative of the young black male blunted by the stark reality of racism, ignorance and social isolation) are misinterpreted.
Even the kindness shown toward Bigger by members of his own race are shunned and reversed. Full of self loathing and aware of a life devoid of value in the society he lives among, he cannot empathize or connect with those he should feel closest towards. The narrator informs the reader, “He had never been responsible toward anyone. The moment a situation became so that it exacted something from him, he rebelled,” (Wright 42). Rather than trying to help anyone one who cares for him with a benevolent response and positive behavior, Bigger feels anger towards these people for the obligations and responsibilities they represent. Inequality and alienation create the notion that taking advantage of his own people and subverting white power through illegal means are the only way to overcome the situation he faces. Bigger thinks that people have nothing more to offer than satisfying the most basic human needs. The protagonist views all other people as a hindrance to his ultimate goal of absolute freedom. Therefore, he is wholly unable to escape his narrow world view to accommodate the thoughts and feelings of others.
Bigger Thomas exhibits this same fear and hate towards woman as well. He does not see his girlfriend as a life affirming partner, but rather someone who he can relieve his frustrations and anger out upon through sexual activity. In his introduction to the novel, Arnold Rampersad makes clear that, “Bigger’s harsh upbringing has left sexuality contaminated with feelings of aggression and violence towards women, black and white,” (Rampersad xviii) He cannot form a meaningful bond through shared life experiences or share the emotions necessary for a romantic relationship with depth and love. Instead, women become the object of sexual conquest and a means of control. Violence and negativity towards women manifest themselves through Bigger’s scenes with Bessie and the masturbation scene at the movie theatre. In each case, the racism, inequity and isolation experienced by Bigger turn each sexual encounter into a chance to assert power through violent and anti-social acts.
Another black character in the novel, Gus experiences the same conditions as Bigger. However, Gus responds to the inequality and limitations imposed by society differently than Bigger. While Gus dislikes the current system, he resigns and accepts his position in society. Gus unlike Bigger, does not lash out in violent and unpredictable ways. Responding to one of Bigger’s outbursts Gus mutters, “Aw, for Chrissakes! There ain’t nothing you can do about it. How come you want to worry yourself? You black and they make the laws,” (Wright 20). Gus does not feel the isolation that conspires to make Bigger a violent element in a society he does not understand. Nevertheless, Gus still feels constrained by the racism and inequality that have limited his educational attainment, job outlook and residential options.
Richard Wright’s Native Son serves as a powerful argument against maintaining a status quo that empowers one side and impoverishes another. Morality and rationality are traded for immorality and irrationality for both the perpetrators of the system as well the victims. Misguided stereotypes drive otherwise calm and discerning citizens to vigilante justice and mob violence. Morally conflicted individuals reinforce questionable business practices for fear of reprisal and fear of competition. Individuals experiencing the dehumanizing effects of racism and inequity coupled with severe societal isolation strike out blindly and violently to affirm their existence. Both blacks and whites suffer from the oppressive system that manifests themselves in many negative forms of interaction. As Wright shows the reader through his careful character depictions, an inherently unfair society only serves to produce violence, fear and hate.
Bibliography
Rampersad, Arnold. Introduction. HarperPerennial.
Wright, Richard. Native Son. Harper and Brothers.
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