The Beauty of being a Black

big is a displaced somebody because the society into which he is born allows him no place. He is Ellison's " covert hu servicemanity" who is destined to fall because it is the al 1 destiny allowed a bneedinessness man in a uninfected anti-Semite(a) society. This is symbolized in the novel by the "you can't win" on the billboard that larger moldiness view each day extraneous of his building. One fact that amply demonstrates the absurdity of white anti-Semite(a) America is that fact that, when Native Son was successfully published, a Hollywood producer "wanted to change Bigger doubting Thomas to a white man; but Wright refused. Wright himself played Bigger in a motion-picture version of Native Son do in Argentina in 1951" (Biography 4). Like many black writers of his era, Wright became an ex-patriot in response to his frustration with America's racist political and cordial institutions.

There is no redemption possible for Bigger because nonwithstanding any capacity he has for success, he is never apt(p) a chance to fulfill it in a racist society. He is a tree that cannot grow in Brooklyn, so-to-speak, because the concrete in which the child is expected to grow is not only hard and lacking nourishment, but it blatantly refuses to give extraction to a "black" tree. The environment in which Bigger must form his perspective of the world and try to grow is one infested with rats, with a lack of water, where food

"Richard Wright." Chapman, R. (ed.) Black Voices. New York, Penguin Books, 1968: 113-114.

In the end, Wright himself had to overcome similar feelings and conditions as those of Bigger's in order to write Bigger truthfully. He was relate whites would misread Bigger and use his anger and violence as an affirmation that blacks hate whites and ar violent, instead of realizing the Biggers of the world are created by white racism and institutionalized oppression.

Thus, Bigger himself stands as a larger symbol of the society and abuses which created him, "I knew that I could not write of Bigger convincingly is I did not depict him as he was: that is, resentful toward whites, sullen, angry, ignorant, emotionally unstable, down in the mouth and unaccountably elated at times, and unable even, because of his own lack of inner organization which American oppression has fostered in him, to join with the members of his own race" (Chapman 551-552). Unfortunately, it is a portrait of the black man that could still be written today and considered just as symbolic of modern American society's institutionalized oppression.

"Richard Wright Biography." http://www.math.buffalo.edu/~sww/wright/wright_bio.html abut 20, 1999: 1-5.

"'Without the Consolation of Tears': Richard Wright, France, and the Ambivalence of Community." Gilroy, P. (ed.) The Black Atlantic: Modernity and double Consciousness. Mass., Harvard Univ. Press, 1993: 146-186.

The only reason Bigger takes the job working for the white folks whose daughter he kills is because of necessity. His acts of violence are more or less an attempt to understand his own pain and fear. He has been lie to all his life and the dreams he may have result never be achieved by a black man in a racist environment. He hides in the catacombs when he is being sought, much like those around him hide from this truthfulness through their illusions or religion. At one point Bigger cries because "once again he had trusted his feelings a
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