Native Son by Richard Wright

  Then there was the fabulous city in which Bigger lived, an indescribable city, huge, roaring, dirty, noisy, raw, stark, brutal; a city of extremes: torrid summers and sub-zero winters, white people and black people, the English language and strange tongues, foreign born and native born, scabby poverty and gaudy luxury, high idealism and hard cynicism! A city so young that, in thinking of its short history, one’s mind, as it travels backward in time, is stopped abruptly by the barren stretches of wind-swept prairie! But a city old enough to have caught within the homes of its long, straight streets the symbols and images of man’s age-old destiny, of truths as old as the mountains and seas, of dramas as abiding as the soul of man itself! A city which has become the pivot of the Eastern, Western, Northern, and Southern poles of the nation. But a city whose black smoke clouds shut out the sunshine for seven months of the year; a city in which, on a fine balmy May morning, one can sniff the stench of the stockyards; a city where people have grown so used to gangs and murders and graft that they have honestly forgotten that government can have a pretense of decency!

  With all of this thought out, Bigger was still unwritten. Two events, however, came into my life and accelerated the process, made me sit down and actually start work on the typewriter, and just stop the writing of Bigger in my mind as I walked the streets.

  The first event was my getting a job in the South Side Boys’ Club, an institution which tried to reclaim the thousands of Negro Bigger Thomases from the dives and the alleys of the Black Belt. Here, on a vast scale, I had an opportunity to observe Bigger in all of his moods, actions, haunts. Here I felt for the first time that the rich folk who were paying my wages did not really give a good goddamn about Bigger, that their kindness was prompted at bottom by a selfish motive. They were paying me to distract Bigger with ping-pong, checkers, swimming, marbles, and baseball in order that he might not roam the streets and harm the valuable white property which adjoined the Black Belt. I am not condemning boys’ clubs and ping-pong as such; but these little stopgaps were utterly inadequate to fill up the centuries-long chasm of emptiness which American civilization had created in these Biggers. I felt that I was doing a kind of dressed-up police work, and I hated it.

  I would work hard with these Biggers, and when it would come time for me to go home I’d say to myself, under my breath so that no one could hear: “Go to it, boys! Prove to the bastards that gave you these games that life is stronger than ping-pong…. Show them that full-blooded life is harder and hotter than they suspect, even though that life is draped in a black skin which at heart they despise….”

  They did. The police blotters of Chicago are testimony to how much they did. That was the only way I could contain myself for doing a job I hated; for a moment I’d allow myself, vicariously, to feel as Bigger felt—not much, just a little, just a little—but, still, there it was.

  The second event that spurred me to write of Bigger was more personal and subtle. I had written a book of short stories which was published under the title of Uncle Tom’s Children. When the reviews of that book began to appear, I realized that I had made an awfully naive mistake. I found that I had written a book which even bankers’ daughters could read and weep over and feel good about. I swore to myself that if I ever wrote another book, no one would weep over it; that it would be so hard and deep that they would have to face it without the consolation of tears. It was this that made me get to work in dead earnest.

  Now, until this moment I did not stop to think very much about the plot of Native Son. The reason I did not is because I was not for one moment ever worried about it. I had spent years learning about Bigger, what had made him, what he meant; so, when the time came for writing, what had made him and what he meant constituted my plot. But the far-flung items of his life had to be couched in imaginative terms, terms known and acceptable to a common body of readers, terms which would, in the course of the story, manipulate the deepest held notions and convictions of their lives. That came easy. The moment I began to write, the plot fell out, so to speak. I’m not trying to oversimplify or make the process seem oversubtle. At bottom, what happened is very easy to explain.

  Any Negro who has lived in the North or the South knows that times without number he has heard of some Negro boy being picked up on the streets and carted off to jail and charged with “rape.” This thing happens so often that to my mind it had become a representative symbol of the Negro’s uncertain position in America. Never for a second was I in doubt as to what kind of social reality or dramatic situation I’d put Bigger in, what kind of test-tube life I’d set up to evoke his deepest reactions. Life had made the plot over and over again, to the extent that I knew it by heart. So frequently do these acts recur that when I was halfway through the first draft of Native Son a case paralleling Bigger’s flared forth in the newspapers of Chicago. (Many of the newspaper items and some of the incidents in Native Son are but fictionalized versions of the Robert Nixon case and rewrites of news stories from the Chicago Tribune.) Indeed, scarcely was Native Son off the press before Supreme Court Justice Hugo L. Black gave the nation a long and vivid account of the American police methods of handling Negro boys.

  Let me describe this stereotyped situation: A crime wave is sweeping a city and citizens are clamoring for police action. Squad cars cruise the Black Belt and grab the first Negro boy who seems to be unattached and homeless. He is held for perhaps a week without charge or bail, without the privilege of communicating with anyone, including his own relatives. After a few days this boy “confesses” anything that he is asked to confess, any crime that handily happens to be unsolved and on the calendar. Why does he confess? After the boy has been grilled night and day, hanged up by his thumbs, dangled by his feet out of twenty-story windows, and beaten (in places that leave no scars—cops have found a way to do that), he signs the papers before him, papers which are usually accompanied by a verbal promise to the boy that he will not go to the electric chair. Of course, he ends up by being executed or sentenced for life. If you think I’m telling tall tales, get chummy with some white cop who works in a Black Belt district and ask him for the lowdown.

  When a black boy is carted off to jail in such a fashion, it is almost impossible to do anything for him. Even well-disposed Negro lawyers find it difficult to defend him, for the boy will plead guilty one day and then not guilty the next, according to the degree of pressure and persuasion that is brought to bear upon his frightened personality from one side or the other. Even the boy’s own family is scared to death; sometimes fear of police intimidation makes them hesitate to acknowledge that the boy is a blood relation of theirs.

  Such has been America’s attitude toward these boys that if one is picked up and confronted in a police cell with ten white cops, he is intimidated almost to the point of confessing anything. So far removed are these practices from what the average American citizen encounters in his daily life that it takes a huge act of his imagination to believe that it is true; yet, this same average citizen, with his kindness, his American sportsmanship and good will, would probably act with the mob if a self-respecting Negro family moved into his apartment building to escape the Black Belt and its terrors and limitations….

  Now, after all of this, when I sat down to the typewriter, I could not work; I could not think of a good opening scene for the book. I had definitely in mind the kind of emotion I wanted to evoke in the reader in that first scene, but I could not think of the type of concrete event that would convey the motif of the entire scheme of the book, that would sound, in varied form, the note that was to be resounded throughout its length, that would introduce to the reader just what kind of an organism Bigger’s was and the environment that was bearing hourly upon it. Twenty or thirty times I tried and failed; then I argued that if I could not write the opening scene, I’d start with the scene that followed. I did. The actual writing of the book began with the scene in the pool room.

  Now, for the writing. During the years in which I had met all of those Bigger T
homases, those varieties of Bigger Thomases, I had not consciously gathered material to write of them; I had not kept a notebook record of their sayings and doings. Their actions had simply made impressions upon my sensibilities as I lived from day to day, impressions which crystallized and coagulated into clusters and configurations of memory, attitudes, moods, ideas. And these subjective states, in turn, were automatically stored away somewhere in me. I was not even aware of the process. But, excited over the book which I had set myself to write, under the stress of emotion, these things came surging up, tangled, fused, knotted, entertaining me by the sheer variety and potency of their meaning and suggestiveness.

  With the whole theme in mind, in an attitude almost akin to prayer, I gave myself up to the story. In an effort to capture some phase of Bigger’s life that would not come to me readily, I’d jot down as much of it as I could. Then I’d read it over and over, adding each time a word, a phrase, a sentence until I felt that I had caught all the shadings of reality I felt dimly were there. With each of these rereadings and rewritings it seemed that I’d gather in facts and facets that tried to run away. It was an act of concentration, of trying to hold within one’s center of attention all of that bewildering array of facts which science, politics, experience, memory, and imagination were urging upon me. And then, while writing, a new and thrilling relationship would spring up under the drive of emotion, coalescing and telescoping alien facts into a known and felt truth. That was the deep fun of the job: to feel within my body that I was pushing out to new areas of feeling, strange landmarks of emotion, tramping upon foreign soil, compounding new relationships of perceptions, making new and—until that very split second of time!—unheard-of and unfelt effects with words. It had a buoying and tonic impact upon me; my senses would strain and seek for more and more of such relationships; my temperature would rise as I worked. That is writing as I feel it, a kind of significant living.

  The first draft of the novel was written in four months, straight through, and ran to some 576 pages. Just as a man rises in the mornings to dig ditches for his bread, so I’d work daily. I’d think of some abstract principle of Bigger’s conduct and at once my mind would turn it into some act I’d seen Bigger perform, some act which I hoped would be familiar enough to the American reader to gain his credence. But in the writing of scene after scene I was guided by but one criterion: to tell the truth as I saw it and felt it. That is, to objectify in words some insight derived from my living in the form of action, scene, and dialogue. If a scene seemed improbable to me, I’d not tear it up, but ask myself: “Does it reveal enough of what I feel to stand in spite of its unreality?” If I felt it did, it stood. If I felt that it did not, I ripped it out. The degree of morality in my writing depended upon the degree of felt life and truth I could put down upon the printed page. For example, there is a scene in Native Son where Bigger stands in a cell with a Negro preacher, Jan, Max, the State’s Attorney, Mr. Dalton, Mrs. Dalton, Bigger’s mother, his brother, his sister, Al, Gus, and Jack. While writing that scene, I knew that it was unlikely that so many people would ever be allowed to come into a murderer’s cell. But I wanted those people in that cell to elicit a certain important emotional response from Bigger. And so the scene stood. I felt that what I wanted that scene to say to the reader was more important than its surface reality or plausibility.

  Always, as I wrote, I was both reader and writer, both the conceiver of the action and the appreciator of it. I tried to write so that, in the same instant of time, the objective and subjective aspects of Bigger’s life would be caught in a focus of prose. And always I tried to render, depict, not merely to tell the story. If a thing was cold, I tried to make the reader feel cold, and not just tell about it. In writing in this fashion, sometimes I’d find it necessary to use a stream of consciousness technique, then rise to an interior monologue, descend to a direct rendering of a dream state, then to a matter-of-fact depiction of what Bigger was saying, doing, and feeling. Then I’d find it impossible to say what I wanted to say without stepping in and speaking outright on my own; but when doing this I always made an effort to retain the mood of the story, explaining everything only in terms of Bigger’s life and, if possible, in the rhythms of Bigger’s thought (even though the words would be mine) Again, at other times, in the guise of the lawyer’s speech and the newspaper items, or in terms of what Bigger would overhear or see from afar, I’d give what others were saying and thinking of him. But always, from the start to the finish, it was Bigger’s story, Bigger’s fear, Bigger’s flight, and Bigger’s fate that I tried to depict. I wrote with the conviction in mind (I don’t know if this is right or wrong; I only know that I’m temperamentally inclined to feel this way) that the main burden of all serious fiction consists almost wholly of character-destiny and the items, social, political, and personal, of that character-destiny.

  As I wrote I followed, almost unconsciously, many principles of the novel which my reading of the novels of other writers had made me feel were necessary for the building of a well-constructed book. For the most part the novel is rendered in the present; I wanted the reader to feel that Bigger’s story was happening now, like a play upon the stage or a movie unfolding upon the screen. Action follows action, as in a prize fight. Wherever possible, I told of Bigger’s life in close-up, slow-motion, giving the feel of the grain in the passing of time. I had long had the feeling that this was the best way to “enclose” the reader’s mind in a new world, to blot out all reality except that which I was giving him.

  Then again, as much as I could, I restricted the novel to what Bigger saw and felt, to the limits of his feeling and thoughts, even when I was conveying more than that to the reader. I had the notion that such a manner of rendering made for a sharper effect, a more pointed sense of the character, his peculiar type of being and consciousness. Throughout there is but one point of view: Bigger’s. This, too, I felt, made for a richer illusion of reality.

  I kept out of the story as much as possible, for I wanted the reader to feel that there was nothing between him and Bigger; that the story was a special première given in his own private theater.

  I kept the scenes long, made as much happen within a short space of time as possible; all of which, I felt, made for greater density and richness of effect.

  In a like manner I tried to keep a unified sense of background throughout the story; the background would change, of course, but I tried to keep before the eyes of the reader at all times the forces and elements against which Bigger was striving.

  And, because I had limited myself to rendering only what Bigger saw and felt, I gave no more reality to the other characters than that which Bigger himself saw.

  This, honestly, is all I can account for in the book. If I attempted to account for scenes and characters, to tell why certain scenes were written in certain ways, I’d be stretching facts in order to be pleasantly intelligible. All else in the book came from my feelings reacting upon the material, and any honest reader knows as much about the rest of what is in the book as I do; that is, if, as he reads, he is willing to let his emotions and imagination become as influenced by the materials as I did. As I wrote, for some reason or other, one image, symbol, character, scene, mood, feeling evoked its opposite, its parallel, its complementary, and its ironic counterpart. Why? I don’t know. My emotions and imagination just like to work that way. One can account for just so much of life, and then no more. At least, not yet.

  With the first draft down, I found that I could not end the book satisfactorily. In the first draft I had Bigger going smack to the electric chair; but I felt that two murders were enough for one novel. I cut the final scene and went back to worry about the beginning. I had no luck. The book was one-half finished, with the opening and closing scenes unwritten. Then, one night, in desperation—I hope that I’m not disclosing the hidden secrets of my craft!—I sneaked out and got a bottle. With the help of it, I began to remember many things which I could not remember before. One of them was that Chicag
o was overrun with rats. I recalled that I’d seen many rats on the streets, that I’d heard and read of Negro children being bitten by rats in their beds. At first I rejected the idea of Bigger battling a rat in his room; I was afraid that the rat would “hog” the scene. But the rat would not leave me; he presented himself in many attractive guises. So, cautioning myself to allow the rat scene to disclose only Bigger, his family, their little room, and their relationships, I let the rat walk in, and he did his stuff.

  Many of the scenes were torn out as I reworked the book. The mere rereading of what I’d written made me think of the possibility of developing themes which had been only hinted at in the first draft. For example, the entire guilt theme that runs through Native Son was woven in after the first draft was written.

  At last I found out how to end the book; I ended it just as I had begun it, showing Bigger living dangerously, taking his life into his hands, accepting what life had made him. The lawyer, Max, was placed in Bigger’s cell at the end of the novel to register the moral—or what I felt was the moral—horror of Negro life in the United States.

  The writing of Native Son was to me an exciting, enthralling, and even a romantic experience. With what I’ve learned in the writing of this book, with all of its blemishes, imperfections, with all of its unrealized potentialities, I am launching out upon another novel, this time about the status of women in modern American society. This book, too, goes back to my childhood just as Bigger went, for, while I was storing away impressions of Bigger, I was storing away impressions of many other things that made me think and wonder. Some experience will ignite somewhere deep down in me the smoldering embers of new fires and I’ll be off again to write yet another novel. It is good to live when one feels that such as that will happen to one. Life becomes sufficient unto life; the rewards of living are found in living.