Native Son:Character Actions Defines Their Individual
Richard Wright’s novel, Native Son, consisted of various main and
supporting character to deliver an effective array of
personalities and expression.Each character’s actions defines
their individual personalities and belief systems.The main
character of Native Son, Bigger Thomas has personality traits
spanningvarious aspect of human nature including actions
motivated by fear, quick temper, and a high degree of
intelligence. Bigger, whom the novel revolves around, portrays
various personality elements through his actions.
Many of his action suggest an overriding response to fear, which
stems from his exposure to a harsh social climate in which a clear
line between acceptable behavior for white’s and black’s exists.
His swift anger and his destructive impulses stem from that fear
and becomes apparent in the opening scene when he fiercely attacks
a huge rat. The same murderous impulse appears when his secret
dread of the delicatessen robbery impels him to commit a vicious
assault on his friend Gus.Bigger commits both of the brutal
murders not in rage or anger, but as a reaction to fear.His
typical fear stems frombeing caught in the act of doing
something socially unacceptable and being the subject of
punishment.Although he later admits to Max that Mary Dalton’s
behavior toward him made him hate her, it is not that hate which
causes him to smother her to death, but a feeble attemptto evade
the detection of her mother.The fear of being caught with a
white woman overwhelmed his common sense and dictated his
actions.When he attempted to murder Bessie, his motivation came
from intense fear of the consequences of “letting” her live.
Bigger realized that he could not take Bessie with him or leave
her behind and concluded that killing her could provide her only
The emotional forces that drive Bigger are conveye…
Native Son
Right from the start, Bigger Thomas had been headed for jail. It could have been for assault or petty larceny; by chance, it was for murder and rape. Native Son tells the story of this young black man caught in a downward spiral after he kills a young white woman in a brief moment of panic. Set in Chicago in the 1930s, Wright’s powerful novel is an unsparing reflection on the poverty and feelings of hopelessness experienced by people in inner cities across the country and of what it means to be black in America.
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