Boys in the Hood

Black Male Community in Richard Wright's Native Son

Dados Bibliográficos

ID3217110
AutoresAime J Ellis (autor correspondente)
Ano2006
Volume29
Fascículo1
Páginas182-201
Data de publicação2006-01-01
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoCallaloo (JOURNAL)
Identificadores do periódicoISSN: 0161-2492 • E-ISSN: 1080-6512
EditoraProject MUSE (PUBLISHER • US)
DOI10.1353/cal.2006.0051
OpenAlexW2004917562
IdiomaEN
Citações recebidas1
Referências citadas25

"Boys in the Hood":Black Male Community in Richard Wright's Native Son Aimé J. Ellis (bio) I When the nineteen-year-old Richard Wright moved from Memphis to Chicago in December of 1927, he arrived to a city that had been acknowledged as a site of great economic possibility and racial refuge for many southern blacks. Indeed, Wright, like so many other young blacks, arrived in the midst of an era of massive migration from the South that saw Chicago's black population increase from 44,103 in 1910 to 109,458 in 1920 to 233,903 in 1930 (Drake and Cayton 8).1 Many of these blacks left the South to escape the legal apartheid of Jim Crow life; however, it was the yearly onslaught of diminishing agricultural returns caused by drought as well as by the destructive boll weevil in the fields of the Mississippi Delta that effectively galvanized the majority of migrating blacks to embark upon the mass exodus to the North. And while many black tenant farmers and sharecroppers submitted to the idea of remaining in the South despite economic hardships, large numbers of blacks saw life in the industrializing North as a movement toward economic autonomy and political liberation. Moreover, with the brutal advent of white mob violence and extralegal lynching at the close of the nineteenth century, blacks were increasingly inclined to equate travel with freedom and to envision flight out of the South as an oppositional act of preserving their humanity.2 But life in the North for poor southern blacks during the 1920s and 1930s was a hard one and, tragically, the hope of racial justice in Chicago and other northern cities during the years of the black migration was undercut by the reality of overcrowded and dilapidated housing, joblessness, and race riots. These hostile circumstances demystified any prospect of the North as a "promised land" and ensured both class and racial division among poor immigrant blacks and city-dwelling whites. Encountering the harsh racism and segregation that would later be theorized as a type of "domestic colonization," the majority of newly arrived blacks found themselves forced into the poorest neighborhoods of Chicago's South Side or what was generally referred to as the Black Belt.3 Indeed, it was precisely this political context of class hostility and racial violence against newly arrived blacks that prompted the novelist Richard Wright to reflect on the personality of this emerging "black underclass."4 A poor southern migrant himself, Wright was uniquely situated to capture the overwhelming fear and frustration among the black urban poor.5 As the author Margaret Walker persuasively asserts in her biography of Wright's life and career: [End Page 182] Who else but a Mississippi boy, who had lived in rural and urban Mississippi and been wounded by the painful sting of white racism, circumscribed and constrained to a poverty-stricken black world of ignorance and superstition, who had observed the weekly Saturday night razor-cutting scrapes and the drunkenness of tortured and powerless black men killing their own and craving to kill the white man whom they blamed for their depth of degradation and racial impotence, who else but a Mississippi black boy could write with such authenticity of the tormented depths in the soul of a black youth? (148) And like Richard Wright, many migrant blacks were outraged by America's social crime against its native sons and daughters. Unable or unwilling to return to the South or to their African homeland,they saw no viable alternative other than to stay put in Chicago and fight—to resist and to challenge, however possible, the dehumanizing racial injustices of white society.6 Describing poor urban black life during the Great Depression of the 1930s, Wright's Native Son (1940) depicts Chicago as a site of extreme racial and political violence. Coupled with severe economic malaise as a result of the stock market crash of 1929, conditions in the world of Wright's protagonist, Bigger Thomas, were largely indicativeof white America's racist and socially Darwinist disregard for black humanity. Indeed, as the literary historian Stephen Michael Best has argued, "One could read causally the relation between declining economic

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