WRIGHT'S DEPICTION OF WOMEN

Wright's Depiction of Women

Wright's Native Son

Reflection of Bigger's mental, emotional, physical and psychological state

Many fascinating characteristics of the new Native Son, by Richard Wright, deduce from the more stages of clash taking position simultaneously in the novel. Bigger Thomas, the principle attribute, is controlled by forces and clashes that he not able to tangibly understand. Bigger's more plays of hostility are, consequently, commanded by the wish for for an personal identity that is solely his and not effected by the clash throughout him. Both the white and pitch black districts have taken him of his personal identity, dignity, and individuality.  On a superficial stage, private clashes develop from, but deeper clashes agreement with run, public position, and political viewpoints move ahead these superficial clashes to their unavoidable fate.

Bigger's family life reasons for clash as well. He is bestowed love, but does not decide to accept it. He is alone. He is isolated from any inkling of human affection. Max advises the court in the terminal journal that "Bigger not able to put to death because he, himself is dead, and is a someone without compassion, or a deep, securing love of family or trust in anything"(Line 407). When he lashes out in hostility, it is, in a way, a explore for what wound him. He wounds other people because it obscures the wound and dread he feels. In the first journal Wright advises the student, "...these were the beats of his life: indifference and violence; intervals of abstract brooding and intervals of forceful wish for, times of peace, times of displeasure - like water receding and outpouring from the apex of a far-away, imperceptible force"(Line 29). These forces that lured Bigger into this heading down spiral were only what he had educated and utilised to his own life. ...