Dickhut 1

Elizabeth Dickhut
490 English Capstone
2/12/2015
Final
Economic Plight and Passion: Biggers Black Bias
Goddammit, Im always broke!... (Wright 17). Bigger Thomass exclamation, within
the context of Richard Wrights Native Son, takes a serious and sinister tone. Wright perpetuates
economic oppression as the root of persistent and enduring social determinism through his
characters dynamic interactions involving racial tension. Native Son opens on Bigger Thomas
and his black family, Ma Thomas, sister Vera, and brother Buddy. In describing their setting, a
dank hovel, Wright already begins to convey a critique of environment as influential to
temperament and emotional response. In a stark, black and white comparison, the white Dalton
family is introduced. While topically the Daltons seem to be sympathetic to the black plight, their
actions lack conviction, apathetically doing the bare minimum when it is within their grasp to
start revolutionary change. Mary, their daughter, seems to be involved with the Communist party,
though her interest is more self-serving and shallow. These three groups, black, white, and
Communist, can be seen in juxtaposition as the marginalized outcasts, dominant society, and the
dangerous middle ground between the two. Wrights Native Son argues that Bigger Thomass

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individual struggle is rooted in a racially biased environment and menial job, which results in his
inescapable fate of oppression as caused by social determinism through economic disparity.1
Native Son is the pathetic story of Bigger Thomas. Published in 1940 and based on the personal
experiences of Wright, Bigger Thomas finally came to life after Wright relocated to Chicago
(Wright xiv). A dramatic scene with a rat in the room that the Thomass live in opens the book.
From there, Wright traces the life of Bigger through his black friends, interactions with his
family, and Bessie, his girl. A job placement agency arranges for Bigger to interview with the
Daltons for a chauffeur position, throwing him into direct contact with the white world. Through
this work he confronts communism, specifically Jan, a white activist. Due to the illicit love
interest between Mary and Jan, Bigger winds up accidentally suffocating a drunk Mary in an
attempt to avoid a rape scandal and, to elude detection, chops her up with an ax and attempts to
burn her body in a furnace. This leads to an investigation riddled with false accusations,
misinterpretations due to stereotypes, the eventual manhunt and capture of Bigger, as well as a
dramatic trial and sentencing.
To fully understand the literary implications of these plot points, as well as their relation
to economic oppression and recurring social determinism, it is important to analyze the historical
context from which Native Son developed. Critic Keneth Kinnamon focuses on the historical,
1 In order to understand the intricate balance of economics, environment, and social determinism, a concrete
meaning of dominant society is necessary for the sake of analysis. Literary critic Aime Ellis, in her article Where Is
Biggers Humanity? Black Male Community In Richard Wrights Native Son analyzes the humanity of Bigger,
especially in relation to an extremely racist society and the fear which was inspired in the black male community.
Within this context she defines dominant white society through the black perspective, giving a key definition from
the view of the marginalized rather than those in power. a society in which black men are prevent[ed] from
realizing their full potential as human beings and exclude[d] from full and equal participation in civil and political
society (Ellis 27). Here, Ellis isnt necessarily specific about physical characteristics of the dominant society.
This is important because the culture is that of being, so characters might subscribe to the ideal without actually
fitting the stereotypical description. This is the basis of the dominant society within Native Son and the environment
that Bigger must contend. He and his black brethren are unable to reach their potential, as seen through their
playing white and daydreaming about impossible opportunities (Wright 19-22). Furthermore, blacks arent even
seen as human beings, so therefore they are excluded and oppressed from almost every aspect of society, which also
important because, due to gender bias, Bigger is the sole supporter of his family.

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social, and political accuracy of Native Son and how Wright uses personal experiences to narrate
an accurate story of the Bigger stereotype. Specifically, the court case of two black men, Robert
Nixon and Earl Hicks, was crucial in developing the media material, like the newspaper stories,
within Native Son. Also, Kinnamon emphasizes the importance of Wrights affiliation with the
Communist party as directing his social and political critique of the society where Bigger exists.
In his article about Native Son he brings to light two crucial elements when discussing Bigger
Thomas. First, like Wright himself notes, Bigger is an amalgam of a variety of black stereotypes.
Second, Kinnamon analyzes Wright in the context of racism and prejudice. In relation to
stereotypes Bigger Thomas is a conscious composite portrait of a number of individual
Negroes Wright had observed over the years (Kinnamon 88). Bigger, therefore, is
comprehensive representative of a black community trapped by white prejudice, which causes
economic disparity and determines social stigmas.
Understanding social stigmas can help unfold the compacted relationship between
communism and Bigger. Kinnamon argues that As a fervent party member, Wright maintained a
thoroughly communistic point of view in Native SonHe equates racial and class prejudice,
both being based on economic exploitation (93). Synthesizing race and class structure can
revolutionize the understanding of economics and society. Biggers fate of economic oppression
is permanently decided due to his status in society as a black male, demoting him to a lower,
criminal class. The permanency of this status is due to white societal racism which prevents
economic ascension. Max, Biggers attorney, highlights this perception in his defense of Bigger:

Excluded from, and unassimilated in our society, yet longing to gratify impulses akin to
our own but denied the objects and channels evolved through long centuries for their

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socialized expression, every sunrise and sunset made him guilty of subversive actions
His very existence is a crime against the state!. (Wright 367)

Unlike most members of the dominant culture, Max does not blame Bigger for his criminal
status, but rather explains it as an unfortunate natural development due to oppression. Bigger has
been victimized by society and circumstances forced upon him rather than being a criminal due
to nature. Juxtaposed with Max, the negative preconceived notions of Biggers criminal standing
can be seen in Britten, the private investigator, and his search for Mary Dalton after her
disappearance. When Bigger is questioned, the only time Britten believes him is when Mr.
Dalton vouches for him: O.K.If you say hes O.K., then its O.K. with me (Wright 153).
Regardless of what Bigger says, Britten disregards his claims until a white male of high social
standing speaks and reiterates what Bigger says, which is a direct result of societal racism.
Britten follows up his intimidation of Bigger with a conversation with Mr. Dalton and says
Well, you see em one way and I see em another. To me, a niggers a nigger (Wright 154).
Brittens crass language and flippant dismissal of Bigger as a person represents an attitude of
class prejudice that relates back to societal racism and economic subjugation. Only prosperous
white men can speak the truth; black men cannot be trusted due to their practically criminal
standing within dominant society. Biggers fate is inescapable economic oppression, meaning he
will always be cursed to his standing as a broke, black man in a society that is predetermined due
to white societal racism.
Biggers permanent fate, as seen in a cyclical dance between social and economic factors,
is heightened by the intertwining of dominant white society, the black ghetto, and the Communist
party. In order to further examine this, however, understanding the impact of race on overall

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community is important. Critic Isabel Soto analyzes the dynamic use of race, space, and social
determinism within Native Son. She separates culture into three spheres that develop within the
dominant society: a space for whites, a place for blacks, and a No Mans Land encompassing
the treacherous gap between the two. This black, white, and middle layout of Native Son makes
the concept of an interracial mix not feasible, which Bigger Thomas acknowledges. Society also
accepts this concept because it is economically supported by a racial line (Soto 24-5). In
relation to this line, Soto argues that In terms of the novels seamless determinism, the power
dynamic encoded in these spatial arrangements points to a tautology: Bigger is doomed whatever
space he occupies, because it is space itself which shapes and limits his agency (26). This
explains the paradox that resides within dominant society in Native Son. Biggers space
controls him and dooms him, which is overt white oppression. Society and the economic system,
then, controls the physical living conditions of Bigger, but more importantly his predetermined
fate within dominant society.
This spatial understanding can be seen through a trapped Bigger, which shows his lack of
control because having space means power. This is seen quite basically in the sharp contrast
between the black ghetto where Bigger dwells and the pristine neighborhood of the Daltons.
The houses he passed were huge; lights glowed softly in windowsThis was a cold and distant
world; a world of white secrets carefully guarded. He could feel a pride, a certainty, and a
confidence in these streets and houses (Wright 45). While spatial alignment can be seen in the
subtle nuances of Wrights writing, here the contrast is blatant. The appearance of the white
neighborhood is in direct contrast to the narrow space, rat-infested, one room that four Thomas
family members are forced to share (Wright 1). The Thomas family hovel is even dehumanized

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further by having to share their abode with rodents. Biggers environment is barely livable, while
the Daltons, and their white neighbors, have space, dignity, and power.
The spaces and social determinism within Native Son directly relates to the setting and
environment of the novel. Joyce Ann Joyce, in her book Richard Wrights Art of Tragedy
analyzes Native Son as a tragedy and how it fulfills the original requirements of Aristotle. Her
analysis, however, provides essential insight in understanding Biggers environment, specifically
through her focus on the novels setting. Joyce argues that the environment has a crucial impact
on the development of Bigger, more so than a simple naturalistic perspective (30). Besides this,
the extreme power that white people have over the black community affects both attitudes on
each side of the color line. Joyce then goes on to further unpack the irony that resides within
Biggers character, as well as in various plot points and overarching themes by remarking that
The white world view forbids Bigger, a native son, to expand beyond the social, economic,
and political limits of his Black community (Joyce 32-3). From the beginning, Bigger is limited
to a select community within dominant society. Since he cannot grow in any public sphere,
Bigger is limited to interior personal development. However, regardless of how he changes he is
still limited to his Black community, which is synonymous with poverty, crime, and second
class citizenship.
Also recurring throughout the article is an emphasis on the importance of environment
and its direct impact on Biggers actions. Joyce denotes the first section of the book, Fear, as
serving to introduce the environmental forces that have already shaped Biggers life when the
novel opens (35). She then goes on to explain these forces and their effect on the overall theme
of the novel, arguing that The essence of Native Son is that social, economic, and political
practices of segregation foster demeaning, destructive psychological attitudes that imbue the

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personalities of both Wrights Black and white characters (Joyce 30). Since Bigger is already
preemptively shaped by his environment, escaping the innate economic oppression and social
racism is virtually impossible. These factors then directly impact the individual and mental
development of Bigger, making his fate further inescapable. Specifically, Joyce means that His
[Biggers] pride or indignation motivates him to refuse submission first to economic and social
oppression and later to psychological oppression (45-6). Internally and externally Bigger
attempts to fight the crushing oppression and racism from the dominant society. This struggle,
however, just further seals his fate of oppression, and ultimately death.
Biggers struggles, mentally and physically, further depict him as the embodiment of all
black society, which also adds to the argument for economic oppression as the root of social
determinism. Through his lack of opportunities in mainstream society, Bigger is marginalized
and forced to entertain two precarious options: participating in criminal activities and working a
redundant job. Biggers illicit past, along with his stint at reform school, affects his ability to gain
employment and draws him back into the life of crime, while simultaneously portraying him as a
stereotypical black in a dominant white society. Within this choice, racial boundaries and tension
also affect his choices and interaction with the dominant society. When Bigger sees a
disapproving white politician on a condemning poster that says IF YOU BREAK THE LAW,
YOU CANT WIN! his reaction summarily describes the state of society (Wright 16). You
crook, he mumbled, shaking his head. You let whoever pays you off win! (Wright 16-7). Here
Wright argues that winning is synonymous with being successfully assimilated into the white
dominant society. However, due to the color of his skin, part of Biggers inescapable fate is to
never be accepted in the desired society while simultaneously being oppressed by accepted white
members. Biggers comment then makes the claim that those who have the financial means are

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able to buy their way into society. Due to poverty, however, Bigger and most of black society are
precluded from this easier, cheat into dominant society.
Money also causes a divergence in actions and ideals for Bigger. His lack of formal
education leads to confusion and hate of Jan and Mary, but Bigger also doesnt necessarily want
the same equal society that communists crave. Bigger just wants to be rich, a value he developed
due to his lack of power through his impoverished economic situation. This ideal is also
reinforced through white intervention, and the power that comes with wealth. With financial
prosperity comes social transcendence, or the ability to rise out of his current situation and gain
power over his own fate. This desire is released through Biggers sexual passions and attitude
towards Bessie. Money allows Bigger financial, and therefore sexual, control over Bessie, which
is a microcosm of the Biggers overarching struggle within society:

She tried to turn from him, but his arm held her tightly; she lay still, wimpering. He heard
her sign, a sigh he knew, for he had heard it many times before; but this time he heard in
it a sigh of deep down beneath the familiar one, a sign of resignation, a giving up, a
surrender of something more than her body. (Wright 219)
In monetary terms, Bigger is the Bessie of white society. Bigger is caught in a torrid, inescapable
embrace with white society. Due to the Daltons and communism being constantly forced upon
him, he has surrendered his body and individual identity to outside influence.
Communism, and the Communist Party, play an important role within Native Son and
serve as a foil for both Bigger and the Daltons, as well as an argument for economic equality as
the solution for racial disparity and the promotion of social equality. Jan Erlone, Mary Daltons
somewhat boyfriend and active member of the Communist Party, serves as representative for the

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communist attitudes towards the black community. Like Mr. Daltons platitudes, Jans words are
grandiose and inspiring. What a world to win, Bigger! And when that day comes, thingsll be
different. Therell be no white and no black; therell be no rich and no poor (Wright 69).
Intellectually, Jans beliefs reflect a society where racial tension, economic disparity, and social
determinism would be nonexistent. This, however, is a problem. Due to a lack of formal
education, and therefore intellectual formation, emotions and actions influence Bigger more than
impressive, revolutionary social theory. This is seen through the emotional turmoil Bigger
experiences in the car with Jan and Mary: He felt naked, transparent; he felt that this white man,
having helped to put him down, having helped to deform him, held him up now to look at him
and be amused. At that moment he felt toward Mary and Jan a dumb, cold, and inarticulate hate
(Wright 68). Bigger doesnt understand their words and subsequent actions, which causes him to
project his tumultuous emotions upon the cause of his agony. He hates them and doesnt know
why, mostly due to his inability to grasp their intellectual ideals of equality and racial
indifference.
Furthermore, communism is enhanced, or inhibited, in Native Son through individual
interpretation and personal schemas. Paul Siegel, in The Conclusion of Richard Wrights Native
Son, shows how critics and readers alike dont actually understand the conclusion because of
being influenced by preconceived notions and insinuating personal understandings in Wrights
writing. For example, the communist propaganda, especially Maxs speech, isnt necessarily
direct theory from the Party. Critics, however, make assumptions and read Native Son with
extreme Marxist overtones when those innuendos arent necessarily there. This directly relates to
Bigger: he is not the epitome of black society, but rather a conglomerate. Therefore, his thoughts

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and emotions do not directly align with Communist party doctrine, and critics and readers
shouldnt attempt to insinuate meaning that just simply isnt present.
Misinterpreting Bigger and Native Son, especially in relation to communism, is one
concern of critic Donald Gibson, who is concerned that readers dont actually see the real
Bigger Thomas. In the final section of the book, the real focus should be on Biggers struggle
with himself and his death, versus communism, the trial, and Maxs eloquent speech to the jury.
Biggers problem is very individualized and needs to be controlled and solved by himself. In
understanding this, Bigger is able to accept his previous actions, therefore accepting his fate.
However, there are almost two different Bigger characters within the book: the individual and the
ideal. Max, in his courtroom speech, focuses on the ideal, the stereotype, the theory. Bigger,
however, is focused on individual acceptance and reality. So the emphasis is not just Bigger as a
social sterotype, but rather as an individual and a human. While this isnt necessarily a
contradiction of the social argument of Bigger, it is an important viewpoint to keep in mind when
attempting to fully understand the plot and representation of the characters, especially Bigger:
The point is that Bigger, through introspection, finally arrives at a definition of self which is his
own and different from that assigned to him by everyone else in the novel (Gibson 96). Bigger,
as the representation of the black community, is interpreted and understood differently by a
variety of characters. His mother sees him as a danger and a failure, Jan and Mary view him as a
comrade to be mobilized and used, while Mr. and Mrs. Dalton, and most of the white
community, judge Bigger as an unintelligent, menial servant. Throughout Native Son even
Bigger is confused by his identity and role within society. However, at the end, like Gibson
argues, Bigger is able to look into himself and essentially become human. Through this journey

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he must simultaneously embrace his stigma and search introspectively in order to find his own
humanness in a society that rejects him.
While the Communist Party, represented by Jan, may have affected Bigger, the more
influential, and therefore detrimental, relationship was that of Bigger and his environment. Jan
Erlone is not the only man whos influenced Bigger Thomas! There were many other before him.
I have as much right to determine what effect their attitude has had upon conduct as you had to
determine what Jan Erlones had! (Wright 303). Due to crippling financial difficulty and
uncompromising physical conditions, Biggers personal attitudes and actions had been
determined for him. Max argues that Mr. Dalton is the indirect culprit in this scenario and
therefore Bigger shouldnt be held responsible for his actions and tries to lay the blame of Mary
Daltons death on her parents. The Daltons, in direct contrast to Bigger and his struggle with
social roles and self-identity, are very static and predictable with their interactions and attitudes
towards society. White apathy is reflected within their paradoxical actions. The Daltons are
willing to create a useless job to help one black man while refusing to reduce rent and increase
the state of living within the black ghetto that Mr. Dalton indirectly owns.
Max extricates this central theme in his line of questioning in Biggers trial: Now, Mr.
Dalton, it has been said that you donate millions of dollars to educate Negros. Why is it that you
exact an exorbitant rent of eight dollars per week from the Thomas family for one unventilated,
rat-infested room in which four people eat and sleep (Wright 302). While Mr. Dalton flounders
with this accusation, the reader is left with the impression that wealthy members of society are
almost able to choose which black citizens are given the opportunity to better themselves due to
financial backing. Mr. Dalton is perfectly willing to funnel money and give millions to help
Negroes, yet only those that meet certain requirements (Wright 303). Bigger, with his criminal

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past and lack of education, would be unable to meet those requirements and therefore lacks the
economic means to rise above his menial position determined by society. Mr. Dalton claims that
he wants to see them [Negroes] have a chance but his actions directly contradict his warm
platitudes (Wright 304).
This paradoxical attitude of the Daltons also dramatically affects the overall humanity of
Bigger Thomas and his struggle to be recognized while constantly being oppressed. The struggle
is caused by extreme white racism and characterized by terror. Critic Aime Ellis assesses this
fight within Bigger and also looks to define humanity. Some critics define human as simply
acts of goodness, but Ellis dives further into the issue by analyzing rage, opposition, and the
effect of the racist society that Bigger is forced to live in. She argues that [critic] Butler does
not appreciate the full extent to which Biggers entire life is shaped by and in struggle against a
racist society. In effect, he attempts to assess Biggers humanity in spite of rather than as
inextricably tied to the sociohistorical, political, and economic context that bore him (Ellis 26).
The argument here is, in effect, that the nurturing environment of Bigger Thomas is inescapably
intertwined with his nature. Therefore, since the dominant society is completely biased against
him, Biggers basic humanity is negatively influenced, furthering the prevalent stereotype of
poor urban black males as irresponsible, savagely immoral, and inhumane (Ellis 24). This
extreme racism directly oppresses Bigger, socially and economically, alienating him from his
own humanity and that of others, while reinforcing the concept of determinism by fulfilling
within Bigger the black male stereotype.
This further draws the color line between the black outcasts and the white dominant
society. Paul Siegel furthers the discussion about the color line and groups by looking at
oppression and the effects of the growth of these emotions. He observes that This fact of life is a

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system of oppression squeezing down upon millions of people. These millions can be stunted,
but they cannot be stamped out. And as oppression grows tighter, guilt, fear, and hatred grow
stronger on both sides (Siegel 109). Essentially the system is dominant white society in Native
Son oppressing an entire race of people, or the black community. This system naturally furthers
racial tensions and hatred while slowly becomes ingrained and self-perpetuated on both sides.
Max highlights this relationship in his infamous closing argument in Biggers defense. The hate
and fear which we have inspired in him, woven by our civilization into the very structure of his
consciousness, into his blood and bones, into the hourly functioning of his personality, have
become the justification of his existence (Wright 366-7). The prevailing civilization, mainly the
dominant white society, has reshaped Biggers life through a system of oppression. While this is
definitely seen through Biggers actions, the reverse is then white perception of the black
community. As dominant society suppresses Bigger, his existence becomes an expression of fear
and hate that then reinforces the negative perception of the white community. Biggers
inescapable economic oppression, then, is a natural effect of oppression which simultaneously
determines his standing within society.
A dichotomy present, however, is the interference of whites into the black sphere of
society, mainly through activist movements. This essentially harms the development of
individuality of black individuals due to white influence. Mr. Dalton, a wealthy white lessor,
hires Bigger solely due to involvement with a black activist group. You see, Bigger, Im a
supporter of the National Association for the Advancement of Colored People (Wright 54-5).
While the NAACP was instrumental in a number of racial lawsuits and the development of civil
rights, in the case of Mr. Dalton, he invents a conciliatory job to fulfill a requirement for being
involved in black activism. Biggers job as chauffer is essentially unnecessary, which is seen

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when he becomes a bystander while a white person does his job for him. Let me drive awhile,
Jan saidHe [Bigger] slid over and Jan took his place at the wheel. He was still feeling his hand
strangely; it seemed that the pressure of Jans fingers had left an indelible imprint (Wright 68).
Bigger is irreversibly marked by Jans interference in his life, as well as Mr. Daltons well-meant
meddling. Starting with his irrelevant job as chauffer, Biggers character is affected by the
tension of racial balance and the disunity that the paradox of his position brings. Dominant
society has been consistently telling him that interference in the white world is taboo, yet two
white men are forcing this interaction upon him. This intervention causes Bigger to lose his
tenuous hold upon reality and forces him to grapple with his self-identity and role within
dominant white society.
This juxtaposition is clearly seen in the poster Bigger sees early in the book, which serves
as a warning to those with the intent of harming white citizens. Race does effect the choices of
Bigger and his gang, and greatly influences their activities. Crime against their own kind is
accepted and unpunished. Acting against a white member of society, however, is unthinkable,
reprehensible, and punishable by the full force of the (white) law:

They had the feeling that the robbing of Blums would be a violation of ultimate taboo; it
would be a trespassing into territory where the full wrath of an alien white world would
be turned loose upon them; in short, it would be a symbolic challenge of the white
worlds rule over them; a challenge which they yearned to make, but were afraid to.
(Wright 17-8)

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The language of Bigger, like the use of taboo and alien, shows the mystical abnormal quality
of black interaction within the white world. It is almost inconceivable for Bigger to attempt to
break through the racial barrier. He sees this societal blockade, however, as a challenge to thwart
white authority and to assert his black power and dominance through violence and crime.
Besides racial barriers, the constructs of gender are also critically important in Native
Son. The deaths of Mary Dalton and Bessie are both more than basic plot points: the events
outline racial struggle and archetypes present within dominant society. While most conversation
about the female characters in Native Son revolves around sex, understanding Mary and Bessie
from a social perspective dynamically furthers analysis of all the characters. Critic Maria Mootry
looks at this aspect of gender in Wrights work, but further expands by applying her discussion to
archetypes. Essentially, Mary and Bessie are symbolic but their overall purpose cannot be
understood until the conversation includes Bigger: Like Mary Dalton, in death Bessie is more
meaningful to Bigger than in life. Biggers triumph over his oppression and his transformation to
a conscious hero is catalyzed by contemplating what Bessies life meant (Mootry 127). Killing
is almost necessary in Native Son for the plot to move forward, but these events are just catalysts.
Biggers reaction and development as an individual after the deaths is critical. While socially and
economically his role is predetermined, individually Bigger can escape this cycle. Mary and
Bessie allow him to advance intellectually and transform his awareness of the dominant society
he resides in. Bigger feels the overpowering influence of white society in his life during the
exhibition of Bessies body at his court trial: but even after obeying, after killing, they still
ruled him. He was their property, heart and soul, body and blood; what they did claimed every
atom of him, sleeping and waking; it colored life and dictated the terms of death (Wright 307).
In the juxtaposition of Bessie and Mary, Bigger is able to grasp the complex dialogue between

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race, murder, and oppression. Bessies body is the trigger for Biggers insight, due to the fact that
she is just used in the trial as merely evidence to his crimes, building up the case for the
white Mary Daltons murder (Wright 307).
Analyzing the female characters, specifically Bessie and Mary Dalton, actually helps to
further understand Bigger and the impact of economics and society. While Wrights treatment of
women in Native Son can be shocking, generally their overarching meaning is more important
than the individual character:
However brutal and unfair to women (and to our idea of love) Wright seems to be, we
must accept his treatment of the relations between men and women for what it is: a
metaphor for the struggle of an oppressed people to deal with history with dignity and
meaning, a vision that for all of its rigid compartmentalization into bitches, whores, and
woman-haters offers a painful and powerful truth of our history which should never be
blotted out. (Mootry 127)
Essentially, Mootry is arguing that within fictional representation is an important thread of truth
that relates actual social critique. In Native Son, the fiction would be the characters. Their
archetype, however, is the critical history that shouldnt be forgotten. Bigger is a synthesis of all
the black stereotypes or ideals within dominant society. Mary Dalton represents white
womanhood and Marxist politics, two taboos for black men (Mootry 125). Mary is essentially
the complex relationship between the white world and political ideologies, upsetting social roles
and confusing to the uneducated. Bessie is somewhere between the two, a black woman in a
male dominated, racist society, serving as a foil. Her fight against Bigger highlights aspects of
his struggle against society. This character analysis directly relates to economic oppression and

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racism within society. Wrights archetypal characters, while maybe slightly overdramatized,
outline racism and oppression that has historically, and currently, existed within the dominant
society. Bigger recreates himself through crime, though a stereotypical action, leads to
development of his individuality while simultaneously sealing the permanency of his fate.
Biggers individual recreation is essentially his struggle against dominant society and the
reoccurring determinism through economic subjugation. As a synthesis of all black archetypes he
represents the fight against the ideologies of the dominant society. In Native Son this effort,
however, is futile due to lack of economic power, as well as white apathy seen through
misguided effort and useless platitudes. Biggers external environment and menial work, as well
as gender stereotypes, further reinforce the cycle of social determinism. While communism plays
an important role, the comfort of their theories does not actively help Bigger or the black
community. Together, the representation of the black community through Bigger, the dominant
white society, communism, and gender influences as portrayed by Mary Dalton and Bessie
demonstrate why Richard Wright transcends boundaries. Mootrys observation that fictional
representation reflects important historical context exhibits the contemporary significance of
Native Son. Ignoring the social critique within the book will simply further the archetypal
understanding of the black community by the dominant society. This then leads to severe
consequences, like a continuation of social determinism as caused by economic disparity. By
broadening literary academic studies to engulf this challenging genre of literature, the misguided
understanding can be stymied and the dominant culture will encapsulate all, leading to the
development of new rhetoric and allowing for personal development and transcendence from
socially determined positions.

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Works Cited
Ellis, Aime J. Where Is Biggers Humanity? Black Male Community In Richard Wrights
Native Son. Anq 15.3 (2002): 23. Academic Search Complete. Web. 12 Oct. 2014.
Gibson, Donald B. Wrights Invisible Native Son. Richard Wright: A Collection of Critical
Essays. Eds. Richard Macksey and Frank E. Moorer. Englewood Cliffs, NJ: PrenticeHall, 1984. 95-105. Print.
Joyce, Joyce Ann. Setting and Structure: The Cosmology of Biggers World. Richard Wrights
Art of Tragedy. Iowa City: University of Iowa Press, 1986. 29-51. Print.
Kinnamon, Keneth. Native Son: The Personal, Social, and Political Background. Richard
Wright: A Collection of Critical Essays. Eds. Richard Macksey and Frank E. Moorer.
Englewood Cliffs, NJ: Prentice-Hall, 1984. 87-94. Print.
Mootry, Maria K. Bitches, Whores, and Woman Haters: Archetypes and Typologies in the Art of
Richard Wright Richard Wright: A Collection of Critical Essays. Eds. Richard Macksey
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