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In the late 1930s, John Steinbeck, Richard Wright, and Ernest Hemingway wrote novels that won critical acclaim and popular success: The Grapes of Wrath, Native Son, and For Whom the Bell Tolls. All three writers were involved with the Left at the time, and that commitment informed their fiction. Milton Cohen examines their motives for involvement with the Left; their novels' political themes; and why they separated from the Left after the novels were published. These writers were deeply conflicted about their political commitments, and Cohen explores the tensions that arose between politics and art, resulting in the abandonment of a political attachment.

This article is a close analysis of Baldwin’s voice in the essay “Notes of a Native Son.” Much has been written about Baldwin’s themes, but without his singular voice, the power of his works would not endure. Through his use of diction, repetition, alliteration and assonance, scene selection, and even punctuation, Baldwin provides the reader with a transformative experience by rendering his own experience accessible. The political and the personal are inextricable, a truth made unavoidable by the way Baldwin writes as much as by the subject he chooses. Examining how he crafts his voice allows us to understand more deeply the power of “Notes of a Native Son.”

In 2015, Chicago became the first city in the United States to create a reparations fund for victims of police torture, after investigations revealed that former Chicago police commander Jon Burge tortured numerous suspects in the 1970s, '80s, and '90s. But claims of police torture have even deeper roots in Chicago. In the late 19th century, suspects maintained that Chicago police officers put them in sweatboxes or held them incommunicado until they confessed to crimes they had not committed. In the first decades of the 20th century, suspects and witnesses stated that they admitted guilt only because Chicago officers beat them, threatened them, and subjected them to \"sweatbox methods.\" Those claims continued into the 1960s. In Robert Nixon and Police Torture in Chicago, 1871–1971, Elizabeth Dale uncovers the lost history of police torture in Chicago between the Chicago Fire and 1971, tracing the types of torture claims made in cases across that period. To show why the criminal justice system failed to adequately deal with many of those allegations of police torture, Dale examines one case in particular, the 1938 trial of Robert Nixon for murder. Nixon's case is famous for being the basis for the novel Native Son, by Richard Wright. Dale considers the part of Nixon's account that Wright left out of his story: Nixon's claims that he confessed after being strung up by his wrists and beaten and the legal system's treatment of those claims. This original study will appeal to scholars and students interested in the history of criminal justice, and general readers interested in Midwest history, criminal cases, and the topic of police torture.

Coinciding with the preparations for the celebration in 2008 of Richard Wright's 100th birthday, this new collection of critical essays on Native Son attests to the importance and endurance of Wright's controversial work. The eleven essays collected in this volume engage the objective of Rodopi's Dialogue Series by creating multidirectional conversations in which senior and younger scholars interact with each other and with previous scholars who have weighed in on the novel's import. Speaking from distant corners of the world, the contributors to this book reflect an international interest in Wright's unique combination of literary strategies and social aims. The wide range of approaches to Native Son is presented in five thematic sections. The first three sections cover aspects such as the historical reception of Wright's novel, the inscription of sex and gender both in Native Son and in other African American texts, and the influence of Africa and of vortical symbolism on Wright's aesthetics; following is the study of the novel from the point of view of its adoption and transformation of various literary genres--the African American jeremiad, the protest novel, the crime novel and courtroom drama, the Bildungsroman, and the Biblical modes of narration. The closing section analyzes the novel's lasting influence through its adaptation to other artistic fields, such as the cinema and song in the form of hip-hop. The present volume may, therefore, be of interest for students who are not very familiar with Wright's classic text as well as for scholars and Richard Wright specialists.

Focusing on innovative works by Woolf, Baldwin, Kingston and Winterson, the author analyzes how they each represent the self as unique, collectively \"other,\" and inclusively human, and how these conflicting aspects of selfhood interact.

Ever since Bessie Smith's powerful voice conspired with the \"race records\" industry to make her a star in the 1920s, African American writers have memorialized the sounds and theorized the politics of black women's singing. InBlack Resonance, Emily J. Lordi analyzes writings by Richard Wright, Ralph Ellison, James Baldwin, Gayl Jones, and Nikki Giovanni that engage such iconic singers as Bessie Smith, Billie Holiday, Mahalia Jackson, and Aretha Franklin. Focusing on two generations of artists from the 1920s to the 1970s,Black Resonancereveals a musical-literary tradition in which singers and writers, faced with similar challenges and harboring similar aims, developed comparable expressive techniques. Drawing together such seemingly disparate works as Bessie Smith's blues and Richard Wright's neglected film ofNative Son, Mahalia Jackson's gospel music and Ralph Ellison'sInvisible Man, each chapter pairs one writer with one singer to crystallize the artistic practice they share: lyricism, sincerity, understatement, haunting, and the creation of a signature voice. In the process, Lordi demonstrates that popular female singers are not passive muses with raw, natural, or ineffable talent. Rather, they are experimental artists who innovate black expressive possibilities right alongside their literary peers. The first study of black music and literature to centralize the music of black women,Black Resonanceoffers new ways of reading and hearing some of the twentieth century's most beloved and challenging voices.

The Great Migration was the most significant event in black life since emancipation and Reconstruction. Passionately Human, No Less Divine analyzes the various ways black southerners transformed African American religion in Chicago during their Great Migration northward. A work of religious, urban, and social history, it is the first book-length analysis of the new religious practices and traditions in Chicago that were stimulated by migration and urbanization. The book illustrates how the migration launched a new sacred order among blacks in the city that reflected aspects of both Southern black religion and modern city life. This new sacred order was also largely female as African American women constituted more than 70 percent of the membership in most black Protestant churches. Ultimately, Wallace Best demonstrates how black southerners imparted a folk religious sensibility to Chicago's black churches. In doing so, they ironically recast conceptions of modern, urban African American religion in terms that signified the rural past. In the same way that working class cultural idioms such as jazz and the blues emerged in the secular arena as a means to represent black modernity, he says, African American religion in Chicago, with its negotiation between the past, the present, rural and urban, revealed African American religion in modern form.

New Essays on Native Son provides original insights into this major American novel by Richard Wright. After an introductory essay by the editor on the conception, composition, and reception of the novel, four leading Afro-Americanists examine various aspects of this classic fictional account of violent life and death in a racist society. John M. Reilly shows how carefully Wright utilises narrative techniques to subvert conventional American racial discourse and to establish the authority and authenticity of the protagonist's voice. Trudier Harris explores some of the social ironies involved in the novel's unfavourable presentation of female characters. Houston A. Baker Jr, focuses precisely on the concept of place in a new historicists treatment of black male and female roles in Native Son against Wright's own interpretation of Afro-American history in 12 Million Black Voices. Finally, Craig Werner convincingly relates Native Son to modernism as a literary movement. Moving beyond the old debate between protest and art, these essays, informed by new critical theory and perspectives, reveal previously unsuspected depth, complexity, and resonance in Wright's vision of black life and his literary resources in expressing it.

This is the first book to analyze our suburban literary tradition. Tracing the suburb's emergence as a crucial setting and subject of the twentieth-century American novel, Catherine Jurca identifies a decidedly masculine obsession with the suburban home and a preoccupation with its alternative--the experience of spiritual and emotional dislocation that she terms \"homelessness.\" In the process, she challenges representations of white suburbia as prostrated by its own privileges. In novels as disparate asTarzan(written by Tarzana, California, real-estate developer Edgar Rice Burroughs), Richard Wright'sNative Son, and recent fiction by John Updike and Richard Ford, Jurca finds an emphasis on the suburb under siege, a place where the fortunate tend to see themselves as powerless. From Babbitt to Rabbit, the suburban novel casts property owners living in communities of their choosing as dispossessed people. Material advantages become artifacts of oppression, and affluence is fraudulently identified as impoverishment. The fantasy of victimization reimagines white flight as a white diaspora. Extending innovative trends in the study of nineteenth-century American culture, Jurca's analysis suggests that self-pity has played a constitutive role in white middle-class identity in the twentieth century. It breaks new ground in literary history and cultural studies, while telling the story of one of our most revered and reviled locations: \"the little suburban house at number one million and ten Volstead Avenue\" that Edith Wharton warned would ruin American life and letters.

Reading Rapeexamines how American culture talks about sexual violence and explains why, in the latter twentieth century, rape achieved such significance as a trope of power relations. Through attentive readings of a wide range of literary and cultural representations of sexual assault--from antebellum seduction narratives and \"realist\" representations of rape in nineteenth-century novels toDeliverance, American Psycho, and contemporary feminist accounts--Sabine Sielke traces the evolution of a specifically American rhetoric of rape. She considers the kinds of cultural work that this rhetoric has performed and finds that rape has been an insistent figure for a range of social, political, and economic issues. Sielke argues that the representation of rape has been a major force in the cultural construction of sexuality, gender, race, ethnicity, class, and indeed national identity. At the same time, her acute analyses of both canonical and lesser-known texts explore the complex anxieties that motivate such constructions and their function within the wider cultural imagination. Provoked in part by contemporary feminist criticism,Reading Rapealso challenges feminist positions on sexual violence by interrogating them as part of the history in which rape has been a convenient and conventional albeit troubling trope for other concerns and conflicts. This book teaches us what we talk about when we talk about rape. And what we're talking about is often something else entirely: power, money, social change, difference, and identity.