The author does not include figurative language in this passage; instead, he uses descriptive language to get his point across. The language of this passage is lyrical and yet frightening at the same time. Wright uses this language to paint mental pictures of the Communists, but he also lays the groundwork for the two Communists that appear in the story, Max and Jan. Bigger does not understand Communism, but as his life disintegrates, he turns to two members of the Party for help, either by choice or by chance. These two men, however, do not understand him any more than he understands them. This indicates the gap between people that always exists, mo matter color or race, and it indicates that most people really do not take the time to understand each other. Figurative language would not have worked in this passage, because Wright was convening feeling and emotion, rather than comparison and contrast. Wright was showing fear and misunderstanding, and this is descriptive, rather than lyrical and figurative. This indicates Wright's clear understanding of what he was attempting to convey to the reader, and his clear understanding of his subject and themes of the book. He knew what he wanted the reader to think, and how to use language to get the reader to see things in his own very personal way.
Language is one of the most important elements of fiction, and this short passage indicates how important even one or two sentences can be to the overall theme and idea of a novel. Wright obviously understood the language, and knew how to form it into sentences that could evoke strong meanings and feelings. These sentences are ominous, and indicate the fear people felt at a time when Communism (and Fascism) were beginning to spread across Europe and the world. This passage is threatening somehow, and so was the very real threat of Communism. Language is more than just words on paper; it is a deep understanding of how to use language most effectively to convey...
(21) In one scene, the men pretend to be making a business phone call and they speak like how they imagine white businessmen to speak. The game may seem insignificant but it is telling because Bigger and Gus are demonstrating that they are constantly aware that they are different and will never achieve some of the things that white men achieve. Bigger states, "They don't let us do nothing,"
Richard Wright's social themes (e.g., racism) in any one of his short stories. Specifically it will discuss "Black Boy," and "Native Son." RICHARD WRIGHT Richard Wright was born in Mississippi in 1908 and died in 1960. During his rather brief lifetime, he completed several novels, and books of poems, all dealing with black issues and ideas. Two of his most famous works are "Black Boy," and "Native Son," which this paper
Wright therefore suggests that race and social class are intimately related. In Part One of the novel, Bigger expresses his primitive understanding of class struggle when he states, "Sure, it was all a game and white people knew how to play it," (37). People with economic and political power are the main obstacles to racial equality; characters like Buckley also show how class conflict is even more important than race.
(Wright, 1940, p. 334) Rather than Christian suffering and forbearance of societal ills, Marxism provides a clear contrast in its attempted explanation of suffering in the world as an economic as well as a racially-based class conflict. The chauffer and servant was placed near wealth, luxury, and a society that deemed him barbaric, and both White and Black, wealthy and poor representatives of this unequal class and racial division
"Hate and shame boiled in him against the people behind his back; he tried to think of words that would defy him...And at the same time he wanted those words to stop the tears of his mother and sister, to quiet and sooth the anger of his brother..." With all that has happened and with his being incarcerated with little hope of surviving, he is able to think about
(It will be recalled that Wright's then unpublished Lawd Today served as a working model for The Outsider.) Cross, in his daily dealings with the three women and his fellow postal workers feel something akin to nausea. His social and legal obligations have enslaved him. He has inherited from his mother a sense of guilt and foreboding regarding his relationship to women and his general awareness of amoral physical
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