How Literature Saved Richard Wright

Richard Wright


Today I share an extract from Richard Wright’s Black Boy in which he talks about how literature transformed his life. Although, as a black man in 1926 Memphis, he
was forbidden the public library, he found a white acquaintance through whom he
could get access. He was prompted into action by the mention in a black
newspaper of satirist and culture critic H. L. Mencken.

As the extract shows, his subsequent reading, especially of novels, initially gave him a framework for assessing his life, after which it made that life seem so
intolerable that he decided to leave for Chicago. In other words, the whites
who worried about him reading had reason for concern. Just as there were good
institutional reasons for keeping slaves like Frederick Douglas illiterate,
there was a logic to keeping African Americans like Wright out of the library.

That night in my rented room, while letting the hot water run over my can of pork and beans in the sink, I opened [Mencken’s] A Book of Prefaces and began to read. I was jarred and shocked by the style, the clear, clean, sweeping sentences. Why did he write like that? And how did one write like that? I pictured the man as a raging demon, slashing with his pen, consumed with hate, denouncing everything American, extolling everything European or German, laughing at the weaknesses of people, mocking God, authority.

What was this? I stood up, trying to realize what reality lay behind the meaning of the words. Yes, this man was fighting, fighting with words. He was using words as a weapon, using them as one would use a club. Could words be weapons? Well, yes, for here they were. Then, maybe, perhaps, I could use them as a weapon?

No. It frightened me. I read on and what amazed me was not what he said, but how on earth anybody had the courage to say it

Occasionally I glanced up to reassure myself that I was alone in the room. Who were these men about whom Mencken was talking so passionately? Who was Anatole France? Joseph Conrad? Sinclair Lewis, Sherwood Anderson, Dostoyevsky, George Moore, Gustave Flaubert, Maupassant, Tolstoy, Frank Harris, Mark Twain, Thomas Hardy, Arnold Bennett, Stephen Crane, Zola, Norris, Gorky, Bergson, Ibsen, Balzac, Bernard Shaw, Dumas, Poe, Thomas Mann, O. Henry, Dreiser, H. G. Wells, Gogol, T. S. Eliot, Gide, Baudelaire, Edgar Lee Masters, Stendhal, Turgenev, Huneker, Nietzsche, and scores of others? Were these men real? Did they exist or had they existed? And how did one pronounce their names?

I ran across many words whose meanings I did not know, and I either looked them up in a dictionary or, before I had a chance to do that, encountered the word in a context that made its meaning clear. But what strange world was this? I concluded the book with the conviction that I had somehow overlooked something terribly important in life. I had once tried to write, had once reveled in feeling, had let my crude imagination roam, but the impulse to dream had been slowly beaten out of me by experience. Now it surged up again and I hungered for books, new ways of looking and seeing. It was not a matter of believing or disbelieving what I read, but of feeling something new, of being affected by something that made the Iook of the world different…

As dawn broke I ate my pork and beans, feeling dopey, sleepy. I went to work, but the mood of the book would not die; it lingered, coloring everything I saw, heard, did. I now felt that I knew what the white men were feeling. Merely because I had read a book that had spoken of how they lived and thought, I identified myself with that book. I felt vaguely guilty. Would I, filled with bookish notions, act in a manner that would make the whites dislike me?

I forged more notes and my trips to the library became frequent. Reading grew into a passion. My first serious novel was Sinclair Lewis’s Main Street. It made me see my boss, Mr. Gerald, and identify him as an American type. I would smile when I saw him lugging his golf bags into the office. I had always felt a vast distance separating me from the boss, and now I felt closer to him, though still distant I felt now that I knew him, that I could feel the very limits of his narrow life. And this had happened because I had read a novel about a mythical man called George F. Babbitt.

The plots and stories in the novels did not interest me so much as the point of view revealed. I gave myself over to each novel without reserve, without trying to criticize it; it was enough for me to see and feel something different. And for me, everything was something different. Reading was like a drug, a dope. The novels created moods in which I lived for days. But I could not conquer my sense of guilt, my feeling that the white men around me knew that I was changing, that I had begun to regard them differently.

Whenever I brought a book to the job, I wrapped it in newspaper-— a habit that was to persist for years in other cities and under other circumstances. But some of the white men pried into my packages when I was absent and they questioned me.

“Boy, what are you reading those books for?”

“Oh, I don’t know, sir.”

“That’s deep stuff you’re reading, boy.”

“I’m just killing time, sir.”

“You’ll addle your brains if you don’t watch out .”

I read Dreiser’s Jennie Gerhardt and Sister Carrie and they revived in me a vivid sense of my mother’s suffering; I was overwhelmed. I grew silent, wondering about the life around me. It would have been impossible for me to have told anyone what I derived from these novels, for it was nothing less than a sense of life itself. All my life had shaped me for the realism, the naturalism of the modern novel, and I could not read enough of them.

Steeped in new moods and ideas, I bought a ream of paper and tried to write; but nothing would come, or what did come was flat beyond telling. I discovered that more than desire and feeling were necessary to write and I dropped the idea. Yet I still wondered how it was possible to know people sufficiently to write about them? Could I ever learn about life and people? To me, with my vast ignorance, my Jim Crow station in life, it seemed a task impossible of achievement. I now knew what being a Negro meant. I could endure the hunger. I had learned to live with hate. But to feel that there were feelings denied me, that the very breath of life itself was beyond my reach, that more than anything else hurt, wounded me. I had a new hunger.

In buoying me up, reading also cast me down, made me see what was possible, what I had missed. My tension returned, new, terrible, bitter, surging, almost too great to be contained. I no longer felt that the world about me was hostile, killing; I knew it. A million times I asked myself what I could do to save myself, and there were no answers. I seemed forever condemned, ringed by walls.

I did not discuss my reading with Mr. Falk, who had lent me his library card; it would have meant talking about myself and that would have been too painful. I smiled each day, fighting desperately to maintain my old behavior, to keep my disposition seemingly sunny. But some of the white men discerned that I had begun to brood.

“Wake up there, boy!” Mr. Olin said one day.

“Sir!” I answered for the lack of a better word.

“You act like you’ve stolen something,” he said.

I laughed in the way I knew he expected me to laugh, but I resolved to be more conscious of myself, to watch my every act, to guard and hide the new knowledge that was dawning within me.

 f I went north, would it be possible for me to build a new life then? But how could a man build a life upon vague, unformed yearnings? I wanted to write and I did
not even know the English language. I bought English grammars and found them
dull. I felt that I was getting a better sense of the language from novels than
from grammars. I read hard, discarding a writer as soon as I felt that I had
grasped his point of view. At night the printed page stood before my eyes in sleep.

Mrs. Moss, my landlady, asked me one Sunday morning:

“Son, what is this you keep on reading?”

“Oh, nothing. Just novels.”

 “What you get out of ’em?”

 “I’m just killing time,” I said.

“I hope you know your own mind,” she said in a tone which implied that she doubted if I had a mind.

I knew of no Negroes who read the books I liked and I wondered if any Negroes ever thought of them. I knew that there were Negro doctors, lawyers, newspapermen, but I never saw any of them. When I read a Negro newspaper I never caught the faintest echo of my preoccupation in its pages. I felt trapped and occasionally, for a few days, I would stop reading. But a vague hunger would come over me for books, books that opened up new avenues of feeling and seeing, and again I would forge another note to the white librarian. Again I would read and wonder as only the naive and unlettered can read and wonder, feeling that I carried a secret, criminal burden about with me each day….

Later, when Wright tells his boss that he’s leaving, there’s this interchange:

As I talked I felt that I was acting out a dream. I did not want to lie, yet I had to lie to conceal what I felt. A white censor was standing over me and, like dreams forming a curtain for the safety of sleep, so did my lies form a screen of safety for my living moments.

“Boy, I bet you’ve been reading too many of them damn books.”

“Oh, no, sir.”

In his conclusion, Wright reflects on how books contributed to his decision to move north:

It had been only through books— at best, no more than vicarious cultural transfusions— that I had managed to keep myself alive in a negatively vital way. Whenever my environment had failed to support or nourish me, I had clutched at books; consequently, my belief in books had risen more out of a sense of desperation than from any abiding conviction of their ultimate value. In a peculiar sense, life had trapped me in a realm of emotional rejection; I had not embraced insurgency through open choice. Existing emotionally on the sheer, thin margin of southern culture, I had felt that nothing short of life itself hung upon each of my actions and decisions; and I had grown used to change, to movement, to many adjustments.

In the main, my hope was merely a kind of self-defense, a conviction that if I did not leave I would perish, either because of possible violence of others against me, or because of my possible violence against them. The substance of my hope was formless and devoid of any real sense of direction, for in my southern living I had seen no looming landmark by which I could, in a positive sense, guide my daily actions. The shocks of southern living had rendered my personality tender and swollen, tense and volatile, and my flight was more a shunning of external and internal dangers than an attempt to embrace what I felt I wanted.

It had been my accidental reading of fiction and literary criticism that had evoked in me vague glimpses of life’s possibilities. Of course, I had never seen or met the men who wrote the books I read, and the kind of world in which they lived was as alien to me as the moon. But what enabled me to overcome my chronic distrust was that these hooks— written by men like Dreiser, Masters, Mencken, Anderson, and Lewis— seemed defensively critical of the straitened American environment These writers seemed to feel that America could be shaped nearer to the hearts of those who lived in it. And it was out of these novels and stories and articles, out of the emotional impact of imaginative constructions of heroic or tragic deeds, that I felt touching my face a tinge of warmth from an unseen light; and in my leaving I was groping toward that invisible light, always trying to keep my face so set and turned that I would not lose the hope of its faint promise, using it as my justification for action.

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  • Literature is as vital to our lives as food and shelter. Stories and poems help us work through the challenges we face, from everyday irritations to loneliness, heartache, and death. Literature is meant to mix it up with life. This website explores how it does so.

    Please feel free to e-mail me [rrbates (at) smcm (dot) edu]. I would be honored to hear your thoughts and questions about literature.

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