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On November 28, 1960, Richard Wright, American author (Native Son, Uncle Tom's Children), died at the age of 52. From the article:
"Richard Wright (1908-1960) • BlackPast
Best-selling author, social critic and influential literary figure Richard Wright was born on September 4, 1908, to Nathan Wright and Ella Wilson, both children of slaves, on a plantation near Roxie, Mississippi. His father was an illiterate sharecropper and his mother was a schoolteacher. Finding farm life unprofitable, the family moved to Memphis, Tennessee, where Wright encountered violence, racism and eventual poverty when his father abandoned the family.
After his mother fell ill in 1915, Wright and his brother were sent to an orphanage, then back to Mississippi to live with their grandparents. Wright felt isolated as a non-religious member of the strict Seventh Day Adventist household. He published his first short story, “The Voodoo of Hell’s Half-Acre,” in 1924 in The Southern Register and held a series of jobs before moving to Chicago in 1927.
As part of the new black urban intelligentsia evolving in northern cities like Chicago and New York, Wright became a critic of the black urban experience and in 1932 joined the Communist Party. He was influenced by University of Chicago sociologists Robert Park and Horace Cayton, Jr., who portrayed black urban spaces as ghettoes mired in poverty. Like most migrants to the north, the life Wright experienced did not live up to his expectations. He began to see conflicts within the Communist philosophy, and eventually abandoned his affiliation. In 1937, he moved to New York City, where he won federal funding as a writer through the Works Progress Administration. Three years later, he published his most popular novel, Native Son (1940).
Native Son became an instant best seller with more than 250,000 copies sold within three weeks of its release. It was the first book by a black writer to be endorsed by the Book-of-the-Month Club, reaching an even wider audience. Native Son remains one of the most influential novels of the 20th Century. In Native Son Wright uses the story of Bigger Thomas, a 20-year-old black migrant, to illustrate the poverty, hopelessness and alienation of the black residents in Chicago’s South Side. His was the first of the genre of “ghetto realism” novels that remain popular today.
In addition to his early alignment with Communism, Wright went through several philosophical phases in his literary career, like his existential novel The Outsider (1953), and his anti-colonialist essays in White Man, Listen! (1957). Despite his major and often abrupt political and sociological shifts, he consistently promoted black culture and black protest that he saw emerging in urban life. His writings, including his acclaimed autobiographical Black Boy (1945), in many ways presaged the Black Power movement of the 1960s and 1970s.
In 1941, Wright married Ellen Poplar after an earlier failed marriage, and they had two daughters. He moved his family to Paris in 1946, stating his reasons in a poem titled “I Choose Exile” (1950). In Paris, it seemed to Wright that for the first time in his life he could be both a writer and a black man.
Richard Wright was one of the first African American writers to achieve literary fame and fortune in the U.S. He died in Paris on November 28, 1960 as one of the most influential African-American writers of the 20th century."
"Richard Wright (1908-1960) • BlackPast
Best-selling author, social critic and influential literary figure Richard Wright was born on September 4, 1908, to Nathan Wright and Ella Wilson, both children of slaves, on a plantation near Roxie, Mississippi. His father was an illiterate sharecropper and his mother was a schoolteacher. Finding farm life unprofitable, the family moved to Memphis, Tennessee, where Wright encountered violence, racism and eventual poverty when his father abandoned the family.
After his mother fell ill in 1915, Wright and his brother were sent to an orphanage, then back to Mississippi to live with their grandparents. Wright felt isolated as a non-religious member of the strict Seventh Day Adventist household. He published his first short story, “The Voodoo of Hell’s Half-Acre,” in 1924 in The Southern Register and held a series of jobs before moving to Chicago in 1927.
As part of the new black urban intelligentsia evolving in northern cities like Chicago and New York, Wright became a critic of the black urban experience and in 1932 joined the Communist Party. He was influenced by University of Chicago sociologists Robert Park and Horace Cayton, Jr., who portrayed black urban spaces as ghettoes mired in poverty. Like most migrants to the north, the life Wright experienced did not live up to his expectations. He began to see conflicts within the Communist philosophy, and eventually abandoned his affiliation. In 1937, he moved to New York City, where he won federal funding as a writer through the Works Progress Administration. Three years later, he published his most popular novel, Native Son (1940).
Native Son became an instant best seller with more than 250,000 copies sold within three weeks of its release. It was the first book by a black writer to be endorsed by the Book-of-the-Month Club, reaching an even wider audience. Native Son remains one of the most influential novels of the 20th Century. In Native Son Wright uses the story of Bigger Thomas, a 20-year-old black migrant, to illustrate the poverty, hopelessness and alienation of the black residents in Chicago’s South Side. His was the first of the genre of “ghetto realism” novels that remain popular today.
In addition to his early alignment with Communism, Wright went through several philosophical phases in his literary career, like his existential novel The Outsider (1953), and his anti-colonialist essays in White Man, Listen! (1957). Despite his major and often abrupt political and sociological shifts, he consistently promoted black culture and black protest that he saw emerging in urban life. His writings, including his acclaimed autobiographical Black Boy (1945), in many ways presaged the Black Power movement of the 1960s and 1970s.
In 1941, Wright married Ellen Poplar after an earlier failed marriage, and they had two daughters. He moved his family to Paris in 1946, stating his reasons in a poem titled “I Choose Exile” (1950). In Paris, it seemed to Wright that for the first time in his life he could be both a writer and a black man.
Richard Wright was one of the first African American writers to achieve literary fame and fortune in the U.S. He died in Paris on November 28, 1960 as one of the most influential African-American writers of the 20th century."
Richard Wright (1908-1960) • BlackPast
Posted from blackpast.org
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Discrimination
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The Life and Times of Richard Wright
Richard Nathaniel Wright (September 4, 1908 – November 28, 1960) was an American author of sometimes controversial novels, short stories, poems, and non-fict...
Thank you, my friend SGT (Join to see) for making us aware that on November 28, 1960 American author (Native Son, Uncle Tom's Children) Richard Wright died at the age of 52.
Rest in peace Richard Wright
The Life and Times of Richard Wright
"Richard Nathaniel Wright (September 4, 1908 – November 28, 1960) was an American author of sometimes controversial novels, short stories, poems, and non-fiction. Much of his literature concerns racial themes, especially related to the plight of African Americans during the late 19th to mid-20th centuries, who suffered discrimination and violence in the South and the North. Literary critics believe his work helped change race relations in the United States in the mid-20th century.
The earliest known usage of the term "Black Power" is found in a 1954 book by Richard Wright entitled Black Power."
https://www.youtube.com/watch?v=uEM933JHXUc
Images:
1. Richard Wright.
2. Richard Wright and his Communist Party member wife Ellen Poplar
3. Richard Wright was a father to his two daughters Julia and Rachel
4. Wright wearing a traditional Indonesian batik shirt at the Bandung Conference, seated with fellow African American reporter Ethel Payne. Film still from “Konperensi Asia Afrika” (1955), produced by Indonesia’s government-owned film company, Perusahaan Film Negara. Courtesy of Arsip Nasional Republik Indonesia.
Background from mwp.olemiss.edu//dir/wright_richard/
"One of America’s greatest black writers, Richard Wright was also among the first African American writers to achieve literary fame and fortune, but his reputation has less to do with the color of his skin than with the superb quality of his work. He was born and spent the first years of his life on a plantation, not far from the affluent city of Natchez on the Mississippi River, but his life as the son of an illiterate sharecropper was far from affluent. Though he spent only a few years of his life in Mississippi, those years would play a key role in his two most important works: Native Son, a novel, and his autobiography, Black Boy.
Richard Wright was born on a plantation near Natchez, Mississippi, on September 4, 1908. His father, Nathaniel, was an illiterate sharecropper and his mother, Ella Wilson, was a well-educated school teacher. The family’s extreme poverty forced them to move to Memphis when Richard was six years old. Soon after, his father left the family for another woman and his mother was forced to work as a cook in order to support the family. Richard briefly stayed in an orphanage during this period as well. His mother became ill while living in Memphis, so the family moved to Jackson, Mississippi, and lived with Ella’s mother.
Richard’s grandmother, a devout Seventh Day Adventist, enrolled him in a Seventh Day Adventist school near Jackson at the age of twelve. He also attended a local public school for a few years. In the spring of 1924 the Southern Register, a local black newspaper, printed his first story, “The Voodoo of Hell’s Half Acre.” From 1925 to 1927, he worked several menial jobs in Jackson and Memphis. During this time he continued writing and discovered the works of H.L. Mencken, Theodore Dreiser, and Sinclair Lewis.
In 1927 he moved to Chicago, where he became a Post Office clerk until the Great Depression forced him to take on various temporary positions. During this time he became involved with the Communist Party, writing articles and stories for both the Daily Worker and New Masses. In April 1931 he published his first major story, “Superstition,” in Abbot’s Monthly.
His ties to the Communist Party continued after moving to New York in 1937. He became the Harlem editor of the Daily Worker and helped edit a short-lived literary magazine, New Challenge. In 1938 four of his stories were collected as Uncle Tom’s Children. He then received a Guggenheim Fellowship, which allowed him to complete his first novel, Native Son (1940). In 1939, he married Dhimah Rose Meadman, a white dancer, but the two separated shortly thereafter. In 1941, he married Ellen Poplar, a white member of the Communist Party, and they had two daughters, Julia in 1942 and Rachel in 1949.
In 1944 he broke with the Communist Party but continued to follow liberal ideologies. After moving to Paris in 1946, Wright became friends with Jean-Paul Sartre and Albert Camus while going through an Existentialist phase best depicted by his second novel, The Outsiders (1953). In 1954 he published a minor novel, Savage Holiday. After becoming a French citizen in 1947, he continued to travel throughout Europe, Asia, and Africa, and these experiences led to a number of nonfiction works.
In his last years, he was plagued by illness (aerobic dysentary) and financial hardship. Throughout this period he wrote approximately 4,000 English Haikus (some of which were recently published for the first time) and another novel, The Long Dream, in 1958. He also prepared another collection of short stories, Eight Men, which was published after his death on November 28, 1960.
Among his other works are two autobiographies. Black Boy, published in 1945, covered his youth in the segregated South, and American Hunger, published posthumously in 1977, treated his membership and disillusionment with the Communist Party.
Many of Wright’s works failed to satisfy the rigid standards of the New Criticism, but his evolution as a writer has interested readers throughout the world. The importance of his works comes not from his technique and style, but from the impact his ideas and attitudes have had on American life. Wright is seen as a seminal figure in the black revolution that followed his earliest novels. Bigger Thomas, the central figure of Native Son, is a murderer, but his situation galvanized the thought of black leaders toward the desire to confront the world and help shape the future of their race.
As his vision of the world extended beyond the U.S., his quest for solutions expanded to include the politics and economics of emerging third world nations. Wright’s development was marked by an ability to respond to the currents of the social and intellectual history of his time. His most significant contribution, however, was his desire to accurately portray blacks to white readers, thereby destroying the white myth of the patient, humorous, subservient black man.
(Article first posted January 26, 1999)
Publications
1. Drama:
Native Son (The Biography of a Young American): A Play in Ten Scenes, with Paul Green. New York: Harper, 1941.
2. Fiction:
Uncle Tom’s Children: Four Novellas. New York: Harper, 1938.
Uncle Tom’s Children: Five Long Stories. New York: Harper, 1938.
Bright and Morning Star (story). New York: International Publishers, 1938.
Native Son. New York: Harper, 1940.
The Outsider. New York: Harper, 1953.
Savage Holiday. New York: Avon, 1954.
The Long Dream. Garden City, New York: Doubleday, 1958.
Eight Men (stories). Cleveland and New York: World, 1961.
Lawd Today. New York: Walker, 1963.
3. Nonfiction:
How “Bigger” Was Born; the Story of Native Son. New York: Harper, 1940.
12 Million Black Voices: A Folk History of the Negro in the United States. New York: Viking, 1941.
Black Boy: A Record of Childhood and Youth. New York: Harper, 1945.
Black Power: A Record of Reactions in a Land of Pathos. New York: Harper, 1954.
The Color Curtain: A Report on the Bandung Conference. Cleveland and New York: World, 1956.
Pagan Spain. New York: Harper, 1957.
White Man, Listen! Garden City, New York: Doubleday, 1957.
Letters to Joe C. Brown. Edited by Thomas Knipp. Kent, Ohio: Kent State University Libraries, 1968.
American Hunger. (Continuation of Black Boy.) New York: Harper & Row, 1977.
4. Poetry:
Haiku: This Other World. Eds. Yoshinobu Hakatuni and Robert L. Tener. Arcade, 1998.
Media Adaptations
5. Stage Plays:
Native Son, by Wright and Paul Green. New York, St. James Theatre, 24 June 1941.
Daddy Goodness, by Wright and Louis Sapin. New York, St. Mark’s Playhouse, 4 June 1968.
Motion Pictures:
Native Son. Dir. Pierre Chenal. Screenplay by Wright. Classic Films, 1950. (Wright starred as Bigger Thomas.)
Native Son. Dir. Jerrold Freedman. Cinecom Pictures and American Playhouse (PBS), 1986.
Bibliography
6. Biographies:
Fabre, Michel. The Unfinished Quest of Richard Wright. New York: Morrow, 1973.
Webb, Constance. Richard Wright: A Biography. New York: Putnam’s, 1968.
Williams, John A., and Dorothy Sterling. The Most Native of Sons: A Biography of Richard Wright. Garden City, N.Y.: Doubleday, 1970.
7. Criticism:
Abcarian, Richard, ed. Richard Wright’s Native Son: A Critical Handbook. Belmont, Calif.: Wadsworth, 1970.
Bakish, David. Richard Wright. New York: Ungar, 1973.
Baldwin, James. “Everybody’s Protest Novel.” Notes of a Native Son. Boston: Beacon, 1955. 85-114.
---. “Richard Wright.” Encounter 16 (April 1961): 58-60.
Bone, Robert. Richard Wright. Minneapolist: University of Minnesota Press, 1969.
Brignano, Russell C. Richard Wright: An Introduction to the Man and His Works. Pittsburgh: University of Pittsburgh Press, 1970.
Ellison, Ralph. “Richard Wright’s Blues.” Shadow and Act. New York: Random House, 1964. 77-94.
Fabre, Michel. The World of Richard Wright. Jackson: University Press of Mississippi, 1985.
Felgar, Robert. Richard Wright. Boston: Twayne, 1980.
Gayle, Addison, Jr. Richard Wright — Ordeal of a Native Son. Garden City, N.Y.: Doubleday, 1980.
Hakutani, Yoshinobu, ed. Critical Essays on Richard Wright. Boston: G.K. Hall, 1982.
Howe, Irving. “Black Boys and Native Sons.” A World More Attractive. New York: Horizon, 1963. 98-110.
Joyce, Joyce A. Richard Wright’s Art of Tragedy. Iowa City: University of Iowa Press, 1986.
Kinnamon, Keneth. The Emergence of Richard Wright. Urbana: University of Illinois Press, 1972.
Margolies, Edward. The Art of Richard Wright. Preface by Harry T. Moore. Carbondale: Southern Illinois University Press, 1969.
McCall. The Example of Richard Wright. New York: Harcourt, Brace & World, 1973.
Reilly, John M. Richard Wright: The Critical Reception. New York: Franklin, 1978."
FYI COL Mikel J. Burroughs Lt Col John (Jack) Christensen LTC Greg Henning LTC Jeff Shearer Maj Bill Smith, Ph.D. Maj William W. "Bill" Price Maj Marty Hogan CPT Scott Sharon CWO3 Dennis M. SFC Joe S. Davis Jr., MSM, DSL SSG William Jones SGT John " Mac " McConnell SP5 Mark Kuzinski PO1 H Gene Lawrence PO2 Kevin Parker PO3 Bob McCord MSG Andrew White SSG(P) James J. Palmer IV aka "JP4"
Rest in peace Richard Wright
The Life and Times of Richard Wright
"Richard Nathaniel Wright (September 4, 1908 – November 28, 1960) was an American author of sometimes controversial novels, short stories, poems, and non-fiction. Much of his literature concerns racial themes, especially related to the plight of African Americans during the late 19th to mid-20th centuries, who suffered discrimination and violence in the South and the North. Literary critics believe his work helped change race relations in the United States in the mid-20th century.
The earliest known usage of the term "Black Power" is found in a 1954 book by Richard Wright entitled Black Power."
https://www.youtube.com/watch?v=uEM933JHXUc
Images:
1. Richard Wright.
2. Richard Wright and his Communist Party member wife Ellen Poplar
3. Richard Wright was a father to his two daughters Julia and Rachel
4. Wright wearing a traditional Indonesian batik shirt at the Bandung Conference, seated with fellow African American reporter Ethel Payne. Film still from “Konperensi Asia Afrika” (1955), produced by Indonesia’s government-owned film company, Perusahaan Film Negara. Courtesy of Arsip Nasional Republik Indonesia.
Background from mwp.olemiss.edu//dir/wright_richard/
"One of America’s greatest black writers, Richard Wright was also among the first African American writers to achieve literary fame and fortune, but his reputation has less to do with the color of his skin than with the superb quality of his work. He was born and spent the first years of his life on a plantation, not far from the affluent city of Natchez on the Mississippi River, but his life as the son of an illiterate sharecropper was far from affluent. Though he spent only a few years of his life in Mississippi, those years would play a key role in his two most important works: Native Son, a novel, and his autobiography, Black Boy.
Richard Wright was born on a plantation near Natchez, Mississippi, on September 4, 1908. His father, Nathaniel, was an illiterate sharecropper and his mother, Ella Wilson, was a well-educated school teacher. The family’s extreme poverty forced them to move to Memphis when Richard was six years old. Soon after, his father left the family for another woman and his mother was forced to work as a cook in order to support the family. Richard briefly stayed in an orphanage during this period as well. His mother became ill while living in Memphis, so the family moved to Jackson, Mississippi, and lived with Ella’s mother.
Richard’s grandmother, a devout Seventh Day Adventist, enrolled him in a Seventh Day Adventist school near Jackson at the age of twelve. He also attended a local public school for a few years. In the spring of 1924 the Southern Register, a local black newspaper, printed his first story, “The Voodoo of Hell’s Half Acre.” From 1925 to 1927, he worked several menial jobs in Jackson and Memphis. During this time he continued writing and discovered the works of H.L. Mencken, Theodore Dreiser, and Sinclair Lewis.
In 1927 he moved to Chicago, where he became a Post Office clerk until the Great Depression forced him to take on various temporary positions. During this time he became involved with the Communist Party, writing articles and stories for both the Daily Worker and New Masses. In April 1931 he published his first major story, “Superstition,” in Abbot’s Monthly.
His ties to the Communist Party continued after moving to New York in 1937. He became the Harlem editor of the Daily Worker and helped edit a short-lived literary magazine, New Challenge. In 1938 four of his stories were collected as Uncle Tom’s Children. He then received a Guggenheim Fellowship, which allowed him to complete his first novel, Native Son (1940). In 1939, he married Dhimah Rose Meadman, a white dancer, but the two separated shortly thereafter. In 1941, he married Ellen Poplar, a white member of the Communist Party, and they had two daughters, Julia in 1942 and Rachel in 1949.
In 1944 he broke with the Communist Party but continued to follow liberal ideologies. After moving to Paris in 1946, Wright became friends with Jean-Paul Sartre and Albert Camus while going through an Existentialist phase best depicted by his second novel, The Outsiders (1953). In 1954 he published a minor novel, Savage Holiday. After becoming a French citizen in 1947, he continued to travel throughout Europe, Asia, and Africa, and these experiences led to a number of nonfiction works.
In his last years, he was plagued by illness (aerobic dysentary) and financial hardship. Throughout this period he wrote approximately 4,000 English Haikus (some of which were recently published for the first time) and another novel, The Long Dream, in 1958. He also prepared another collection of short stories, Eight Men, which was published after his death on November 28, 1960.
Among his other works are two autobiographies. Black Boy, published in 1945, covered his youth in the segregated South, and American Hunger, published posthumously in 1977, treated his membership and disillusionment with the Communist Party.
Many of Wright’s works failed to satisfy the rigid standards of the New Criticism, but his evolution as a writer has interested readers throughout the world. The importance of his works comes not from his technique and style, but from the impact his ideas and attitudes have had on American life. Wright is seen as a seminal figure in the black revolution that followed his earliest novels. Bigger Thomas, the central figure of Native Son, is a murderer, but his situation galvanized the thought of black leaders toward the desire to confront the world and help shape the future of their race.
As his vision of the world extended beyond the U.S., his quest for solutions expanded to include the politics and economics of emerging third world nations. Wright’s development was marked by an ability to respond to the currents of the social and intellectual history of his time. His most significant contribution, however, was his desire to accurately portray blacks to white readers, thereby destroying the white myth of the patient, humorous, subservient black man.
(Article first posted January 26, 1999)
Publications
1. Drama:
Native Son (The Biography of a Young American): A Play in Ten Scenes, with Paul Green. New York: Harper, 1941.
2. Fiction:
Uncle Tom’s Children: Four Novellas. New York: Harper, 1938.
Uncle Tom’s Children: Five Long Stories. New York: Harper, 1938.
Bright and Morning Star (story). New York: International Publishers, 1938.
Native Son. New York: Harper, 1940.
The Outsider. New York: Harper, 1953.
Savage Holiday. New York: Avon, 1954.
The Long Dream. Garden City, New York: Doubleday, 1958.
Eight Men (stories). Cleveland and New York: World, 1961.
Lawd Today. New York: Walker, 1963.
3. Nonfiction:
How “Bigger” Was Born; the Story of Native Son. New York: Harper, 1940.
12 Million Black Voices: A Folk History of the Negro in the United States. New York: Viking, 1941.
Black Boy: A Record of Childhood and Youth. New York: Harper, 1945.
Black Power: A Record of Reactions in a Land of Pathos. New York: Harper, 1954.
The Color Curtain: A Report on the Bandung Conference. Cleveland and New York: World, 1956.
Pagan Spain. New York: Harper, 1957.
White Man, Listen! Garden City, New York: Doubleday, 1957.
Letters to Joe C. Brown. Edited by Thomas Knipp. Kent, Ohio: Kent State University Libraries, 1968.
American Hunger. (Continuation of Black Boy.) New York: Harper & Row, 1977.
4. Poetry:
Haiku: This Other World. Eds. Yoshinobu Hakatuni and Robert L. Tener. Arcade, 1998.
Media Adaptations
5. Stage Plays:
Native Son, by Wright and Paul Green. New York, St. James Theatre, 24 June 1941.
Daddy Goodness, by Wright and Louis Sapin. New York, St. Mark’s Playhouse, 4 June 1968.
Motion Pictures:
Native Son. Dir. Pierre Chenal. Screenplay by Wright. Classic Films, 1950. (Wright starred as Bigger Thomas.)
Native Son. Dir. Jerrold Freedman. Cinecom Pictures and American Playhouse (PBS), 1986.
Bibliography
6. Biographies:
Fabre, Michel. The Unfinished Quest of Richard Wright. New York: Morrow, 1973.
Webb, Constance. Richard Wright: A Biography. New York: Putnam’s, 1968.
Williams, John A., and Dorothy Sterling. The Most Native of Sons: A Biography of Richard Wright. Garden City, N.Y.: Doubleday, 1970.
7. Criticism:
Abcarian, Richard, ed. Richard Wright’s Native Son: A Critical Handbook. Belmont, Calif.: Wadsworth, 1970.
Bakish, David. Richard Wright. New York: Ungar, 1973.
Baldwin, James. “Everybody’s Protest Novel.” Notes of a Native Son. Boston: Beacon, 1955. 85-114.
---. “Richard Wright.” Encounter 16 (April 1961): 58-60.
Bone, Robert. Richard Wright. Minneapolist: University of Minnesota Press, 1969.
Brignano, Russell C. Richard Wright: An Introduction to the Man and His Works. Pittsburgh: University of Pittsburgh Press, 1970.
Ellison, Ralph. “Richard Wright’s Blues.” Shadow and Act. New York: Random House, 1964. 77-94.
Fabre, Michel. The World of Richard Wright. Jackson: University Press of Mississippi, 1985.
Felgar, Robert. Richard Wright. Boston: Twayne, 1980.
Gayle, Addison, Jr. Richard Wright — Ordeal of a Native Son. Garden City, N.Y.: Doubleday, 1980.
Hakutani, Yoshinobu, ed. Critical Essays on Richard Wright. Boston: G.K. Hall, 1982.
Howe, Irving. “Black Boys and Native Sons.” A World More Attractive. New York: Horizon, 1963. 98-110.
Joyce, Joyce A. Richard Wright’s Art of Tragedy. Iowa City: University of Iowa Press, 1986.
Kinnamon, Keneth. The Emergence of Richard Wright. Urbana: University of Illinois Press, 1972.
Margolies, Edward. The Art of Richard Wright. Preface by Harry T. Moore. Carbondale: Southern Illinois University Press, 1969.
McCall. The Example of Richard Wright. New York: Harcourt, Brace & World, 1973.
Reilly, John M. Richard Wright: The Critical Reception. New York: Franklin, 1978."
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