Posts Tagged ‘Black Boy’
September 4, 2014 | by Dan Piepenbring
Richard Wright was born on this day in 1908; he wrote Native Son and Black Boy, among dozens of other books, and his often controversial work helped to change race relations in the twentieth century. Wright hailed from North Carolina and in 1946 moved to Paris, where he befriended Sartre, Camus, and a number of expatriate writers, including Max Steele, one of The Paris Review’s founding editors. In our fiftieth anniversary issue, from 2003, the late Steele wrote “Richard Wright: The Visible Man,” a remembrance. Below is an excerpt from the essay.
I do not remember what month I saw him for the last time. He was strolling slowly in the light rain toward his flat on Monsieur Le Prince. He, in his double-breasted English raincoat and new beret, was walking upstream against the French with their umbrellas rushing down from the Comedie Française toward the Metro at Odéon.
I remember more vividly the first time I had met him at the Monaco (quite casually, even though I had arrived with a letter of introduction to him from our editor at Harper’s). When he learned I was from Chapel Hill he assumed immediately that I knew Paul Green, with whom he had written the play Native Son. He said, “The sleepiest man I ever saw.” He laughed and talked and laughed that laugh which he later admitted was his first line of defense, though it felt that afternoon like offense. He claimed that Green would go to sleep when they were writing dialogue for the most exciting moments in the play. “I’d say a line and look over and there Paul would be asleep.”
Five years later when I was again in Chapel Hill, teaching, I met Hugh Wilson, a cousin of Paul Green’s, who told me how exciting and dangerous those weeks were when Wright was in town working with Green on the play. “Of course he couldn’t stay at the Carolina Inn and there was no other place, so we got him a room down on Cameron Avenue in that big Victorian house behind those two giant magnolias. When the Ku Klux got wind he was there in a white neighborhood, they put out word they were going to kill him. Wright never knew that. Night after night Paul and I walked shotgun on that block. Paul would go up Ransom and I’d go down Cameron for a block or so and then we’d walk back and stand on the corner awhile, then patrol again. All night. I don’t know how Paul could write the next day. I didn’t care for Native Son. But Black Boy, that was one helluva book!” We admitted it had changed Wilson’s attitude and mine.
I heard later that Ellen [Wright’s wife] had placed a copy of Black Boy on Wright’s chest before the coffin was closed.
October 19, 2011 | by José Manuel Prieto
In the spring of 2007, I was invited to a dinner organized by The Paris Review in honor of Norman Mailer. The novelist had just published what would be his last novel, The Castle in the Forest, and would have a conversation with E. L. Doctorow. That evening, when Mailer entered the room, with his very distinctive mien—that of a rather solid and stout man who, because of his age, used two canes—I was deeply moved. I told him—what else do you say in those circumstances?—how much I admired his books and that I started reading them when I was very young, many years ago.
A few days later I told a friend about this experience. “But, how?” he acted surprised, “Did you read Norman Mailer in Cuba?” And added, “Wasn’t he supposed to be one of the banned North American authors on the island?”
My friend had imagined, perhaps for a good reason, that you couldn’t find American literature in Cuba, that it was banned because both countries were at more or less declared war, an openly proclaimed enmity. I patiently explained to him that nothing like this ever happened. Mailer’s books and those of many other North American authors were not censured in Cuba; in fact, they were widely sold. You could find them in every library; they could be read by everyone. Read More »