LORAS COLLEGE

Confronting the Ideology of Racial Superiority

Through Richard Wright’s Native Son and
Angie Thomas’ The Hate U Give

Catherine Seng

Senior Literature Capstone

Dr. Stone

Dr. Kanyusik
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Significance of Native Son and The Hate U Give in a Systemically Racist Society

Written during times of racial unrest, Richard Wright’s Native Son (1940) and Angie

Thomas’ The Hate U Give (2017) reveal two dramatically different experiences of young Black

adults who struggle against the established system of oppression in the United States. While

these works are significant individually, the comparison of the two allows for a much deeper

exploration into the effects of an oppressive system on an individual's psychological sense of

self. Native Son is often criticized for its portrayal of Bigger Thomas, a Black male character

who is unable to transcend a system of racist oppression; in contrast, Angie Thomas’s The Hate

U Give offers a Black female character, Starr Carter, who rises above this oppression and is

portrayed as heroic. Although Bigger remains cemented in this system of oppression, unlike

Starr who overcomes it, Wright’s depiction of the failure to overcome racism offers a remarkable

presentation of the paralyzing effects of trauma within the Black community that Angie Thomas’

work does not fully communicate.

When beginning to unravel the complexities of the issues discussed in both Native Son

and The Hate U Give, it is imperative that readers first understand the social and political context

of the worlds these works address. Richard Wright’s Native Son was published in 1940: a time

notorious in American history for its blatant racism demonstrated through Jim Crow laws, most

notably in Southern states like Mississippi, where Wright grew up. These statutes came into

existence as early as 1865 and lasted nearly one hundred years. The very purpose of these laws

was to marginalize African Americans by denying them the right to vote, own property, hold

jobs, and earn an education. Those individuals who chose to rebel against these limitations faced

jail sentences, violence, and oftentimes death. The effects of this racially oppressive society

make up the fiber of Bigger’s being. Wright provides insight as to what this world looked like in
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the Introduction to Native Son: “How ‘Bigger’ was Born,” a crucial element necessary to aid the

reader in understanding who exactly Bigger is. Wright explains the climate in America to be one

that worked “to build up a vast, dense ideology of racial superiority that would justify any act of

violence” committed against an African American in order to “defend white dominance” (xii).

The social climate of the American South during the Jim Crow and pre-Civil Rights Movement

era, particularly Mississippi, is what inspired Wright to create a character like that of Bigger

Thomas: the product of a life that only knows oppression.

Years later, in 2017, Angie Thomas published The Hate U Give, which serves as a more

contemporary example of the issues that are drawn out in Native Son. Thomas was inspired to

write this story in 2010, following the police shooting of 22 year-old Oscar Grant, a Black man

living in Oakland, California. Her inspiration continued with the growth of the Black Lives

Matter movement. The Black Lives Matter Global Network Foundation, Inc. describes itself as

“a global organization in the US, UK, and Canada, whose mission is to eradicate white

supremacy and build local power to intervene in violence inflicted on Black communities by the

state and vigilantes.” This movement was founded in 2013, by three female Black organizers

Alicia Garza, Patrisse Cullors, and Opal Tometi as a response to the acquittal of Treyvon

Martin’s murderer. While focused on eliminating the systemic and intentional oppression of

Black lives, the movement additionally seeks to amplify the voices of women, queer and

transgender people, and others whose activism typically goes unrecognized. In 2020, the

movement returned to national headlines in light of the killing of 46 year-old Black man George

Floyd in Minneapolis, Minnesota by Derek Chauvin, a white police officer. In response to this,

record breaking protests have been taking place across the country. According to The New York

Times, “across the United States, there have been more than 4,700 demonstrations, or an average
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of 140 per day, since the first protest began in Minneapolis on May 26, 2020.” Social media has

played a significant role in the growth and continued momentum of this movement. It has

provided a means through which individuals such as George Floyd, Breonna Taylor, Jacob

Blake, and many others have become catalysts for the movement. The influence of the Black

Lives Matter movement is seen clearly through Thomas’ characters in the way that they push

back on the systemically racist law enforcement system in the United States. The way Starr tries

to make sense of the injustices that her community face mirrors the progressive and questioning

attitude of the Black Lives Matter movement.

When comparing Wright’s Native Son and Thomas’ The Hate U Give, it is essential to

keep in mind that these works are set in different time periods in the United States and that the

environments these characters face are significantly different from one another. Bigger exists in a

time period where resistance against societal norms was punishable by death. Conversely, the

society that Starr exists within allows for more room for an individual or collection of

individuals to challenge what is deemed as acceptable. Although it is important to recognize that

these characters experience different degrees of oppression, is not to say that one individual’s

oppression is worse than the others. While the level of oppression may differ, the form of the

matter remains the same in that both of these Black characters’ lives are controlled and

negatively impacted by the systemically racist society that they live in. What ultimately sets

these novels apart from one another is the way in which their characters cope with this social

climate. Bigger’s inability to transcend the oppression he faces provides readers with a more

realistic presentation of the effects of racism, while Starr serves as a character who ultimately

triumphs over her oppressors.

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An effective means of challenging this systemically racist society is through the use of

powerful literature. Many authors of color, such as Toni Morrison, Angela Davis, and Stokley

Carmichael have taken to the form of resistance literature as a way of shedding light on the deep-

rooted issue of racism within the United States while also being able to reach a broader audience.

Literature of resistance can appear to be political in nature because of the way it addresses

particular struggles against dominant ideologies. James Kalb’s essay “The Tyranny of

Liberalism” falls into this category and additionally defines the nature of this subset of literary

output in a way that encapsulates the nature of both Native Son and The Hate U Give. Kalb

writes, “the real experience of resistance is heavily weighted with the difficulty of thinking

clearly in a world of lies so widely and sincerely believed that they exercise a frightening,

insidious charm.” Both of these novels serve as a means through which their audience, regardless

of race, can momentarily experience what it feels like to resist against a dominant and oppressive

force. It is through these experiences that these novels are able to gain momentum. By placing

their mostly white audience in a position they have never dared to consider, these books shock

their readers and subsequently open doors to conversations that would otherwise remain

untouched.

Resistance literature is commonly met with just that: resistance. Works that fall into this

category often discuss topics that cause readers to feel attacked for their beliefs or make them

uncomfortable with their current set of values. Both Native Son and The Hate U Give present

topics that cause readers to reflect and confront difficult issues. Because of their content, efforts

have been made to place these books on the Banned Books list. Each year, hundreds of attempts

to have books removed from classrooms or libraries are recorded by American Library

Association Office for Intellectual Freedom. According to the ALA, Wright’s Native Son is
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banned by numerous high schools across the nation for its “vulgar, profane, and sexually

explicit” content. While Thomas’s The Hate U Give has not yet been officially added to the ALA

list of Banned and Challenged Books, it appears to be heading in that direction. After nearly fifty

weeks at the top of the New York Times Best Seller List, the work began to face backlash from

certain school boards in regard to the it’s content. The most notable instance of this occurred in

Katy, Texas, where the book was challenged for “inappropriate language.” District

Superintendent Lance Hindt made the decision to remove the novel from the school's shelves

based on its “pervasive language and racially-insensitive language.” This decision was met with

widespread disapproval from free expression advocates, but ultimately it was 15 year-old

Ny’Shira Lundy who collected over 4,000 signatures to return the book to shelves in the school

district (Banned Books Week). While this is a notable victory and testament for the importance

of this work, it was not a total success. Students are able to check this book out, but only with

written permission from their parents. While this potential banning of Thomas’ novel is

concerning, it is important to recognize that there are far less allegations placed against this work

compared to Wright’s Native Son. The accusations made against both Native Son and The Hate

U Give that warrant their banning grossly overlook the true value that these works have to offer.

Further, the claims suggest that the topic of racism is not one that is welcome in a classroom

setting. This silencing of Black authors is a continuation of the deep roots of systemic racial

oppression in the United States that these novels are showcasing.

While The Hate U Give has faced its fair share of backlash, it is critical to recognize the

outpouring of praise this novel has received. The importance of this novel is undeniable and

perhaps its strongest aspect is the way in which it allows for the conversation of racism in the

United States to be brought to an audience that would otherwise look the other way. When
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determining the overall success of the novel and its ability to convey its desired message of

resistance against oppression, The Hate U Give certainly meets all the requirements. However, it

is difficult to say that the work achieves this goal realistically. While the subject matter that the

novel brings about is challenging by nature, Thomas incorporates aspects of white culture that in

a certain sense soften the blow for her white audience. By selecting a young female as the

protagonist, white readers are less likely to subconsciously place harsh labels associated with

Black men against the character. Thomas additionally draws distinct lines between Starr’s life in

Garden Heights; a predominantly Black community and her life at Williamson Prep; a

statistically white private school. The emphasis on the segregation of Starr’s two worlds is

authentic and realistic, however it often appears that Starr rejects or is ashamed of her Garden

Heights life when placed in contrast to her Williamson Prep life. This appears in subtle instances

throughout the work, but is seen overtly within the first pages of the novel as Starr feels

uncomfortable, or as though she does not belong, at a party in Garden Heights. While this

preference of white culture is subtle and difficult to identify, especially for white readers, it is

perhaps a key element that allows for this novel to feel so accessible to its white audience.

Both Richard Wright and Angie Thomas present readers with central characters who

struggle to exist within a systemically racist society. The foundation Solid Ground defines

institutional racism, also known as systemic racism as, “the systemic distribution of resources,

power, and opportunity in our society to the benefit of people who are white and the exclusion of

people of color.” Throughout United States history, institutional racism can be seen on a number

of accounts including, but not limited to: slavery, settlement, Indian reservations, segregation,

and internment camps (Solid Ground). The effects of these institutions are evidenced through

severe racial prejudice, as well as disparities in areas such as employment, education, housing,
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healthcare and representation in government positions. It is important to recognize that

“Institutional racism is distinguished from the bigotry or racial bias of individuals by the

existence of systemic policies and practices within institutions that effectually disadvantage

certain racial or ethnic groups” (Solid Ground). A significant example of institutional racism

displayed in the United States is exhibited through racial profiling by security and law

enforcement workers. The understanding of this key term is essential to this argument because

the effects of institutional racism are demonstrated within both Native Son and The Hate U Give.

While the damaging effects of institutional racism can be seen through physical evidence,

there is also the psychological aspect to this issue that will be discussed within this argument.

Intergenerational trauma is a psychological term that asserts that trauma can be transferred in

between generations. This form of trauma is one that is commonly experienced within the Black

community as a result of colonialism, slavery, Jim Crow laws, and segregation (Barlow). Some

of the common effects of intergenerational trauma include unresolved emotions about the

traumatic event, substance abuse, severe mental illness, and repetition of negative behavior and

teachings, particularly in relation to parenting beliefs (The Association of Child and Adolescent

Mental Health). Within these two works, it is evident that both Bigger and Starr’s psychological

wellbeing is dramatically impacted by the systemically racist environment they occupy.

Richard Wright’s Native Son and Angie Thomas’s The Hate U Give present the deeply

rooted issue of rampant racism in America from two drastically different perspectives. Despite

the fact that these novels were written in different time periods in American history, they both

serve as activist novels, which places them within the literature of resistance genre, and they

function as a means through which their audience can gain an understanding of individual and

cultural experiences that differ from their own. Given that these works address the issue of
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racism, a topic that is complex and multifaceted, they have been subject to extensive criticism.

However, there is significance in the fact that Native Son, a much more gruesome and

challenging presentation of systemic oppression, is met with far more scrutiny than The Hate U

Give, a more accessible and palatable presentation of the issue. The perception of these novels

sheds light on the degree to which white Americans are willing to be pushed when it comes to

discussing the very real and prevalent issue of racism. Given that these novels were written with

the intent to display the reality of systemic oppression and its traumatic effects on the Black

community in the United States, it appears that oftentimes, the accusations placed against these

novels are driven by an underlying current of discomfort with literature that challenges readers to

confront their own set of morals.

The list of criticisms made against Native Son is extensive and wide-reaching from both

Black and white readers. In “Richard Wright and Native Son: Not Guilty” Dorothy Ridden

highlights some of the most notorious criticisms of the work, in particular the accusation of the

work being “too emotional, too didactic, and finally that the novel is said to use emotionalism

and didacticism to place a burden of guilt heavily on the shoulders of its intended white

audience” (111). Additionally, some of the harshest criticism of Wright's works comes from his

former protégé, James Baldwin. This can be seen in his published works such as “Nobody’s

Protest Novel” and then later, and more specifically in his essay “Many Thousands Gone.”

Within these works, Baldwin challenges Wright’s work and Bigger’s inability to transcend the

trauma he has endured due to the oppressive racist society that he exists within.

Angie Thomas’s The Hate U Give is often subject to similar criticisms to that of Native

Son, however, these appear to be far less overt. This work is often criticized for being too

emotionally charged. In a review of the work, Latrice Ferguson criticizes its “reliance on the
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cliché” as a way of teaching her audience. Additionally, in “Nobody’s Protest Novel: Novelistic

Strategies of the Black Lives Matter movement,” Vincent Haddad critiques the way in which

empathy is used as means through which the audience is manipulated and even made to feel

guilty. While these criticisms of The Hate U Give certainly contain merit, it is worth mentioning

that there appears to be a degree of reluctance to fully criticize this work. The lack of criticism

can attributed to the novel’s recent publication, or perhaps a much deeper rooted issue. This gap

on the part of white critics can perhaps be due to the fear of appearing offensive or even racist

when examining the work of a Black author. Additionally, the pleasant and concise happy ending

of the story leads many to feel comfortable with the text, rather than critical of it. However, in

order to untangle the complicated issue of racism, it is essential to look at works such as The

Hate U Give with a critical lens, rather than simply accepting them at face value.

Bigger Thomas: The Product of a Life that Only Knows Oppression

Richard Wright’s controversial novel Native Son reveals the varying degrees of systemic

racial oppression within the United States through the complicated life of Bigger Thomas. In the

Introduction “How ‘Bigger’ was Born,” Wright provides readers with critical information

regarding the creation of this complicated character. Here, he explains that Bigger is composed

of a collection of different men that he has encountered throughout his life. The individuals that

make up Bigger Thomas vary in regard to age, where they lived, and their own particular

experiences with racism in the United States. To begin, Bigger No. 1 is based off of a young boy

from Wright’s childhood years who taunted him and his friends on the playground. This Bigger

was always ready to fight and was a “continuous challenge to others” (ix). Bigger No. 2 was

poor, lived in houses owned by white landlords and ultimately ended up in prison. Bigger No. 3

was shot by a white cop while delivering liquor during Prohibition. Bigger No. 4 rebelled against
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the rigid Jim Crow laws in the South and was later sent to an insane asylum. Bigger No. 5

refused to sit in the “colored” section of the bus, and then threatened a white man with a knife

when he tried to move him. Based on the limited systems in which this Bigger exists, Wright

states that he can assume the trajectory of his fate. Wright shares that “their actions had simply

made impressions upon my sensibilities as I lived from day to day, impressions which

crystallized and coagulated into clusters and configurations of memory, attitudes, moods, and

ideas” (xxix). There is a unifying thread that ties together these individuals who impacted

Wright’s life and led him to create Bigger. As Black men in the United States, their actions were

driven by the force of systemic racism that pervaded every aspect of their life. With an

understanding about where Wright found inspiration for such a complex and controversial

central character, it becomes clear that Bigger is not reinforcing the stereotypes associated with

Black men, but rather he is a potent distillation of the trauma that these men have endured due to

the deep rooted issue of racism in American culture.

Since its publication in 1940, Native Son has been met with harsh criticism in regard to

its prevailing theme of violence throughout the work. While violence is certainly a driving force

within the novel, it is more paramount for readers to look beyond this and to recognize the

motivation behind these acts of rage. Dorothy Redden examines an early review of the work, by

David Cohn ridiculing the novel, calling it “a blinding and corrosive study in hate,” while

additionally suggesting that Wright himself was “hate consumed” (Richard Wright and Native

Son: Not Guilty). However, to view Bigger as a brute, whose only notable characteristics are that

of violence and aggression is to overlook the human aspect of him. Bigger is complex and he is

the means through which difficult subject matter is conveyed. Dorothy Redden challenges the

suggestion of Wright being “hate consumed” in the article “Richard Wright and Native Son: Not
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Guilty” where she states, “Wright may have harbored powerful feelings, but he was not having

some sort of lengthy tantrum when he constructed the coherent, meaningful, expressive story of

Bigger Thomas” (112). This supports the idea that it is essential to examine Wright’s careful

creation of Bigger in order to fully comprehend the intent of the novel. Because of the

complexity of this character’s actions, white readers feel threatened when deciding whether they

like him or not. Consequently, this reveals that our thoughts on Bigger really unveil our

perceptions and biases concerning the world, others, and ourselves. Bigger’s ability to induce

such a deeply emotional experience within readers proves that he is far more than an outpour of

Wright’s rage, as Cohn suggests, but rather a carefully and intentionally crafted character.

Ultimately, the creation of Bigger was no accident, as detailed in the introduction “How ‘Bigger’

was Born.”

One of the most insistent critics of Richard Wright’s works is his former protégé James

Baldwin. Many of Baldwin’s comments regarding Native Son are taken from his essay titled

“Nobody’s Protest Novel.” As his career progressed, he began to dedicate extensive time to

unpacking Wright’s novel and its complexities. He published a polemic titled “Many Thousands

Gone,” which adopts a much more assertive and harsh tone towards Wright's novel. Within this

work, Baldwin suggests that one of the central flaws within Native Son “lies in its insistence that

it is [man's] categorization alone which is real and which cannot be transcended.” Here, he

echoes his previous criticisms by suggesting that the novel does not allow for Bigger to move

past or overcome “the very tones of violence he has known his whole life.” He continues to

suggest that by “compulsively re-enacting and magnifying his trauma, the protest novel proves

unable to transcend it.” This harsh criticism appears to be rooted in the desire for a novel that

provides readers with character who achieves a heroic triumph over the dominant systemically
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racist system. However, one can argue that this was simply not the intention of Native Son.

Given that the incidents recorded in this novel are reflections of traumas that Wright himself

witnessed in his life, this novel serves not as a proposed solution to systemic racism and its

effects, but rather as a means through which its harmful effects are unveiled to white readers.

When reading this novel as an exposition rather than a heroic tale, the reader becomes aware of

the purpose behind a story that is filled with such violence and rage. Baldwin views Bigger’s

inability to transcend the trauma he has endured as a flaw. However, by presenting a character

who is incapable of this forward movement, Wright paints a more accurate representation of how

an oppressive and racist society can negatively impact an individual’s sense of self. Bigger’s

inability to transcend the forces of racist oppression is felt deeply by readers, and is perhaps one

of the strongest attributes of the work. In “Richard Wright and Native Son: Not Guilty” Dorothy

Redden comments that “Native Son is not choked with rage, hatred, or vengefulness. It is taut

with emotion, but that emotion is contained and transcended” (112). It is the potency of the

emotions that this work evokes that allow its message to move beyond being simply words

written on paper and into the lives of readers. Ultimately, while Bigger himself is unable to

transcend the grips of oppression, and Native Son succeeds in this by disrupting reader’s state of

stasis and forcing them to confront the reality of racism in the United States as well as their own

moral code of ethics.

From the onset of the work, it is apparent that within Bigger is an inherent understanding

of the prevalence of white supremacy in America. While talking with his friend Gus, Bigger

expresses “Sometimes I feel like something awful’s gonna happen to me” (23). Here, it is

evident that Bigger possesses a keen awareness of the expectations placed upon Black men by

the dominant white society. From an early age, Bigger recognizes the lack of upward mobility
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that he is afforded simply because of the color of his skin. He expresses a second time, “every

time I get to thinking about me being black and they being white, me being here and they being

there, I feel like something awful’s going to happen to me” to which Gus replies, “There aint

nothing you can do about it. How come you want to worry yourself? You black and they make

the laws . . .” (23). This early exchange reveals attitudes and themes that are present throughout

the entirety of the novel. Wright is making it clear to the audience that there is a noticeable and

tangible division between white and Black Americans. Additionally, this exchange sheds light on

the attitude held by many Black citizens in the United States that equality is so far out of reach

that one should simply not even consider it.

This awareness can be attributed to the physical environment that Bigger grew up in, the

Black Belt of Chicago, but it can also be examined on a much deeper psychological level. It is

important to consider that intergenerational trauma plays a significant role when understanding

the motivation behind Bigger’s violent tendencies. This form of trauma is commonly found

within the Black community as a result of slavery and Jim Crow laws. Bigger exists in a time

period where Jim Crow laws are common practice. Additionally, at this time in America,

movements towards equality like the Civil Rights Movement and the Black Lives Matter

movement had not yet taken place. While there is no direct reference to slavery, historically

speaking, at the time this novel was set in, slavery had been abolished less than one hundred

years. With this understanding, it is probable that Bigger Thomas’ family history was impacted

by the effects of slavery. The Thomas family lived well below the poverty line, as evidenced

through the disheveled one bedroom apartment they occupy. Bigger’s home environment was

not one that encouraged the pursuit of change, but rather one that taught Bigger to follow the

rules of the white world as a mode of survival. The sheer weight of oppression is seen through
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Wright’s description of Biggers mother. The effects of this are seen physically though her “tired

and sunken” (103) eyes. Wright then moves to a deeper description of her, noting that “there was

in her heart, it seemed, a heavy and delicately balanced burden whose weight she did not want to

assume by disturbing it one whit” (103). Here, Wright demonstrates how the effects of existing

within a systemically racist society can be seen both physically and mentally and that these

effects trickle down from one generation to the next. Within the novel, the instances that

demonstrate intergenerational trauma are subtle, and oftentimes difficult to identify, similar to

the way in which the trauma is able to subtly take over an individual's sense of self. In an

exchange with Gus, Bigger expresses the idea that all his life, “It’s like I was going to do

something I can't help . . .” (25). Later in the text, a similar claim was made suggesting that, “all

his life he had been knowing that sooner or later something like this would come to him” (206).

Here, it is apparent that Bigger grew up with the understanding that he was destined to fulfill the

stereotypes placed on him by white culture. These statements highlight paralyzing effects of

racism that ultimately prevent Bigger from being able to transcend the trauma he has endured.

Wright seeks to identify the source of this psychological trauma that is experienced by

the Black community in America. However, he does not identify a singular white individual that

causes Bigger to feel the effects of racism so vividly. Instead, Wright demonstrates through

Bigger’s actions that it is the sheer force of white people as a collective whole that has ingrained

deep fear into the lives of Black Americans. In realizing this, Bigger reflects, “as long as he and

his black folks did not go beyond certain limits, there was no need to fear that white force. But

whether they feared it or not, each and every day of their lives they lived with it” (109). By

identifying the magnitude of white power as a collective unit, rather than a particular individual,

Wright demonstrates the overwhelming sense of hopelessness as a product of this oppression.

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Bigger himself admits to dreaming of a moment where he would “take a stand against that white

force” but quickly abandons such hope “when he looked at other Black people near him” and

recognized a shared sense of hopelessness (109). It is through the thoughts of Bigger that Wright

is able to expose the motivation behind his violent actions. Additionally, this insight allows

readers to view Bigger as a human person who is deeply impacted by the world he lives in.

Bigger’s humanity is evident through the constant state of fear that he endures,

particularly inside the Dalton’s household. White people have historically asserted power over

the Black community, which has allowed for the creation of a white supremacist society. In her

critical essay “Representations of Whiteness in the Black Imagination,” bell hooks identifies and

explains this assertion of power stating, “One mark of oppression was that black folks were

compelled to assume the mantle of invisibility, to erase all traces of their subjectivity during

slavery and the long years of racial apartheid, so that they will be better, less threatening

servants” (168). Within the Dalton house, it is apparent that Bigger feels this compulsion to

remain invisible in order to be seen as unproblematic and nonthreatening to his white employers.

The damaging effects of this oppression on an individual’s decision making process are seen

most vividly through the accidental killing of Mary Dalton, the white daughter of Bigger’s

employer. While Bigger did not intend to murder Mary, he unintentionally did so in a desperate

effort to remain invisible. He was keenly aware of the danger he put himself in when he decided

to help Mary get to her bedroom, given that she was drunk, it was late, and he was Black. Bigger

is overcome by “hysterical horror” as Mary’s blind mother enters the room (84). Here, the innate

understanding of the consequences a Black man would face for being in a white woman’s

bedroom, regardless of intention, begin to dictate Bigger’s actions. In an effort to not be caught,
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Bigger smothers Mary with a pillow. He was so overcome with fear, so preoccupied with the

need to remain unknown, that he unintentionally kills her.

The trauma that Bigger endures can be seen as a driving force behind his violent actions.

The events that take place in this novel, such as murder and rape, are discussed in gruesome

detail, leaving readers feeling deeply disturbed. While Bigger’s choices are difficult to defend, it

is imperative to examine the driving force behind the actions. Bigger’s decision-making process

is greatly impacted by external forces. These acts of violence are most often the focal point of

many critical arguments made against the novel. It is suggested that Bigger’s behavior limits the

novel in that it encourages and furthers the stereotypes placed on the Black community in

America. In his essay, “Many Thousands Gone,” James Baldwin focuses on the way in which

Bigger embodies the myths that surround the Black community. Rather than viewing Bigger as

realistic product of the hate forced upon him by society, Baldwin suggests that

Those Negros who surround him, on the other hand, his hard-working mother, his

ambitious sister, his poolroom cronies, Bessie, might be considered as far richer

and far more subtle and accurate illustrations of the ways in which Negros were

controlled in our society and the complex techniques they have evolved for their

survival. (35)

While this observation of Bigger's family and friends holds merit, one may suggest that Wright

did not intend to simply illuminate the complex techniques that Black Americans have adopted

as a means of survival. Rather, he intends to demonstrate to his readers the way in which these

techniques foster emotions of rage, hatred, and lost identity within an individual. The extent that

these characters tolerate systemic oppression is not a sustainable means of living, as

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demonstrated through the unraveling of Bigger Thomas at the hands of the ever-present white

force.

Wright is explicit in drawing the reader’s attention to the fear Bigger experiences when in

the presence of any white people. Bigger often feels the need to carry a gun to protect himself

from white people. On his way to the Dalton’s house, Bigger grapples with the idea of bringing

his gun with him for safety reasons. It is explained that “He was not planning to use it and there

was nothing in particular that he was afraid of, but there was in him an uneasiness and distrust

that made him feel that he ought to have it along” (44). He ultimately decides to bring both his

knife and gun after he realizes that on his way to the Dalton house, he will have to walk through

a white neighborhood. In this instance, it becomes apparent that Wright is strategically working

within a racist stereotype to defy it. This innate fear works to flip the narrative of common

stereotypes that paint Black people as dangerous or threatening and places it on white people. It

is common for white people to place heavy assumptions and prejudice on neighborhoods that are

predominantly Black, labeling them “ghetto” or “the hood” and further deeming them as

dangerous by nature. Wright frustrates this widely accepted stereotype when he casts the white

neighborhood in this same light. In her essay “Representation of Whiteness in the Black

Imagination” bell hooks simply explains that “to name that whiteness in the black imagination is

often a representation of terror” (172). This is a reality white people do not consider, often times

due to the possession of powerful racial stereotypes held against the Black community.

Commenting further in this phenomena, hooks suggests that this inability to conceive the degree

of terror is a direct response to “the legacy of white domination and the contemporary

expressions of white supremacy” and that this is “an indication of how little this culture really

understands the profound psychological impact of white racist domination” (177). Wright
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includes this scene as a way of communicating this terror to his white audience. This minor

detail of flipping the narrative of widely accepted stereotypes is often unrecognized or ignored

by a white audience due to the fact that it casts white people as the threat.

Starr Carter: A Triumphant, yet Limited Representation of Oppression

Richard Wright’s Native Son provides modern readers with a story that exposes the

oppressive racist climate of America in the 1930’s and the negative psychological impact that

this can have on an individual. Since its publication, there has been a surge in the category of

resistance literature allowing for the issue of racism in America to be exposed, most often, by

authors of color. In 2017, Angie Thomas entered this realm of literature with the publication of

her debut young adult Literature novel, The Hate U Give. The relevance of this work is felt

deeply by modern readers, as it discusses the killing of a young Black man by a white police

officer. Furthermore, when placed in comparison with Wright’s Native Son, readers are able to

better understand the significance of the content that these works discuss. This comparison

brings to light the long history of racism in the United States and the lasting negative effects of

oppression. These two works present dramatically different central characters: the frustrating and

dislikeable Bigger Thomas and the inspiring and likeable Starr Carter. However, what ultimately

connects these novels to one another is their complex discussion and examination of Black

identity in the United States. It is important to note, that while these novels are similar in the

depiction of oppression, the works differ in the way that they treat their characters and how they

respond to this oppression.

Similar to Wright, Thomas based the intent of her novel on traumatic experiences that she

witnessed within the Black community during her life. Thomas wrote The Hate U Give in 2010,
 Seng 19

following the shooting of 22 year-old Oscar Grant, an African American man living in Oakland,

California, by a white police officer. Her intention when creating the characters within this story

was to expose the human side of cases like Grant’s. It is through Starr’s family, most notably her

father Maverick, that the effects of intergenerational trauma are brought to light. Starr’s father

harbors deep fear for his children and the challenges they will face in a society that criminalizes

individuals based on the color of their skin. The roots of this prejudice can be dated back to

slavery and the Jim Crow era, when fear was used as a tool by white people maintain control

over the Black community, evidenced through the life of Bigger Thomas. Starr explains “the

talk” that she was given at a very young age where she was taught what to do when in the

presence of a police officer. Her father taught her to “do whatever they tell you to do” (Thomas

20). The fear of law enforcement within the Black community can be linked directly to the

implementation of Jim Crow laws and even further back to slavery. When understanding the

concept of intergenerational trauma within The Hate U Give, it is beneficial to examine a

character like Bigger because he was directly impacted by the use of Jim Crow laws and

therefore allows readers to understand the origins of this trauma.

Thomas’s novel qualifies as young adult literature, thus allowing for the logical creation

of both relatable and palatable characters. The Hate U Give presents readers with positive

characters that are easy for readers to root for. The “likeableness” of the characters, specifically

Starr, is a significant difference from Native Son. Thomas chose to create Starr Carter as a young

Black female who is able to transition relatively seamlessly between her home life in Garden

Heights, a predominantly Black community, and her life at Williamson Prep, a notoriously white

private school. Starr explains this transition when she states, “that means flipping the switch in

my brain so I’m Williamson Starr. Williamson Starr doesn’t use slang – if a rapper would say it,
 Seng 20

she doesn’t say it, even if her white friends do. Slang makes them cool. Slang makes her ‘hood’”

(71). While Starr imitates elements of white culture, she still expresses anger and even hatred

towards the white community. When discussing this code switching, Starr expresses “I cant

stand myself for doing it, but I do it anyway” (71). In her critical essay “Representation of

Whiteness in the Black Imagination” bell hooks explains this particular behavior suggesting,

“This contradictory longing to possess the reality of the Other, even though that reality is one

that wounds and negates, is expressive of the desire to understand the mystery, to know

intimately through imitation, as though such knowing worn like an amulet, a mask, will ward

away the evil, the terror” (166). This passing ability is a quality that Bigger does not possess, in

that he is unable to alter the way in which the white community perceives him. To a certain

extent, Starr’s ability to pass in white circles has been viewed as an example of racial

progression by misinformed white readers, seeing as she is accepted by white society; however

this “progress” is ultimately contingent on her adoption of white culture—ways of speaking,

manners of dress, etc.—and the abandonment of her identity as a Black woman. Therefore, this

can conversely be viewed as cultural regression because it requires the individual to present an

unauthentic version of themselves in order to be accepted.

Starr, a positive and endearing character, is the means through which the complex issue

of systemic racism and police brutality is communicated and accepted by white readers. While

Bigger Thomas, a challenging and frustrating character, is similarly used to depict the effects of

oppression, he is received in a much more critical light by white readers. Thomas’s choice to

place a young female at the center of her novel plays a significant role in the way readers

perceive its message. To her white audience, Starr feels very accessible and allows them to feel

comfortable when facing the complex issue of racism. While she successfully confronts and
 Seng 21

challenges racist tendencies displayed by her white classmates, she similarly questions the

actions of those within her own community. This can be seen when discussing her friend Khalil’s

criminal background. Following his death, it is revealed through the media that Khalil was a drug

dealer. However, what is kept from the public is the fact that Khalil fell into this in order to

financially support his family. In a discussion with her father, Starr makes the comment, “I hear

you, but Khalil didn’t have to sell drugs” (170). While this comment is understandable, because

Starr is a teenager trying to make sense of the killing of her friend, this thought process

demonstrates the way in which Starr has begun to believe the stereotypes placed on the Black

community. The suggestion that an individual does not have to participate in gang activity is one

held most notably by the white community. This stereotype allows white society to place the

blame of tragedies within the Black community directly on those who are affected. By including

this comment, Thomas allows for her white readers to feel excused for harboring racist

mentalities, simply because Starr is Black and she thinks those thoughts too.

The suggestion that the system is designed against the Black community is prevalent

throughout both Native Son and The Hate U Give. Bigger frequently references the notion that all

his life, he has felt as though he was destined for something bad to happen to him. This

understanding is so deeply ingrained that he seems to believe that being a thief or a murderer is

simply his fate. Bigger faces this internal struggle because of the dominance of white culture and

the stereotypes placed on the Black community. This idea is echoed in The Hate U Give, and can

be seen through the characters' perception of the law enforcement system. Starr’s father

Maverick emphasizes this when he states, “That’s the hate they’re giving us, baby, a system

designed against us” (170). Here, Starr’s father is referencing the same oppressive system that

caused Bigger to internalize the racist stereotypes placed upon him. Maverick’s discussion of the
 Seng 22

corrupt justice system is significant because of his complicated past with gang affiliation that

ultimately caused him to serve time in prison. Maverick is presented as a positive character, who

acts as a moral compass and mentor to his children as well as people within Garden Heights. He

is cast as an individual who was able to overcome his criminal past and achieve the “American

Dream” by providing for his family and working a respectable job. Maverick’s ability to simply

walk away from gang activity after having children and adjusting his values sends a dangerous

message to white readers of this novel because it solidifies preexisting stereotypes held against

those involved in gangs. This rather seamless transition suggests that removing one’s self from

gang activity is possible through a moral adjustment, and that individuals who do not possess this

ability to remove themselves from gang activity are morally corrupt. Additionally, while

Maverick’s ability to overcome his criminal past is intended to be inspiring, Thomas ultimately

paints an unrealistic depiction of what post-prison life looks like for Black men in the United

States. According to the National Association for the Advancement of Colored People, “nearly

50,000 legal restrictions against people with arrest and conviction records routinely block access

to jobs, housing, and educational opportunities.” Maverick does not appear to be affected in any

of these areas given that he has a job, home, and the ability to send his daughter to Williamson

Prep. This unrealistic vision can consequently cause readers to not recognize the systemic

corruption of the prison industry, given that Maverick is able to easily overcome it. Ultimately,

Maverick, unlike Bigger, is able to transcend the oppression placed upon him by a systemically

corrupt system, and thus contributes to the limitations of this novel in the discussion of the extent

of effects of racism in the United States.

In comparison to The Hate U Give, Native Son faces much harsher criticism for its

content. There is certainly merit for such criticism, as the work deals with brutal murder,
 Seng 23

disturbing scenes of rape, and highly derogatory language. On the other hand, The Hate U Give

presents a much more palatable presentation of racism in America, providing readers with an

innocent female protagonist and familiar elements of comforting white culture. While these

characteristics allow this novel to reach a wider audience, they ultimately limit the novel from

fully addressing the depth of racism in the United States. These elements most certainly exist due

to the fact that the novel is geared towards young adults; however, the novel is ultimately flawed

in the degree to which it caters to its white audience. The conclusion of the novel is perhaps

where Thomas appeals to her white audience most overtly, in that the resolution is concise and

pleasant. After the announcement of the grand jury’s decision regarding Khalil’s case, protests

erupt in the Garden Heights community. Here is where Starr finds her voice as she heroically

confronts armed police forces with a bullhorn and an inspiring speech. She addresses the police

saying “Just like y’all think all of us are bad because of some people, we think the same about

y’all. Until you give us reason to think otherwise, we’ll keep protesting” (412). Here, readers are

given the most significant and impactful example of resistance against the systemic oppression

within the novel. This scene is perhaps the most successful aspect of the work because it

provides an overt rejection of white supremacist ideals. However, it is the events that take place

following this protest that limit the novel and its effectiveness at challenging the root of racist

mentalities that are so prevalent in American society. Following the protest in Garden Heights,

Starr’s family officially moves to their new home in a predominantly white community. It is

through the departure from Garden Heights and entrance into this white community that readers

are met with peace and tranquility. While this provides a clean cut resolution for the plot of the

story, it ultimately perpetuates the stereotype that connects Black communities with danger and

white communities with safety. It appears that throughout the novel, Thomas repeatedly follows
 Seng 24

her most radical and challenging scenes with ones that evoke safety by casting elements of white

culture in a positive light. This ultimately limits the novel's ability to fully address the issue of

racism within American culture.

The Necessity of a Critical Lens in Relation to Resistance Literature

Ultimately, these stories present dramatically different presentations of the deeply rooted

issue of racism that dominates American culture. These works are widely questioned and

frequently criticized in regard to the manner in which they address this complex issue. Through

close analysis, it becomes evident that although Bigger Thomas is unable to transcend the trauma

he has endured, Wrights depiction of the failure to overcome racism offers a remarkable example

of the paralyzing effects of trauma within the Black community. Conversely, while Starr Carter

is able to successfully break free from this oppression, the means through which she achieves

this triumph are what ultimately limit this novel and its ability to fully communicate the true

impact of a systemically racist society on the Black community.

While both Native Son and The Hate U Give contain flaws in the discussion of racism,

they are not works that should be kept at a distance from white readers. The banning of these

works of literature silences the voices of these influential Black authors, ultimately condoning

the historically racist culture that has been deemed acceptable in the United States. The banning

of books from school shelves prevents necessary discussions such as race, gender, and sexuality

from taking place in a classroom setting. The absence of these fruitful conversations only breeds

further division, as young adults are not given the opportunity to grow and explore beyond their

comfort zones. In regard to Native Son and The Hate U Give, the true power that these books

possess is only realized through the conversations that they bring about. Where these novels
 Seng 25

leave gaps in the discussion of racism, teachers are given a prime opportunity to intervene, fill

those gaps, and provide students with a more authentic teaching of racial disparities through the

use of literary analysis.

It is crucial to bear in mind that the discussion of racism is infinitely complex. To say that

it is impossible to write a flawless discussion of racism is simply not true. However, literature

related to this subject matter is often more loosely bound because it attempts to distill an issue

that has a nearly immeasurable magnitude. One must also consider their own bias when reading

literature that discusses racism and additionally, be prepared to confront one’s own

understanding of the issue. When reading works such as Native Son and The Hate U Give, white

readers must accept that their perspective of these works is inherently different than that of Black

readers. The intent of these works is not to allow their white audience to identify with Bigger or

Starr’s experiences, but rather to allow themselves to be educated by them.

The perception of these two novels sheds light on the extent to which white readers are

willing to confront their own understanding of racism in the United States. The story of Bigger

Thomas is difficult to process for any reader, as evidenced though the years of endless criticism.

Bigger’s inability to transcend the trauma inflicted upon him by a racist society is what allows

for Native Son to linger in the minds of readers. If Bigger were to transcend this trauma and

overcome oppression, the novel would carry far less weight. If Wright chose to cast Bigger as the

champion over oppression, and provide a neat and concise ending, the novel would convey the

message that overcoming the forces of racism is a realistic and common scenario, which was

simply not the case in the 1930’s. This use of this format is seen in The Hate U Give. The use of

this heroic tale of overcoming oppression is justified in that the novel serves as Young Adult

Literature. However, it is beneficial to examine the significant limitations within this work in
 Seng 26

regard to its ability to fully confront racism in America. Ultimately, the comparison of these two

works is valuable in that it causes one to pause and reflect, to consider times in our lives where

we have accepted the stories with happy endings because they are comfortable and safe. For

white readers in particular, it is essential to be critical of oneself and examine the flaws within

our own understanding of racism. Are we simply reading widely celebrated novels like The Hate

U Give in order to reassure ourselves and others that we are “not racist”? Or are we making the

effort to dig deeper: to educate ourselves on the depth of systemic racism in the United States

while actively making the effort to unlearn false teachings about race inherited from our past?

Our growth as a nation, and our ability to heal from severe and traumatic racial divide, is

contingent on the willingness of white Americans to denounce systemic racism and consider

aspects of our lives that contribute to this issue.

 Seng 27

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Baldwin, James. “Many Thousands Gone.” Notes of a Native Son, Library of America, 1998, pp.
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Barlow, Jameta Nicole. “Restoring Optimal Black Mental Health and Reversing
Intergenerational Trauma in an Era of Black Lives Matter.” Biography: An
Interdisciplinary Quarterly, vol. 41, no. 4,2018, pp895-908.

Buchanan, L., Bui, Q., & Patel, J. (2020, July 03). Black Lives Matter May Be the Largest
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size.html?auth=login-facebook

“Criminal Justice Fact Sheet.” NAACP, 10 July 2020, www.naacp.org/criminal-justice-fact-

sheet/.

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Gomez, B., & *, N. (2018, September 06). Banned Spotlight: The Hate U Give. Retrieved
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give/

Haddad, Vincent. “Nobody’s Protest Novel: Novelistic Strategies of the Black Lives Matter
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Hill, T. (2019, August 13). How can mental health professionals understand intergenerational
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hooks, bell. “Representation of Whiteness in the Black Imagination .” Black Looks: Race and
Representation, Routledge, 2015, pp. 165–178.

Kalb, James. “The Tyranny of Liberalism.” Modern Age: A Quarterly Review, vol. 42, no. 3,
2000, p. 239. EBSCOhost, search.ebscohost.com/login.aspx?
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Redden, Dorothy S. “Richard Wright and Native Son: Not Guilty.” Black American Literature
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Thomas, Angie. The Hate U Give. Blazer+Bray, 2017.

Wright, Richard. Native Son. Harper Collins Publishers, 1940.