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A FATHER’S LAW

Wright did not live to resolve the dilemma thus created. Furthermore, A Father’s Law is astonishingly awkwardly written, and...

When Richard Wright (1908–60) died, much too young and essentially a stranger in his own country who had found a more congenial “home” in postwar Paris, he was remembered, if at all, as a transitional figure. Between the handful of respected black American authors (such as Charles W. Chesnutt, Claude Mackay and Langston Hughes) and the later, more abrasive achievements of James Baldwin, Toni Morrison, John Edgar Wideman and others, there were Wright’s major books. His powerhouse debut novel Native Son, the bitter short stories collected as Uncle Tom’s Children, the impassioned autobiography Black Boy—all now enshrined in the Library of America—bore electrifying witness to the enduring relevance of a writer who made it his life’s mission to dramatize his people's struggles against racist intolerance and injustice.

Now comes A Father’s Law, a never-before-published, unfinished novel. The book was written during Wright’s last illness, which perhaps explains its ungainly, virtually inchoate state. In an introduction to the work, Wright’s daughter, Julia, candidly describes it as a “faulty, sketchy, sometimes repetitive draft.” The book attempts something genuinely new in his oeuvre—a metaphysical crime thriller—and it eerily echoes its author’s own experience. The story begins when veteran black Chicago policeman Rudolph “Ruddy” Turner is summoned to his station late at night and informed that he has been appointed Police Chief. The complication: A series of unsolved murders in the “independent municipality” of Brentwood Park, a hotbed of gambling, prostitution and worse, has become a number-one police priority. Ruddy’s problems are exacerbated at home, in his troubled relationship with his college-age son Tommy, a gifted student and athlete whose renegade intellect questions the legitimacy of laws his father is sworn to uphold—and gradually raises Ruddy’s suspicions that Tommy is implicated in the murders. For Tommy, like the young Richard Wright, has broken off his engagement to a girl afflicted with congenital syphilis (the story is briefly told in Michel Fabre’s 1993 biography The Unfinished Quest of Richard Wright). Was Tommy driven to crime, his father agonizes? Or was he attempting to seek punishment he felt he deserved, even for crimes he did not commit?

Wright did not live to resolve the dilemma thus created. Furthermore, A Father’s Law is astonishingly awkwardly written, and would surely not have been offered for publication without major revisions. Still, it lurks in Wright’s harsh oeuvre: a perhaps impenetrable enigma. We cannot salute it as major, even as significant work. But we can understand why Julia Wright thought we needed to see it.

Pub Date: Jan. 8, 2008

ISBN: 978-0-06-134916-4

Page Count: 288

Publisher: Perennial/HarperCollins

Review Posted Online: May 19, 2010

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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THINGS FALL APART

This book sings with the terrible silence of dead civilizations in which once there was valor.

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Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.

Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.

This book sings with the terrible silence of dead civilizations in which once there was valor.

Pub Date: Jan. 23, 1958

ISBN: 0385474547

Page Count: 207

Publisher: McDowell, Obolensky

Review Posted Online: April 23, 2013

Kirkus Reviews Issue: Jan. 1, 1958

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