have been great. But the image of the death of the product, the child, of the city appeals to those who caused his birth, and there is no redemption for Bigger. Society hates most what it itself creates, and Bigger as the very reflection of that society must die. He is not a good person, he is not noble or true or brilliantly creative. But he has the capacity for all of those things, and has not been given the chance to fulfill them. His crime of violence is as much the crime of the people around him, who stifled his soul and nourished the other, baser side of him that was the only way he had of self-expression. Bigger Thomas has been shaped by various forces. Forces that have changed the life completely for Bigger Thomas. In Native Son, Bigger Thomas seems to be composed of a mass of disruptive emotions rather than a rational mind joined by a soul. Bigger strives to find a place for himself, but the blindness he encounters in those around him and the bleak harshness of the Naturalistic society that Wright presents the reader with close him out as effectively as if they had shut a door in his face. In the first book, Wright tells the reader "these were the rhythms of his life: indifference and violence; periods of abstract brooding and periods of intense desire; moments of silence and moments of anger -- like water ebbing and flowing from the tug of a far-away, invisible force" (p.31). Bigger is controlled by forces that he cannot tangibly understand. Bigger's many acts of violence are, in effect, a quest for a soul. He desires an identity that is his alone. Both the white and the black communities have robbed him of dignity, identity, and individuality. The human side of the city is closed to him, and for the most part Bigger relates more to the faceless mass of the buildings and the mute body of the city than to another human being. His mother's philosophy of suffering to wait for a later reward is equally stagnating -- to Bigger it ...
