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translation studies. retrospective and prospective views

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naively assumed that the ‘white’ man had the right to beat the black<br />

boy’s father. (23)<br />

Anxiety over irrational attack by the whites is the locus where<br />

Wright’s experience in the South is the most representative of the emotional<br />

experience of fellow black boys. Yet, in the voice of the mature narrator,<br />

Richard – the child already took issue with the submissiveness <strong>and</strong> selfhumiliation<br />

that he witnessed among his fellows. He could not underst<strong>and</strong><br />

how they stooped so low as to allow themselves to be hit, humiliated,<br />

plundered, <strong>and</strong> even killed without putting up resistance, without<br />

retaliating, or fighting together, as a group. 1<br />

Class mates who could keep a job did so by virtue of acting out a<br />

script into which they were socialized at home <strong>and</strong> in school. The script<br />

consigned them to keeping their head down, to being always cheerful, to<br />

always using “Sir” as a form of address to whites, to knowing when to be<br />

quiet, how to vanish when whites were around, what to tolerate as<br />

acceptable behavior from them, <strong>and</strong> how to master their reactions <strong>and</strong><br />

emotions. Failure to do so could be fatal, as a few white youth in a car warn<br />

Richard, upon his omission to address one of them as “Sir.”<br />

Conformity <strong>and</strong> complacency were worsened by self-degradation.<br />

The climax of self-degradation appears to be embodied in Shorty, an<br />

elevator operator in a Memphis hotel who, for a quarter, allows <strong>and</strong><br />

actually invites whites to hit him in the back. In the same city, women took<br />

no offence at being slapped by whites, <strong>and</strong> Harrison, a fellow worker in<br />

Memphis, has no scruples fighting Richard for money, for the pleasure of<br />

the whites who had stirred them against each other <strong>and</strong> provided them<br />

with knives.<br />

Fear, hatred, hunger, submission <strong>and</strong> suffering are the defining<br />

signposts of the Southern emotional l<strong>and</strong>scape. In leaving the geographical<br />

South, Wright is aware that he could<br />

…never really leave the South, for my feelings had already been formed<br />

by the South, for there had been slowly instilled into my personality<br />

<strong>and</strong> consciousness, black though I was, the culture of the South. So, in<br />

leaving, I was taking a part of the South to transplant in alien soil, to see<br />

if it could grow differently, if it could drink of new <strong>and</strong> cool rains, bend<br />

in strange winds, respond to the warmth of other suns, <strong>and</strong>, perhaps, to<br />

bloom… And if that miracle ever happened, then I would know that<br />

there was yet hope in that southern swamp of despair <strong>and</strong> violence,<br />

that light could emerge even out of the blackest of the southern night. I<br />

would know that the South too could overcome its fear, its hate, its<br />

cowardice, its heritage of guilt <strong>and</strong> blood, its burden of anxiety <strong>and</strong><br />

compulsive cruelty. (228)<br />

23

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