Richard Wright’s Native Son is an exceptional example of dynamic, participatory literature. Rather than allowing the reader to effortlessly absorb the words on the page, Wright undermines the passivity and comfort we often expect when reading. Both the content of the novel and Wright’s literary style provoke and disturb, immersing the reader in a dense psychological terrain that is simultaneously intimate and larger-than-life.
Set in Chicago in the 1930s, Native Son follows the life of Bigger Thomas, a young African-American man living in squalor with his mother and siblings. Bigger’s mother holds him accountable for the welfare of the family, but his ability to work towards a stable life seems perpetually hindered. He can’t overcome his poverty because he can’t get a job that pays well, and he can’t get a decent job because of his lack of education and limited social mobility. He is also imprisoned by the sense that, as an African-American man, his mere existence has been criminalized: “There was just the old feeling, the feeling that he had had all his life: he was black and had done wrong.”
Antoine de Saint-Exupery’s enduring classic, The Little Prince, explores topics of great importance such as art, friendship, space travel, responsibility, proud flowers, and what a boa constrictor looks like after it has eaten an elephant. This cherished fable is narrated by a pilot whose plane crashed in the Sahara. After meeting the little prince in the desert, miles and miles from any inhabited place, our narrator gradually learns about the little prince’s travels and world view.
The little prince comes from Asteroid B-612, a very small planet where he dutifully cleaned out the miniature volcanoes and tended to his beloved flower. His flower had many demands, and her haughty manner made the little prince feel confused and manipulated. As a consequence, he decided to leave his home and go exploring.