理查德·赖特的《女猎手:跨代体验》

IF 0.3 Q4 WOMENS STUDIES
Julia Wright
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After my parents’ death, I stumbled on the story told by one of those my father had chosen to guard the private room’s door—but the experience fits with an unspoken, indelible image imprinted on my relationship with the world and others. The fact that so soon after my birth I was fiercely mothered by the Black man who was my father is woven into intergenerational threads I now pull through Richard’s own relationship with his mother and other women who were in caring relationships towards him during his formative years. Sometimes those threads knot up or break—they are never linear. Three Black matriarchal figures stand out: Ella, Richard’s biological mother; Aunt Maggie, who was Ella’s trusted sister and Richard’s favorite aunt; and the dominating matriarch, Grandma Wilson, who was both Ella and Maggie’s mother. When, on that April day of my birth, Richard held me up and away from the racism of the white nurses, he breathed into me the indomitable spirit of those three Black women he had internalized. [End Page 31] They stand out now: Ella, so demure, so fragile, who always quietly and unobtrusively encouraged Richard’s creativity while having to teach him the boundaries of death-bound Jim Crow and having to beat that survival lesson into him; Grandma Wilson, the iconic and towering figure of the recently published essay “Memories of my Grandmother,” who taught him how his own language sounded from the outside, its Black beat that he could translate into words;1 Aunt Maggie, who survived her lynched husband. These three heroines surfaced in varying aboveground and underground ways in Richard’s writings and in between his books. Ella, the schoolteacher, was so sensitive she reacted to both the brutal abuse and desertion of her sharecropper husband, Nathan, and to the impact of racial segregation in the Delta by experiencing crippling lifelong strokes that may well have been psychosomatic. But she was also in charge of corporal punishment, whipping, slapping, letting her sons know the boundaries of a segregationist world. She recognized her elder son’s gift, but she had to armor the tenderness Richard craved. He went hungry affectively as well as biologically, and his feelings towards Ella may have been deeply ambivalent as a result. Grandma Wilson demanded everything that Richard refused to give in to: religion, the shunning of all books and other “manifestations of the Devil,” owning up to non-existent sins.2 It was a tough tussle of wills between them—and in the end, a mutual but hidden admiration. She, too, would beat him if need be, and she often felt it to be needed. In both cases, there was affective sensory deprivation and corporal punishment by the women in the family, who would end up being his role models. However, he never lifted a hand on my sister or me—nor were we affectively deprived. On the contrary, he was overprotective to the end. Maggie, sinuous, sensual, the only one of the Wilson sisters who used makeup, was the rebel in the family, a feminine mirror of Richard’s need to be free of Seventh-Day Adventist strictures. Nor did she resort to beating. Eightyear old Richard looked up to the couple Maggie formed with her first husband, Silas Hoskins, whose entrepreneurial spirit had flourished in Elaine, Arkansas, where he owned a thriving saloon and had built houses that...","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Richard Wright’s Huntresses: A Transgenerational Experience\",\"authors\":\"Julia Wright\",\"doi\":\"10.1353/pal.2023.a906869\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Richard Wright’s HuntressesA Transgenerational Experience Julia Wright (bio) On April 15, 1942, my mother, Ellen Wright, a daughter of Polish Jewish parents, went into postpartum depression because hardly had the administered chloroform worn off, when she overheard a white nurse on the Brooklyn hospital maternity ward say, “Who is the motherfucker who gave birth to a Black bastard?” In a state of shock, she could neither feed nor bond with me. My father, Richard Wright, literally pounced on me, would not let anybody come close, and rented a private room in the hospital. He placed two of his Black buddies at the door as security guards and proceeded to feed me my first baby bottle. While Ellen recovered, Richard was the one who mothered me. After my parents’ death, I stumbled on the story told by one of those my father had chosen to guard the private room’s door—but the experience fits with an unspoken, indelible image imprinted on my relationship with the world and others. The fact that so soon after my birth I was fiercely mothered by the Black man who was my father is woven into intergenerational threads I now pull through Richard’s own relationship with his mother and other women who were in caring relationships towards him during his formative years. Sometimes those threads knot up or break—they are never linear. Three Black matriarchal figures stand out: Ella, Richard’s biological mother; Aunt Maggie, who was Ella’s trusted sister and Richard’s favorite aunt; and the dominating matriarch, Grandma Wilson, who was both Ella and Maggie’s mother. When, on that April day of my birth, Richard held me up and away from the racism of the white nurses, he breathed into me the indomitable spirit of those three Black women he had internalized. [End Page 31] They stand out now: Ella, so demure, so fragile, who always quietly and unobtrusively encouraged Richard’s creativity while having to teach him the boundaries of death-bound Jim Crow and having to beat that survival lesson into him; Grandma Wilson, the iconic and towering figure of the recently published essay “Memories of my Grandmother,” who taught him how his own language sounded from the outside, its Black beat that he could translate into words;1 Aunt Maggie, who survived her lynched husband. 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Grandma Wilson demanded everything that Richard refused to give in to: religion, the shunning of all books and other “manifestations of the Devil,” owning up to non-existent sins.2 It was a tough tussle of wills between them—and in the end, a mutual but hidden admiration. She, too, would beat him if need be, and she often felt it to be needed. In both cases, there was affective sensory deprivation and corporal punishment by the women in the family, who would end up being his role models. However, he never lifted a hand on my sister or me—nor were we affectively deprived. On the contrary, he was overprotective to the end. Maggie, sinuous, sensual, the only one of the Wilson sisters who used makeup, was the rebel in the family, a feminine mirror of Richard’s need to be free of Seventh-Day Adventist strictures. Nor did she resort to beating. 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引用次数: 0

摘要

1942年4月15日,我的母亲艾伦·赖特(Ellen Wright),一个波兰犹太人的女儿,因为氯仿还没散去就患上了产后抑郁症,当时她无意中听到布鲁克林医院产科病房里的一个白人护士说:“谁是那个生下一个黑人私生子的混蛋?”在震惊的状态下,她既不能喂我,也不能和我亲近。我的父亲理查德·赖特(Richard Wright)毫不夸张地向我扑来,不让任何人靠近我,并在医院里租了一个单独的房间。他让他的两个黑人朋友在门口当保安,然后开始给我喂我的第一个奶瓶。在艾伦康复期间,理查德像母亲一样照顾着我。在我父母去世后,我偶然发现了我父亲挑选的一个守卫房间门的人讲的故事,但这段经历符合我与世界和他人的关系中一个不可言说的、不可磨灭的形象。我出生后不久就被身为我父亲的黑人粗暴地照顾着,这一事实与代际关系交织在一起,我现在通过理查德自己与他母亲的关系,以及在他成长过程中照顾他的其他女性的关系来梳理。有时这些线会打结或断裂——它们从来都不是线性的。三个黑人母系人物脱颖而出:艾拉,理查德的生母;麦琪姑妈是艾拉最信任的妹妹,也是理查德最喜欢的姑妈;还有领头的女家长威尔逊奶奶,她既是艾拉的母亲,也是麦琪的母亲。在我4月出生的那一天,理查德把我抱起来,让我远离白人护士的种族主义,他把那三个黑人妇女的不屈不挠的精神灌输给我。他们现在很突出:艾拉,那么娴静,那么脆弱,她总是悄悄地、不引人注目地鼓励理查德的创造力,同时必须教会他死亡的吉姆·克劳的界限,必须向他灌输生存的教训;威尔逊奶奶是最近出版的文章《我祖母的回忆》中标志性的、高大的人物,她教会了他自己的语言从外面听起来是怎样的,他可以把黑人的beat翻译成文字;1玛吉阿姨,她从被私刑处死的丈夫那里活了下来。这三位女主人公在理查的作品和他的作品之间以不同的方式出现在地上和地下。学校老师艾拉非常敏感,她对佃农丈夫内森的残酷虐待和遗弃,以及三角洲地区种族隔离的影响都做出了严重的反应,终生中风,很可能是身心疾病。但她也负责体罚,鞭打,打耳光,让她的儿子们知道种族隔离世界的界限。她认出了大儿子的天赋,但她必须把理查德所渴望的温柔装得严严不舍。他在情感上和生理上都饿了,因此他对艾拉的感情可能是非常矛盾的。威尔逊奶奶要求理查拒绝让步的一切:宗教、远离所有书籍和其他“魔鬼的表现”,承认根本不存在的罪这是他们之间一场艰难的意志较量——最终,他们相互之间却隐藏着钦佩。如果需要的话,她也会打他,而且她经常觉得这是必要的。在这两种情况下,家庭中的女性都对他进行了情感感官剥夺和体罚,而这些女性最终成为了他的榜样。然而,他从来没有动过我妹妹或我的手——我们也没有受到感情上的剥夺。相反,他到最后都是过度保护。麦琪柔弱性感,是威尔逊姐妹中唯一化妆的人,她是家里的叛逆分子,是理查德渴望摆脱基督复临安息日会束缚的一面女性镜子。她也没有诉诸殴打。八岁的理查德很尊敬麦琪和她的第一任丈夫塞拉斯·霍斯金斯(Silas Hoskins)组成的夫妻。他的企业家精神在阿肯色州的伊莱恩蓬勃发展,在那里他拥有一家生意兴隆的沙龙,并建造了一些房子……
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Richard Wright’s Huntresses: A Transgenerational Experience
Richard Wright’s HuntressesA Transgenerational Experience Julia Wright (bio) On April 15, 1942, my mother, Ellen Wright, a daughter of Polish Jewish parents, went into postpartum depression because hardly had the administered chloroform worn off, when she overheard a white nurse on the Brooklyn hospital maternity ward say, “Who is the motherfucker who gave birth to a Black bastard?” In a state of shock, she could neither feed nor bond with me. My father, Richard Wright, literally pounced on me, would not let anybody come close, and rented a private room in the hospital. He placed two of his Black buddies at the door as security guards and proceeded to feed me my first baby bottle. While Ellen recovered, Richard was the one who mothered me. After my parents’ death, I stumbled on the story told by one of those my father had chosen to guard the private room’s door—but the experience fits with an unspoken, indelible image imprinted on my relationship with the world and others. The fact that so soon after my birth I was fiercely mothered by the Black man who was my father is woven into intergenerational threads I now pull through Richard’s own relationship with his mother and other women who were in caring relationships towards him during his formative years. Sometimes those threads knot up or break—they are never linear. Three Black matriarchal figures stand out: Ella, Richard’s biological mother; Aunt Maggie, who was Ella’s trusted sister and Richard’s favorite aunt; and the dominating matriarch, Grandma Wilson, who was both Ella and Maggie’s mother. When, on that April day of my birth, Richard held me up and away from the racism of the white nurses, he breathed into me the indomitable spirit of those three Black women he had internalized. [End Page 31] They stand out now: Ella, so demure, so fragile, who always quietly and unobtrusively encouraged Richard’s creativity while having to teach him the boundaries of death-bound Jim Crow and having to beat that survival lesson into him; Grandma Wilson, the iconic and towering figure of the recently published essay “Memories of my Grandmother,” who taught him how his own language sounded from the outside, its Black beat that he could translate into words;1 Aunt Maggie, who survived her lynched husband. These three heroines surfaced in varying aboveground and underground ways in Richard’s writings and in between his books. Ella, the schoolteacher, was so sensitive she reacted to both the brutal abuse and desertion of her sharecropper husband, Nathan, and to the impact of racial segregation in the Delta by experiencing crippling lifelong strokes that may well have been psychosomatic. But she was also in charge of corporal punishment, whipping, slapping, letting her sons know the boundaries of a segregationist world. She recognized her elder son’s gift, but she had to armor the tenderness Richard craved. He went hungry affectively as well as biologically, and his feelings towards Ella may have been deeply ambivalent as a result. Grandma Wilson demanded everything that Richard refused to give in to: religion, the shunning of all books and other “manifestations of the Devil,” owning up to non-existent sins.2 It was a tough tussle of wills between them—and in the end, a mutual but hidden admiration. She, too, would beat him if need be, and she often felt it to be needed. In both cases, there was affective sensory deprivation and corporal punishment by the women in the family, who would end up being his role models. However, he never lifted a hand on my sister or me—nor were we affectively deprived. On the contrary, he was overprotective to the end. Maggie, sinuous, sensual, the only one of the Wilson sisters who used makeup, was the rebel in the family, a feminine mirror of Richard’s need to be free of Seventh-Day Adventist strictures. Nor did she resort to beating. Eightyear old Richard looked up to the couple Maggie formed with her first husband, Silas Hoskins, whose entrepreneurial spirit had flourished in Elaine, Arkansas, where he owned a thriving saloon and had built houses that...
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