A Father’s
Law
Richard
Wright
Contents
Introduction v
Chapter 1
He saw the dim image of the traffic cop make…
1
Chapter 2
Ruddy was relieved to plunge into the faint drizzle of…
15
Chapter 3
An hour later, Bill and Ruddy were sitting side by…
42
Chapter 4
Ever since its incorporation as an independent municipality, Brentwood Park…
54
Chapter 5
Dawn was breaking when Ruddy emerged from police headquarters. He…
61
Chapter 6
Ruddy rang his doorbell and waited for Agnes or Tommy…
66
Chapter 7
The late breakfast was filled with laughing chitchat; Ruddy felt… 75
Chapter 8
Never had Ruddy felt more deeply protective toward his son… 93
Chapter 9
Smiling urbanely, his eyes holding a light of respect and…
99
Chapter 10
Ruddy felt that his nerves were drained, taut, tired, but…
111
Chapter 11
Chief Turner’s usually unruffled feelings had been swept by a… 125
Chapter 12
Midnight was striking on all the town’s clocks as the…
152
Chapter 13
Having dispatched the station’s standing corps of stool pigeons to…
161
Chapter 14
Ruddy slept unbrokenly for twelve solid hours, and when he… 191
Chapter 15
Ruddy felt feverish. Moment by moment a fear and a…
212
Chapter 16
Even while en route home for his lunch, Ruddy could…
221
Chapter 17
With screaming siren, with his head tight to the point…
229
About the Author
Other Books by Richard Wright
Credits
Cover
Copyright
About the Publisher
I N T R O D U C T I O N
THE ENIGMA OF RICHARD WRIGHT’S
LAST UNFINISHED NOVEL
“I started a brand-new piece of prose, the idea of which had been simmering in my mind for a long, long time. I’m pounding on the machine morning and night. . . . Now I’m free, with white sheets of paper before me, and a head full of wild ideas, ideas that excite me. Maybe writing with me is like being psychoanalyzed. I feel all the poison being drained out.”
Letter from Richard Wright to Margrit de Sablonière, August 2, 1960
“The last pages written by our great authors on the point of death need our attention. A Father’s Law is one of those rare instances of a thriller within a thriller in our literature.
Wright writes the main core of this unfinished outpouring of a novel as a thriller, but the real thriller is that the author will no longer be around to give us the answer because he reaches his ‘breaking point’ through death. Leaving us with
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mourning and, for his readership, with ‘frustration’ and also a new line of reflection on why thrillers play the role of ‘seda-tives’ in our society: you start out reading smugly reassured that the writer owes you the solution for your money and patronage.”
Letter from Julia Wright to Hugh Van Dusen,
Editorial Director at HarperCollins, July 25, 2006
As he said it himself, the idea took him by the throat. There was the excitement of feeling slightly better, of beginning over, leaving the much-criticized manuscript of Island of Hal-lucination (the intended sequel to The Long Dream) on the back burner for a time.
There was the thrill of being gripped by a new powerful idea and, even though he was still feverish and weak, of sitting up at the Underwood for a go at what was to be the fi rst and only draft of A Father’s Law, interrupted by the end of a rainy summer, bureaucratic and political harassment, money-earning concerns, illness, and, unexpectedly, death at the age of fi fty-two.
For me, months later, there was the emotion of discovering it where he had left it last. But when? Mourning warps one’s sense of reality, sometimes sharpening memory, other times blurring dates out of sequence. I surely would have paid no heed to it the day after he died when denial filled the pit of panic and aloneness. I was the only member of the family in Paris when his death occurred. Over the phone, I had been gingerly told that he had died, darling, the night before and would I wish to stay where I was, with the French family where I was doing au pair work? “No,” I said, raw instinct surging out of my refusal to believe. “I want to see him at the clinic morgue and then go keep watch over his studio.”
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Keep watch. . . . When I read those words later in the manuscript I knew that even the day after, ugly reality was seeping through. I spent the night of November 29 to November 30
alone in his tiny studio waiting for Ellen and Rachel to fl y in from London the next morning.
I remember curling up on the green sofa, not even wanting to look at his empty bed with the fake-fur blanket. The papers and objects strewn over his long rustic table of a desk held no possible interest for me. I was like a trapped animal curled around frozen pain but tense with vigilance. No, I didn’t see the manuscript then. It was later, after the funeral, when Ellen went back to London to terminate her business there that I took to returning to the studio, unable to mourn except in denial and vigil.
It was then I found it—or it found me. Did I roll the last page out of the Underwood? Or was it in one of my father’s binders by his bed (he would never go out without the manuscript he was currently working on clasped in one of his favorite cardboard or leather binders)? It all rings a bell. I started to read and never stopped till those 306 pages were finished. And I wanted to protect both protagonists—the father and the son.
That draft—so peculiar, so unwieldy, like a patchwork quilt of psychological horror with some pieces not quite fi tting—became an integral part of my mourning. It was almost like a long letter, unsubmitted except to a few loved ones, and now to me. The notes I took ended up in dusty boxes at the other end of the Atlantic but not buried since they are to see the light of day.
I was riveted by the conflict between the generations, by all that is left unsaid and that can lead to violence. All that is written and that can lead to understanding. Ruddy Tucker is not Richard Wright. I am no Tommy. But the interstices between the author and his children, my sister and me, were deeply fascinating to me.
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The studio where I read had no doors except two in the back, one leading to his tiny kitchen and one to a miniature bathroom. The rest were archways from bedroom and offi ce to living room. I remembered an anecdote. My mother, Ellen (his recently estranged wife), used to tell us about our living in the big apartment on rue Monsieur le Prince: “Dick used to complain about the noise you kids made in your rough and tumble games at the other end of the apartment. I used to say: ‘Dick, stop complaining, just close your office door.’ And Dick would answer: ‘No, I can’t do that because I wouldn’t hear if something happened to them.’” In A Father’s Law, the black chief of police, Ruddy Turner, feels rejected by his son Tommy’s insistence on shutting himself in his room, endlessly typing. Tommy is a university student, enigmatic, invisible to the rest of the family, pounding away on his machine, aloof to his father’s pride, affection, and concern. In another novel written f
rom exile, Savage Holiday (1954), a brutally slammed door locked by a gust of wind becomes the deadly prop for the tragedy of guilt and murder that ensues. In A Father’s Law—his attempt at psychological thriller—my father goes into one of his favorite fi elds of study since the portrayal of Bigger Thomas: the psychology of murder, i.e., the sociological, racial, political, cultural, and historical forces that, given a certain context, opportunity, and lack of communication, can lead to the act of murder in most of us. His reading had spanned Freud to Reik, Fredric Wertham to Clarence Darrow.
Reading this faulty, sketchy, sometimes repetitive draft was an opening of a door for me back then, in 1960, because he was voicing words he could not bring himself to voice outloud to us—his family: his own mourning, the recent 1959 loss of Ella, the mother who had believed in his creative gift. Tommy’s sick girlfriend, his repulsion for her congenital syphilis, makes
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moving reading because Richard had not been able to cure Ella of her life history of seizures. Had he shut the door back then and removed himself because of his helplessness? Far from not being enough, his love for his mother had left him wounded because it highlighted that helplessness.
Now, just a year and a half before he set to work on his last draft from exile, she had died thousands of miles away, in Chicago. He had not spoken a word after wiring the money to the States for the funeral. Silence lay heavy over the studio and the split in my parents’ marriage.
Is the root cause of Tommy’s rage—discovering that the girl he wanted to marry had an illness with a symbolism as grim as AIDS—a screen for the writer’s rage against those who had the financial and political power to give his mother the unsegre-gated care that would have made her well again, well enough to take a plane to Paris?
My father’s preoccupation with another story—which suggests that Bessie Smith may have bled to death because the white hospital near the scene of her accident would not admit her—is a reflection of this trauma in his ability to love but not to save. In A Father’s Law, this mingling of rage, guilt, self-disgust, and feelings of betrayal are attributed to Tommy—and the targets of the rage are symbols of the power of Law (from moral law to law enforc-ers), which were already being subjected to the heat of the Civil Rights protest movement. Richard Wright had met and spent hours in discussion with Martin Luther King in Paris in 1958, just after the stabbing attempt on Martin’s life.
But there is more to be said about disease—or dis-ease as R. D.
Laing used to spell it. My father had battled a severe amoebic infection for years, and although he had just been told he was clear of it, it is interesting to note that he experienced the infection as
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a poisoning (the word comes back as a leitmotiv in the draft) and that he would have had issues of confidentiality in his love life.
This manuscript caused Michel Fabre, one of Wright’s earlier bi-ographers, to ask whether A Father’s Law might not be related to
“[Wright’s] attitude and questions concerning Julia’s career and the understanding between them.” The answer to this question is long enough to fill a book or two but an incident coincidental in time with my father’s work on Ruddy and Tommy’s relationship does come to mind. Tommy is eighteen in the novel. I was eighteen when my father died. Before his death, I sometimes visited friends of my parents. In one of those French homes, I came across a young black man aged twenty-seven, just out of the U.S.
Army and on his way to join the Peace Corps in Africa. He was quiet, broody, handsome. In a rather inexperienced bid to be noticed by him, I invited him back to the studio to meet my father, who had accepted. The young man agreed. But as soon as I left them alone, in the doorless living room, I knew something was very, very wrong. They were not communicating. My father was sullen, the young man silent and edgy. When the former soldier left, my father, who rarely scolded me—and even then did not raise his voice—explained: “Don’t you understand that we are living in times when people who dislike what I write might try to use you to get at me?” “But who would want to harm you, Daddy?”
That day I learned what the cold war was about, that History was something real, that you could breathe it, that you lived in it, that you could be bruised by it and unconsciously hurt those you love. Not quite the “History” they were teaching at the Sorbonne.
Another instance of my father’s concern about me and our relationship is evidenced in his June 1960 letter to me, written two
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months before he started work on A Father’s Law. In it, he let me know that he approved of my choice of attending university as long as I didn’t forget or leave behind the world “your father comes from.”
In A Father’s Law, we get the sense that Tommy as a brilliant university student has surpassed his police chief of a father in terms of education—and that Ruddy feels Tommy’s “superior-ity complex.” So we are dealing here with issues of trust and distance between the generations. Furthermore, we are dealing with generations within the black bourgeoisie. E. Franklin Frazier had written in 1957 a book by the same title, Black Bourgeoisie, which my father had considered brilliant and illumi-nating enough to use as the sociological keystone of his 1958
novel, written from Paris, The Long Dream. In The Long Dream, Tyree Tucker, a character with more charisma but perhaps less depth than Ruddy Turner, becomes rich as the black undertaker of southern Clintonville’s “colored” district, since whites were loath to bury the black dead. Both Turner and Tucker are black bourgeois owing their money and favor to tokenism. But Wright and Frazier were in agreement that tokenism could not solve the problem of race in America—and this was being debated at the dawn of the Civil Rights era.
Tyree Tucker, the father in The Long Dream, is killed by the white police when he has served his purpose. A Father’s Law is a sort of Training Day in reverse, with the police chief father, a good black Republican Catholic, trying to solve his son’s contradictions and attempting to come to terms with the truth about his son’s criminal tendencies.
There is eeriness in my father’s premonition that criminal-ity was doomed to bloom among the elite, that the energies of the Tommies of America might better be used by a cause or a movement for justice, that syphilis would overtake us under
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another name, and that youth serial killing on American university campuses would eventually inspire a prize-winning fi lm in Cannes.
Tantalizingly, we are left with what appears to be a one-andonly draft. Perhaps, with further drafts, we would have known more about Tommy.
Who, then, is Tommy? We are offered only a door ajar on his mind. He haunts us. He hovers, his mind never really outspo-ken. He is potentially (had we had a finished, polished novel), as fascinating as Bigger—a tennis-playing, articulate, analytical Bigger.
Just one last thought about where Tommy might have come from: he remains linked to my father’s interest in the Leopold and Loeb case (1924) and Wright’s admiration for Clarence Darrow’s defense based on dis-eased minds. The other piece of the puzzle being Alfred Hitchcock’s fi lm based on the Leopold and Loeb affair, called Rope. My father would defi nitely have seen Rope, say in the early 1950s. Hitchcock’s scenario portrayed two rich, white, brilliant, neo-Nazi teenager students attempting to commit the “perfect” murder by killing a young Jewish boy and hiding his body in a wooden chest in their dining room, meanwhile inviting their friends and university professor to dinner—with the body concealed right there. It is the teacher, who is in touch enough with the minds of the two young murderers, who becomes suspicious.
Seeing youth through the eyes of parents, teachers, govern-esses, etc. Yes, Wright liked tales with open-ended, multilayered meanings like The Turn of The Screw by Henry James.
My father never turned the screw with his children.
He
was a gentle teacher in times of diffi culties, harassment, and blacklisting.
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He never told me about Bente because he did not want me to come to grief. But at more or less the same time, he was writing A Father’s Law, he was corresponding with a young Swedish girl who had read his books and expressed to him her despair over a world that could wound human beings so deeply. Her letters seem to have stemmed from a pervasive sadness of their own. She wanted my father to convince her not to commit suicide. He wrote back, again and again, never closing the door.
She nevertheless took her life in October 1960. Richard Wright died of officially reported “natural causes” due to an “infarc-tus” on November 28, 1960.
Was she Tommy Turner’s rage turned inward?
My father left me to discover I had had a twin-in-despair he was trying to save.
Although he had failed with Ella.
I think I know now.
I am alive and kicking.
On the eve of the centennial of his birth, Richard Wright’s lesser-known paper son, Tommy, will see the light of day.
— Julia Wright
Paris, July 17, 2007
C H A P T E R 1
He saw the dim image of the traffic cop make a right-face turn and fling out a white-gloved arm, signaling that the flow of cars from the east should stop and that those toward the south now had the right of way, and at the same instant he heard the cop’s shrill whistle: Wrrrriiiiiieee . . .
Yes, that was a good rookie. He had made change-over in traffic smartly, the exact manner in which the Metropolitan Handbook for Traffic Policemen had directed. The footwork had been perfect and that impersonal look on his face certainly inspired confidence and respect. That’s the way a policeman should work. Well done, Officer, he mumbled in his sleep as the officer now did a left-face turn, again flinging out his fl ashing white-gloved hand and sounding his whistle: Whreeeeeiiiiiee . . .
“Ruddy!”
“Hunh!”
“Ruddy! Wake up!”
Wrrrriiiiiieeeeee . . .
“Hunh? Hunh?”
“Ruddy, it’s the telephone, darling!”
Wreeeiiieeeeee . . .
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R i c h a rd W r i g h t
A Father's Law Page 1
