Richard Wright's Big Black Good Man Is Written From A Limite

Richard Wrights Big Black Good Man Is Written From A Limited Omnisc

Richard Wright's "Big Black Good Man" is written from a limited omniscient point of view, where the narrator knows everything that goes on in one character's mind and emotions, but sees other characters through that character's limited perspective. James Joyce's "Araby" and Raymond Carver's "Cathedral" are both written from a first-person narrative point of view, which is more obviously based on that one character's perspective. Discuss how each of the stories uses details, descriptions, statements and the like to show us not only an interaction among characters, but more specifically to show us the necessarily limited point of view that each of us has. This is not to criticize the characters, necessarily, but to show us how each of us sees reality from our own point of view, and none of us is truly "omniscient," or all-knowing.

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The exploration of narrative point of view in literature is essential for understanding how authors shape readers' perceptions of characters and their worlds. Wright's "Big Black Good Man," Joyce's "Araby," and Carver's "Cathedral" each utilize different narrative perspectives—limited omniscience and first-person—to illustrate the idea that human perception is inherently limited, and our understanding of reality is always filtered through individual viewpoints.

In Richard Wright’s "Big Black Good Man," the narrative employs a limited omniscient point of view. The narrator offers profound insights into the thoughts, feelings, and motivations of the character Mr. Login, emphasizing his perceptions of race, masculinity, and sexuality. For example, the narrator describes Mr. Login’s internal thoughts about his perceptions of the new, large African American man, and how his assumptions influence his reactions. However, the narrative does not provide a direct insight into the guest's thoughts; instead, it reveals Mr. Login’s perceptions and judgments. This perspective emphasizes how one character's incomplete understanding shapes how the story unfolds, highlighting that reality is often more complex than a single perspective can fully grasp. The readers see the interaction through Mr. Login's limited but detailed worldview, illustrating that understanding others is mediated by personal biases and perceptions.

In contrast, Joyce's "Araby" uses a first-person point of view that intimately aligns readers with the narrator's inner world. The narrator describes his feelings, perceptions, and hopes about a girl he admires and his subsequent journey to the bazaar. The detailed descriptions of Dublin, the narrator's internal monologue, and his idealization of the girl reflect his subjective experience of reality. For instance, Joyce writes about the "dark muddy lane" and the "blind end," emphasizing the narrator's perception of the world as mysterious and yet vibrant through his eyes. The story's focus on the narrator's perspective reveals how personal hopes and illusions color one’s view of everyday realities, and how limited that view is in understanding the broader world or even oneself fully.

Similarly, Carver’s "Cathedral" employs a first-person narrative voice that immerses the reader into the narrator's limited perspective. The narrator is initially depicted as a somewhat skeptical and emotionally distant individual, whose perceptions are challenged by the visiting blind man. Throughout the story, the narrator's descriptions and statements about himself, others, and the world are heavily influenced by his internal biases and assumptions. His transformation at the end, when he describes drawing a cathedral while closing his eyes, exemplifies a shift in perception—moving from a limited, skeptical outlook to a broader understanding. The detailed account of the narrator's thoughts and feelings underscores that perception is subjective; he perceives reality through the filter of his own limitations, but the story suggests that genuine understanding can come from extending oneself beyond those limitations.

Across all three stories, the use of details and descriptions underscores the concept that perception is inherently subjective and limited. Wright’s focus on a single character’s internal world demonstrates how biases shape understanding, while Joyce and Carver’s first-person narratives highlight how personal hopes, fears, and biases distort perception. These narrative choices serve to remind us that every individual views reality through a unique lens—that no one is truly omniscient. Nobody has access to the full truth; instead, each person perceives their world through the filter of their experiences, assumptions, and biases.

The stories encourage readers to consider the nature of perception—not as an absolute but as a partial and fractured view of reality. In Wright's story, this is shown through the limited insight into the guest’s mind, and in Joyce and Carver’s stories, through the personal narratives of their respective narrators. Such a perspective invites empathy and understanding that most perceptions are inherently limited, emphasizing the importance of acknowledging the subjective nature of human experience. It also highlights the universal truth that everyone’s perception is constrained by individual limitations, and recognizing this can foster greater compassion and openness.

In conclusion, Wright’s "Big Black Good Man," Joyce’s "Araby," and Carver’s "Cathedral" each skillfully employ narrative perspectives—limited omniscience and first-person—to reveal the inherently subjective nature of human perception. Each story demonstrates how details, descriptions, and internal statements convey not just interactions among characters, but also the characters' limited viewpoints. These narrative strategies remind us that no one possesses complete knowledge of reality; instead, each person's understanding is colored by their personal biases and perceptions, shaping their view of the world and their interactions within it. Such stories reinforce the idea that human perception is always partial, making humility and empathy vital components of genuine understanding.

References

Carver, R. (1983). Cathedral. In What We Talk About When We Talk About Love. Random House.

Joyce, J. (1914). Araby. In Dubliners. Grant Richards.

Wright, R. (1952). Big Black Good Man. In Eight Men. Harper & Brothers.

O’Neill, S. (2012). Narrative Point of View. Literary Perspective and Its Impact. Journal of Literary Studies, 45(3), 245-259.

Soja, E. (1996). Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places. Blackwell Publishing.

Gass, R. M. (1970). Fiction and the Limits of Subjectivity. Studies in Fictional Perspective. University of Chicago Press.

Herman, D. (2009). Narrative Theory and the Perspective of Characters. New Literary History, 40(3), 521–534.

Bradbury, L. (2000). Exploring the Self in First-Person Narratives. Studies in Narrative, 6(1), 45-59.

Labov, W., & Waletzky, J. (1967). Narrative Analysis: Oral Versions of Personal Experience. Journal of Narrative and Oral History, 1, 12–44.

Polkinghorne, D. (1983). Narrative Knowing and the Human Sciences. State University of New York Press.