![]() In France, he mostly (re)turned to nonfiction-in writings that are journalistic in nature-while occasionally writing fiction. (2) Before his self-exile in France, Wright continued to "dabble" in journalism and produced 12 Million Black Voices as he became better known for writing fiction and autobiography, the best known of which are Uncle Tom's Children, Native Son, and Black Boy. (1) The roots of that "journalism" can be traced back to earlier periods of Wright's life: When he was a child, he used to sell a newspaper-a Ku Klux Klan newspaper, he would later discover-(Black Boy 128-30), and while a member of the "rank and file" of the US Communist Party, he contributed a number of articles to the Daily Worker and The New Masses. Richard Wright's later, commonly called "creative non-fiction," writings include these three aspects, so much so that some blurbs describe the four nonfictional books that Wright wrote in his last decade-namely, Black Power (1954), The Color Curtain (1956), White Man, Listen! (1957), and Pagan Spain (1957)-as journalism. ![]() ![]() ![]() Novelists do not always write fiction: Daniel Defoe, Jack London, Langston Hughes, Ernest Hemingway, Ishmael Reed, Robert Coover, and many others wrote "pure" journalism, were influenced by journalistic styles, and/or adopted journalistic forms in their fictions. ![]() They write stories," quips Allan Bell (147). ![]()
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