As Richard Wright rose to literary prominence in the 1940s, his became an authoritative voice for a white American audience minimally exposed to Black Chicago specifically and Black urban life more generally. In works like Native Son and 12 Million Black Voices, written after he left Chicago, Wright presents a consistently grim picture of the South Side as a place of suffering and of its residents as impoverished victims of ecological forces. Grounded in the theories of the Chicago School of Sociology, Wright’s prose creates an imaginative geography of “the ghetto” as a blighted, dangerous space that holds sway over the American cultural landscape for decades. With photographic evidence from the files of the Farm Security Administration, Nash illustrates both what Wright omitted from his representation of the South Side and how he manipulated images that he did include. He also discusses the presentation of Chicago in Wright’s posthumously published first novel, Lawd Today!, arguing that the picture Wright created of the South Side while he still resided there was both more nuanced and balanced than those he penned from a distance.

Black male spectators in Wright's fiction were drawn to the fascination of watching white characters on the screen in the Jim Crow Era.   They were nonetheless aware that their desires for the seductive women on the screen or in the posters were taboo during this time, creating a sense of alienation and only forced ability to identify with white protagonists. This article analyzes the responses of Jake in Lawd Today! and of Bigger in Native Son as they succumb to the temptations of the glittery world of movies on the screen and in movie posters. The article then turns to Wright's exploration of later characters in "The Man Who Lived Underground" and Cross Damom in The Outsiders,who can be considered cinematic seers. The characters place themselves as protagonists in film plots and create their own sense of power over how cinema portrayed Black males. Wright wanted to find ways for more Black impact on both cinema and other forms of media culture This trajectory is traced in the article.