Ezra Pound's well known definition, Literature news that STAYS news, applies well to Richard Wright's Native Son. Thirty years after novel first created a sensation, readers are still impressed by tremendous revelatory power with which it portrays situation black man in American ghetto. During fifties, reputation Native Son suffered an eclipse as James Baldwin, Ralph Ellison and others attacked book for its grim pessimism, its negative view black culture, and its seeming obsession with violence. But with social upheaval late sixties and tendency away from moderate attitudes and toward confrontation and telling it like it is among blacks, terrible, unsparing view Wright's novel has been vindicated. Eldridge Cleaver led way, in Soul on Ice (1967), to a reaffirmation absolute position Wright's novel. Wright, he said, reigns supreme for his profound political, economic, and social reference. 1 Until 1968, there were no books on Wright; by 1970, there were six books and two pamphlets. In a 1971 New York Times review an impressive novel, Addison Gayle refers to new work as the most important work fiction by an AfroAmerican since Native 2 and other references could be produced to show that Wright's book now generally held to be foremost work Afro-American fiction and one key American novels century. Strangely, however, even while virtually unanimous agreement exists as to extraordinary merit Wright's book, critics have generally agreed that there something significantly faulty about Native Son, and that book's faults spring from Wright's inadequate control ideology behind his novel. Robert Bone expressing critical consensus when he says, As a work art Native Son seriously flawed and speaks philosophical confusion at heart of novel.3 Dan McCall, in his excellent study, The Example Richard Wright, says that Wright's book and its protagonist fall out focus during latter section work because imposition massive doses communist propaganda on Bigger Thomas' world.4 Edward Margolies