The stark imagery in the poem could easily mirror Wright’s own father, who spent fifty years working in a glass factory. Driven by a strong determination, Wright managed to escape a similar fate by pursuing an education and leaving Martins Ferry. He intentionally distanced himself from his childhood environment and family surroundings. This separation is different from the alienation experienced by those who wish to belong but feel they cannot. Wright’s poem underscores a self-imposed isolation, both physically and emotionally. The narrator—Wright himself—has lived this life, so the empathy, compassion, and even sorrow he feels for the laborers and their families are genuine. What the poem lacks is the belief that the men in the stadium, "Dreaming of heroes," could follow his path: escaping the working-class life to create a new one, with a fulfilling career and a harmonious family life. There is no call to action suggesting that these characters have any control over their circumstances or fate. Instead, these individuals confront each day with resignation, destined to leave their children to follow the same monotonous path. Only the poet has successfully distanced himself from this world.

Several of Wright's poems mention sports, with football being the most prominent. "Autumn Begins" centers on this seasonal event, which quickly became popular and is now a vital part of American culture. But why football? Why don't sports like bowling, sailing, fencing, volleyball, or even baseball ignite the same level of passion and occasional aggression in fans? The answer might be straightforward: people seek excitement and power in sports more than precise strategy and skill. In a 1979 interview with poet Dave Smith, Wright commented on football and his hometown residents: "The football season, then, was intensely a communal activity, a communal occasion. Teams from various towns along the Ohio River … met and became a focal point where community members would encounter each other. Sometimes this gathering, this confrontation with the ritualized, formalized violence of those football teams, would incite a unique kind of violence in the spectators too."

The men whose "sons grow suicidally beautiful" view their boys as heroes—strong, virile, and fearless. These are characteristics they cannot claim for themselves, so they are satisfied to watch their sons "gallop terribly against each other's bodies." While other sports involve physical contact, football represents (in theory, if not always in practice) a controlled form of violence, "ritualized, formalized," as the poet puts it. This makes it especially attractive to those who can only fantasize about being powerful and in control.

James Wright's poem, "Autumn Begins in Martins Ferry, Ohio," stands as a pivotal work in his poetic journey, encapsulating his predominant themes and reflections. Wright's poetry often grapples with reconciling the unsettling remnants of his American Gothic upbringing in a small Midwestern steel town. This particular piece showcases characters emblematic of the industrial wasteland that dominated his early life—figures like the "Polacks," the "Negroes," and the "ruptured night watchman of Wheeling Steel" are recurrent entities in his work. These individuals, alongside drunks, hobos, and murderers, populate his verses, highlighting his deep concern for the marginalized and the downtrodden.

Wright's exploration of suffering is tinged with a profound sense of guilt for having escaped the harsh realities that many of his subjects continue to endure. His poetry reflects an alienation from both the people and the environment of his origins, a distance marked by his introspective nature. In "Autumn Begins in Martins Ferry, Ohio," while the men are found "Dreaming of heroes," and the women are "Dying for love," Wright positions himself in the solitude of a football stadium, where he is left to muse, "I think." This contemplative stance underscores the duality of his relationship with his past—his thoughtful observations distance him from his roots yet simultaneously anchor him to them.

Wright's identity as a poet is undeniably regional, a characteristic that both enriches and restricts his poetic lens. His work serves as a poignant testament to the complexities of regional identity and the notion of belonging, offering insight into the psychological landscape of those caught between escape and entrapment. Through his poetry, Wright navigates the tension between leaving behind a troubled environment and remaining emotionally tethered to it, thus capturing the essence of alienation amidst familiar surroundings.

James Wright is celebrated for his authentic and sincere exploration of society's outcasts, a theme that has intrigued many literary giants before him. Among these, Charles Dickens brought a palpable anger to his depictions of the marginalized, using his narratives to critique the societal structures that perpetuate inequality. Walt Whitman approached the same theme with a vibrant enthusiasm, celebrating the diverse tapestry of humanity in his poetic works. D. H. Lawrence, on the other hand, infused his tales with a sense of deep sensuality, highlighting the visceral experiences of those living on the fringes. Thomas Hardy's take was laced with irony, often reflecting on the tragic inevitabilities faced by those cast aside by society. Yet, Wright’s unique contribution lies in his genuine portrayal, capturing the raw essence of these lives without embellishment or artifice, setting him apart in the modern literary landscape.