Harlem Renaissance
There is some debate among scholars about whether Wright should be classified as part of the Harlem Renaissance. However, it is widely acknowledged that his work was significantly shaped by this cultural movement, which was concluding just as Wright's career began. Following World War I, the Harlem neighborhood in New York City became the largest urban center for African Americans in the United States. It quickly emerged as a vibrant cultural hub, where musicians, artists, and writers flourished. The influence of the Harlem Renaissance was amplified by the fact that white audiences embraced its artists and their creations. For the first time, a substantial number of white Americans supported African American artists by attending their performances in nightclubs and engaging with their literary works. It marked an era when a diverse range of Americans began to discover and appreciate African American culture.

Wright relocated to Harlem from Chicago in 1937 and became involved in the area's literary scene through his role as editor of the Communist newspaper, the Daily Worker. During this period, he interacted with and was influenced by prominent Harlem Renaissance writers like Langston Hughes, Countee Cullen, Claude McKay, Nella Larsen, and Zora Neale Hurston.

American Artists in Europe
Another trend that emerged after World War I and persisted throughout much of the twentieth century was the allure of Europe—especially France—for American artists and writers. Artists of all backgrounds were drawn to France by its rich cultural legacy and its high esteem for artists and the arts. Additionally, African Americans discovered that they encountered significantly less racial discrimination in France and other parts of Europe compared to the United States. Many jazz musicians, singers, artists, and writers, including Wright, chose to live as expatriates in France for the remainder of their lives. Some returned to the United States, either temporarily or permanently, when World War II devastated Europe. For instance, Harlem Renaissance painter William H. Johnson spent approximately fifteen years living in France and traveling across Europe before returning to New York in 1939.

Point of View
“Big Black Good Man” employs a third-person narrator who presents the story from Olaf Jenson’s perspective. This narrative choice allows insight into Olaf’s thoughts while Jim’s remain concealed. Consequently, Jim’s intentions and thoughts are as enigmatic to readers as they are to Olaf. This setup enables readers to perceive Jim through Olaf’s eyes, while also interpreting him through their own experiences and biases. This dual perspective enhances the story's tension and suspense. On one hand, readers are drawn into Olaf’s irrational fear of Jim, while on the other, they maintain an outsider's perspective, potentially differing based on their own race, age, and beliefs. As a result, readers grapple with not only the tension between Olaf and Jim but also the discrepancy between Olaf’s views and their own. The question of who truly understands Jim—Olaf, the reader, both, or neither—grows more significant as the story unfolds, with Jim remaining a formidable enigma until the conclusion.

If the narrator were to disclose Jim’s thoughts throughout the tale, much of the suspense would diminish. Readers would not be challenged to examine their own reactions to Jim or to ponder whether Olaf’s perceptions were justified.

Figurative Language
The narrative is abundant with figurative language, particularly similes and metaphors, that highlight Olaf’s perception of Jim as something beyond human. When Jim first appears, the narrator describes him from Olaf’s viewpoint: “His chest bulged like a barrel; his rocklike and humped shoulders hinted of mountain ridges; the stomach ballooned like a threatening stone; and the legs were like telephone poles.” These comparisons depict Jim as...