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|Genre||bildungsroman, African-American literature, social commentary|
|Media type||Print (hardcover and paperback)|
|Pages||581 pp (second edition)|
|LC Class||PS3555.L625 I5 1994|
Invisible Man is a novel by Ralph Ellison about an African American man whose color renders him invisible, published by Random House in 1952. It addresses many of the social and intellectual issues facing African-Americans early in the twentieth century, including black nationalism, the relationship between black identity and Marxism, and the reformist racial policies of Booker T. Washington, as well as issues of individuality and personal identity.
Invisible Man won the U.S. National Book Award for Fiction in 1953. In 1998, the Modern Library ranked Invisible Man nineteenth on its list of the 100 best English-language novels of the 20th century. Time magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005, calling it "the quintessential American picaresque of the 20th century," rather than a "race novel, or even a bildungsroman." Malcolm Bradbury and Richard Ruland recognize an existential vision with a "Kafka-like absurdity". According to The New York Times, U.S. president Barack Obama modeled his memoir Dreams from My Father on Ellison's novel.
Ellison says in his introduction to the 30th Anniversary Edition that he started to write what would eventually become Invisible Man in a barn in Waitsfield, Vermont in the summer of 1945 while on sick leave from the Merchant Marine. The letters he wrote to fellow novelist Richard Wright as he started working on the novel provide evidence for its political context: the disillusion with the Communist Party that he and Wright shared. In a letter to Wright August 18, 1945, Ellison poured out his anger toward party leaders for betraying African American and Marxist class politics during the war years. "If they want to play ball with the bourgeoisie they needn't think they can get away with it.... Maybe we can't smash the atom, but we can, with a few well chosen, well written words, smash all that crummy filth to hell." In the wake of this disillusion, Ellison began writing Invisible Man, a novel that was, in part, his response to the party's betrayal.
The book took five years to complete with one year off for what Ellison termed an "ill-conceived short novel." Invisible Man was published as a whole in 1952. Ellison had published a section of the book in 1947, the famous "Battle Royal" scene, which had been shown to Cyril Connolly, the editor of Horizon magazine by Frank Taylor, one of Ellison's early supporters.
In his speech accepting the 1953 National Book Award, Ellison said that he considered the novel's chief significance to be its experimental attitude. Rejecting the idea of social protest—as Ellison would later put it—he did not want to write another protest novel, and also seeing the highly regarded styles of Naturalism and Realism too limiting to speak to the broader issues of race and America, Ellison created an open style, one that did not restrict his ideas to a movement but was more free-flowing in its delivery. What Ellison finally settled on was a style based heavily upon modern symbolism. It was the kind of symbolism that Ellison first encountered in the poem, The Waste Land by T. S. Eliot.[not specific enough to verify] Ellison had read this poem as a freshman at the Tuskegee Institute and was immediately impressed by The Waste Land's ability to merge his two greatest passions, that of music and literature, for it was in The Waste Land that he first saw jazz set to words. When asked later what he had learned from the poem, Ellison responded: imagery, and also improvisation—techniques he had only before seen in jazz.
Ellison always believed that he would be a musician first and a writer second, and yet even so he had acknowledged that writing provided him a "growing satisfaction." It was a "covert process," according to Ellison: "a refusal of his right hand to let his left hand know what it was doing."
Invisible Man is narrated in the first person by the protagonist, an unnamed African American man who considers himself socially invisible. Ellison conceived his narrator as a spokesman for African Americans of the time:
- So my task was one of revealing the human universals hidden within the plight of one who was both black and American...:xviii
Ellison struggled to find a style appropriate to his vision. Wanting to avoid writing "nothing more than another novel of racial protest," he settled on a narrator "who had been forged in the underground of American experience and yet managed to emerge less angry than ironic." To this end, he modeled his narrator after the nameless narrator of Dostoevsky's Notes From Underground, which similarly applies irony and paradox toward far-reaching social criticism.:xv
Ellison biographer Arnold Rampersad, however, feels that the character of the narrator "resembles no one else in previous fiction so much as he resembles Ishmael of Moby-Dick." Ellison signals his debt in the prologue to the novel, where the narrator remembers a moment of truth under the influence of marijuana and evokes a church service: "Brothers and sisters, my text this morning is the 'Blackness of Blackness.' And the congregation answers: 'That blackness is most black, brother, most black...'" In this scene Ellison "reprises a moment in the second chapter of Moby-Dick", where Ishmael wanders around New Bedford looking for a place to spend the night and enters a black church: "It was a negro church; and the preacher's text was about the blackness of darkness, and the weeping and wailing and teeth-gnashing there." According to Rampersad, it was Melville who "empowered Ellison to insist on a place in the American literary tradition" by his example of "representing the complexity of race and racism so acutely and generously" in Moby-Dick.
The story is told from the narrator's present, looking back into his past. Thus, the narrator has hindsight in how his story is told, as he is already aware of the outcome.
In the Prologue, Ellison's narrator tells readers, "I live rent-free in a building rented strictly to whites, in a section of the basement that was shut off and forgotten during the nineteenth century." In this secret place, the narrator creates surroundings that are symbolically illuminated with 1,369 lights from the electric company Monopolated Light & Power. He says, "My hole is warm and full of light. Yes, full of light. I doubt if there is a brighter spot in all New York than this hole of mine, and I do not exclude Broadway." The protagonist explains that light is an intellectual necessity for him since "the truth is the light and light is the truth." From this underground perspective the narrator attempts to make sense out of his life and experiences and his status in American society.
The narrator begins with the claim that he is an "invisible man". His invisibility, he says, is not a physical condition—he is not literally invisible—but is rather the result of the refusal of others to see him. He says, because of his invisibility, he has been hiding from the world, living underground, and stealing electricity from the Monopolated Light & Power Company. He burns 1,369 light bulbs simultaneously and listens to Louis Armstrong’s “(What Did I Do to Be So) Black and Blue” on a phonograph. He tells the reader that he has gone underground in order to write the story of his life and invisibility.
As a young man, in the late 1920s or early 1930s, the narrator lived in the South. Because he is a gifted public speaker, he is invited to give a speech to a group of important white men in his town. The men reward him with a briefcase containing a scholarship to a prestigious black college, but only after humiliating him by forcing him to fight in a “battle royal” in which he is pitted against other young black men, all blindfolded, in a boxing ring. After the battle royal, the white men force the youths to scramble over an electrified rug in order to snatch at fake gold coins. The narrator has a dream that night in which he imagines his scholarship is actually a piece of paper reading, “To Whom It May Concern . . . Keep This Nigger-Boy Running".
Three years later, the narrator is a student at the college. He is asked to drive a wealthy white trustee of the college, Mr. Norton, around the campus. Norton talks incessantly about his daughter, then shows an undue interest in the narrative of Jim Trueblood, a poor, uneducated black man who impregnated his own daughter. After hearing this story, Norton needs a drink, and the narrator takes him to the Golden Day, a saloon and brothel that normally serves black men. A fight breaks out among a group of mentally imbalanced black veterans at the bar, and Norton passes out during the chaos. He is tended by one of the veterans, who claims to be a doctor and who taunts both Norton and the narrator for their blindness regarding race relations.
Back at the college, the narrator listens to a long, impassioned sermon by the Reverend Homer A. Barbee on the subject of the college’s Founder, whom the blind Barbee glorifies with poetic language. After the sermon, the narrator is chastised by the college president, Dr. Bledsoe, who has learned of the narrator’s misadventures with Norton at the old slave quarters and the Golden Day. Bledsoe rebukes the narrator, saying he should have shown the white man an idealized version of black life. He expels the narrator, giving him seven letters of recommendation addressed to the college’s white trustees in New York City, and sends him there in search of a job.
The narrator travels to the bright lights and bustle of 1930s Harlem, where he looks unsuccessfully for work. The letters of recommendation are of no help. At last, the narrator goes to the office of one of his letters’ addressees, a trustee named Mr. Emerson. There he meets Emerson’s son, who opens the letter and tells the narrator that he has been betrayed: the letters from Bledsoe actually portray the narrator as dishonorable and unreliable. The young Emerson helps the narrator to get a low-paying job at the Liberty Paints plant, whose trademark color is "Optic White". The narrator briefly serves as an assistant to Lucius Brockway, the black man who makes this white paint, but Brockway suspects the narrator of joining in union activities and turns on him. The two men fight, neglecting the paint-making; consequently, one of the unattended tanks explodes, and the narrator is knocked unconscious.
The narrator awakens in the paint factory’s hospital, having temporarily lost his memory and ability to speak. The white doctors seize the arrival of their unidentified black patient as an opportunity to conduct electric shock experiments. After the narrator recovers his memory and leaves the hospital, he collapses on the street. Some black community members take him to the home of Mary, a kind woman who lets him live with her for free in Harlem and nurtures his sense of black heritage. One day, the narrator witnesses the eviction of an elderly black couple from their Harlem apartment. Standing before the crowd of people gathered before the apartment, he gives an impassioned speech against the eviction. Brother Jack overhears his speech and offers him a position as a spokesman for the Brotherhood, a political organization that allegedly works to help the socially oppressed. After initially rejecting the offer, the narrator takes the job in order to pay Mary back for her hospitality. But the Brotherhood demands that the narrator take a new name, break with his past, and move to a new apartment. The narrator is inducted into the Brotherhood at a party at the Chthonian Hotel and is placed in charge of advancing the group’s goals in Harlem.
After being trained in rhetoric by a white member of the group named Brother Hambro, the narrator goes to his assigned branch in Harlem, where he meets the handsome, intelligent black youth leader Tod Clifton. He also becomes familiar with the black nationalist leader Ras the Exhorter, who opposes the interracial Brotherhood and believes that black Americans should fight for their rights over and against all whites. The narrator delivers speeches and becomes a high-profile figure in the Brotherhood, and he enjoys his work. One day, however, he receives an anonymous note warning him to remember his place as a black man in the Brotherhood. Not long afterward, the black Brotherhood member Brother Wrestrum accuses the narrator of trying to use the Brotherhood to advance a selfish desire for personal distinction. While a committee of the Brotherhood investigates the charges, the organization moves the narrator to another post, as an advocate of women’s rights. After giving a speech one evening, he is seduced by one of the white women at the gathering.
After a short time, the Brotherhood sends the narrator back to Harlem, where he discovers that Clifton has disappeared. Many other black members have left the group, as much of the Harlem community feels that the Brotherhood has betrayed their interests. The narrator finds Clifton on the street selling dancing “Sambo” dolls—dolls that invoke the stereotype of the lazy and obsequious slave. Clifton apparently does not have a permit to sell his wares on the street. White policemen accost him and, after a scuffle, shoot him dead as the narrator and others look on. On his own initiative, the narrator holds a funeral for Clifton and gives a speech in which he portrays his dead friend as a hero, galvanizing public sentiment in Clifton’s favor. The Brotherhood is furious with him for staging the funeral without permission, and Jack harshly castigates him. Jack rants about the Brotherhood’s ideological stance. The narrator accuses Jack of not understanding sacrifice. Jack removes a glass eye from one of his eye sockets. The narrator leaves shocked. The Brotherhood sends the narrator back to Brother Hambro to learn about the organization’s new strategies in Harlem.
The narrator leaves feeling furious and anxious to gain revenge on Jack and the Brotherhood. He arrives in Harlem to find the neighborhood in ever-increasing agitation over race relations. Ras confronts him, deploring the Brotherhood’s failure to draw on the momentum generated by Clifton’s funeral. Ras sends his men to beat up the narrator, and the narrator is forced to disguise himself in dark glasses and a hat. In his dark glasses, many people on the streets mistake him for someone named Rinehart, who seems to be a pimp, bookie, lover, and reverend all at once. At last, the narrator goes to Brother Hambro’s apartment, where Hambro tells him the Brotherhood has chosen not to emphasize Harlem and the black movement. He cynically declares that people are merely tools and the larger interests of the Brotherhood are more important than any individual. Recalling advice given to him by his grandfather, the narrator determines to undermine the Brotherhood by seeming to go along with them completely. He decides to flatter and seduce a woman close to one of the party leaders in order to obtain secret information about the group.
But the woman he chooses, Sybil, knows nothing about the Brotherhood and attempts to use the narrator to fulfill her fantasy of being raped by a black man. While still with Sybil in his apartment, the narrator receives a call asking him to come to Harlem quickly. The narrator hears the sound of breaking glass, and the line goes dead. He arrives in Harlem to find the neighborhood in the midst of a full-fledged riot, which he learns was incited by Ras. The narrator becomes involved in setting fire to a tenement building. Running from the scene of the crime, he encounters Ras, dressed as an African chieftain. Ras calls for the narrator to be lynched. The narrator flees, only to encounter men he initially thinks are policemen who want to know what's in his briefcase. In his attempt to evade them, the narrator falls down a manhole. The men mock him and pull the cover over the manhole.
The narrator says that he has stayed underground ever since; the end of his story is also the beginning. He states that he finally has realized that he must honor his individual complexity and remain true to his own identity without sacrificing his responsibility to the community. He says that he finally feels ready to emerge from underground.
Critic Orville Prescott of The New York Times called the novel "the most impressive work of fiction by an American Negro which I have ever read,” and felt it marked "the appearance of a richly talented writer.” Novelist Saul Bellow in his review found it “a book of the very first order, a superb book...it is tragi-comic, poetic, the tone of the very strongest sort of creative intelligence” George Mayberry of The New Republic said Ellison “is a master at catching the shape, flavor and sound of the common vagaries of human character and experience.” In The Paris Review, literary critic Harold Bloom referred to Invisible Man, along with Zora Neale Hurston's Their Eyes Were Watching God, as "the only full scale works of fiction I have read by American blacks in this century that have survival possibilities at all."
- "National Book Awards – 1953". National Book Foundation. Retrieved 2012-03-31.
(With acceptance speech by Ellison, essay by Neil Baldwin from the 50-year publication, and essays by Charles Johnson and others (four) from the Awards 60-year anniversary blog.)
- "100 Best Novels". Modern Library. Retrieved 19 May 2014.
- Invisible Man (1952), by Ralph Ellison | All-TIME 100 Novels | TIME.com
- Malcolm Bradbury and Richard Ruland, From Puritanism to Postmodernism: A History of American Literature. Penguin, 380. ISBN 0-14-014435-8
- Greg Grandin, "Obama, Melville, and the Tea Party." The New York Times, 18 January 2014. Retrieved on 17 March 2016.
- Ellison, Ralph Waldo. Invisible Man. New York: Random House, 1952.
- Carol Polsgrove, Divided Minds: Intellectuals and the Civil Rights Movement (2001), pp. 66-69.
- "Ralph Ellison, The Art of Fiction No. 8, The Paris Review, Spring 1955, p. 113.
- "Ralph Ellison, Winner of the 1953 Fiction Award for Invisible Man". National Book Awards Acceptance Speeches. NBF. Retrieved 2012-03-31.
- Eliot, T. S. (1963). Collected Poems, 1909–1962. New York: Harcourt, Brace & World. ISBN 978-0-15-118978-6
- Ralph Ellison, Shadow and Act
- Ellison, Ralph (1952). Invisible Man. New York: Vintage. ISBN 0-394-71715-5.
- Arnold Rampersad (1997), "Shadow and Veil: Melville and Modern Black Consciousness." Melville's Evermoving Dawn: Centennial Essays. Edited by John Bryant and Robert Milder. Kent, Ohia, and London, Enland: The Kent State University Press, p. 172-173. ISBN 0-87338-562-4
- Prescott, Orville. "Books of the Times". The New York Times. Retrieved 6 November 2013.
- Bellow, Saul. "Man Underground". Commentary. Retrieved 6 November 2013.
- Mayberry, George. "George Mayberry's 1952 Review of Ralph Ellison's Invisible Man". New Republic. Retrieved 6 November 2013.
- Weiss, Antonio. "Harold Bloom, The Art of Criticism No. 1". The Paris Review. Retrieved 6 November 2013.
- "Winners by Year". Anisfield-Wolf Book Awards. Retrieved 7 November 2013.
|Wikiquote has quotations related to: Invisible Man|
- Ralph Ellison, 1914–1994: His Book 'Invisible Man' Won Awards and Is Still Discussed Today (VOA Special English)
- Full text of The Paris Review's 1955 interview with Mr. Ellison
- New York Times article on the 30th Anniversary of the novel's publication—includes an interview with the author
- Teacher's Guide at Random House
- Invisible Man study guide, themes, quotes, character analyses, teaching resources
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