|Invisible Man by Ralph Ellison SALON FULL||Kentish Town||Seven weeks||16.5- 11.7.18||Wednesday evenings|
“I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves or figments of their imagination, indeed, everything and anything except me.”
― Ralph Ellison, Invisible Man
I consider this to be one of the greatest works of American Literature. The unnamed protagonist’s search for identity in a world that will not see him gives us as readers an opportunity to try to understand the psychological devastation of racism in its subtle as well as its violent forms and to consider how each of us participates in the fate of all humanity. Ellison weaves in themes and images from Virgil, Dante, Emerson, and TS Eliot while also using the structure and transcendence of Jazz to create a work that haunts and stirs to the core of our experience.
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From Saul Bellow’s essay:
Review of Ralph Ellison’s Invisible Man
by Saul Bellow
published in Commentary (June 1952)
“It is commonly felt that there is no strength to match the strength of
those powers which attack and cripple modern mankind. And this feeling
is, for the reader of modern fiction, all too often confirmed when he
approaches a new book. He is prepared, skeptically, to find what he
has found before, namely, that family and class, university, fashion,
the giants of publicity and manufacture, have had a larger share in
the creation of someone called a writer than truth or imagination that
Bendix and Studebaker and the nylon division of Du Pont, and the
University of Chicago, or Columbia or Harvard or Kenyon College, have
once more proved mightier than the single soul of an individual; to
find that one more lightly manned position has been taken. But what a
great thing it is when a brilliant individual victory occurs, like Mr.
Ellison’s, proving that a truly heroic quality can exist among our
contemporaries. People too thoroughly determined and our institutions
by their size and force too thoroughly determine can’t approach this
quality. That can only be done by those who resist the heavy
influences and make their own synthesis out of the vast mass of
phenomena, the seething, swarming body of appearances, facts, and
details. From this harassment and threatened dissolution by details, a
writer tries to rescue what is important. Even when he is most bitter,
he makes by his tone a declaration of values and he says, in effect:
There is something nevertheless that a man may hope to be. This tone,
in the best pages of Invisible Man, those pages, for instance, in
which an incestuous Negro farmer tells his tale to a white New England
philanthropist, comes through very powerfully; it is tragi-comic,
poetic, the tone of the very strongest sort of creative intelligence.
In a time of specialized intelligences, modern imaginative writers
make the effort to maintain themselves as unspecialists, and their
quest is for a true middle-of-consciousness for everyone. What
language is it that we can all speak, and what is it that we can all
recognize, burn at, weep over, what is the stature we can without
exaggeration claim for ourselves; what is the main address of
“I was keenly aware, as I read this book, of a very significant kind of
independence in the writing. For there is a way for Negro novelists to
go at their problems, just as there are Jewish or Italian ways. Mr.
Ellison has not adopted a minority tone. If he had done so, he would
have failed to establish a true middle-of-consciousness for everyone.”