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Invisible Man, by Ralph Ellison
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Invisible Man is a milestone in American literature, a book that has continued to engage readers since its appearance in 1952. A first novel by an unknown writer, it remained on the bestseller list for sixteen weeks, won the National Book Award for fiction, and established Ralph Ellison as one of the key writers of the century. The nameless narrator of the novel describes growing up in a black community in the South, attending a Negro college from which he is expelled, moving to New York and becoming the chief spokesman of the Harlem branch of "the Brotherhood", and retreating amid violence and confusion to the basement lair of the Invisible Man he imagines himself to be. The book is a passionate and witty tour de force of style, strongly influenced by T.S. Eliot's The Waste Land, Joyce, and Dostoevsky.
- Sales Rank: #804 in Books
- Brand: Ellison, Ralph
- Published on: 1995-03-14
- Released on: 1995-03-14
- Original language: English
- Number of items: 1
- Dimensions: 7.93" h x 1.10" w x 5.16" l,
- Binding: Paperback
- 581 pages
Amazon.com Review
We rely, in this world, on the visual aspects of humanity as a means of learning who we are. This, Ralph Ellison argues convincingly, is a dangerous habit. A classic from the moment it first appeared in 1952, Invisible Man chronicles the travels of its narrator, a young, nameless black man, as he moves through the hellish levels of American intolerance and cultural blindness. Searching for a context in which to know himself, he exists in a very peculiar state. "I am an invisible man," he says in his prologue. "When they approach me they see only my surroundings, themselves, or figments of their imagination--indeed, everything and anything except me." But this is hard-won self-knowledge, earned over the course of many years.
As the book gets started, the narrator is expelled from his Southern Negro college for inadvertently showing a white trustee the reality of black life in the south, including an incestuous farmer and a rural whorehouse. The college director chastises him: "Why, the dumbest black bastard in the cotton patch knows that the only way to please a white man is to tell him a lie! What kind of an education are you getting around here?" Mystified, the narrator moves north to New York City, where the truth, at least as he perceives it, is dealt another blow when he learns that his former headmaster's recommendation letters are, in fact, letters of condemnation.
What ensues is a search for what truth actually is, which proves to be supremely elusive. The narrator becomes a spokesman for a mixed-race band of social activists called "The Brotherhood" and believes he is fighting for equality. Once again, he realizes he's been duped into believing what he thought was the truth, when in fact it is only another variation. Of the Brothers, he eventually discerns: "They were blind, bat blind, moving only by the echoed sounds of their voices. And because they were blind they would destroy themselves.... Here I thought they accepted me because they felt that color made no difference, when in reality it made no difference because they didn't see either color or men."
Invisible Man is certainly a book about race in America, and sadly enough, few of the problems it chronicles have disappeared even now. But Ellison's first novel transcends such a narrow definition. It's also a book about the human race stumbling down the path to identity, challenged and successful to varying degrees. None of us can ever be sure of the truth beyond ourselves, and possibly not even there. The world is a tricky place, and no one knows this better than the invisible man, who leaves us with these chilling, provocative words: "And it is this which frightens me: Who knows but that, on the lower frequencies, I speak for you?" --Melanie Rehak
From Publishers Weekly
These three volumes have been redesigned and reissued to commemorate the first anniversary of Ellison's death.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
This audio is a thoughtful, wonderful version of one of the best works of American fiction of the 20th century. Peter Francis James expresses every nuance of the Northern and Southern black, white, and Caribbean dialects Ellison employed, reading with lyrical feeling and passion throughout this well-produced recording. The experiences of the unnamed protagonist in the rural South and in post-World War II Harlem serve as allegories for maturing intellectual, emotional, and moral sensitivities in us all, black or white, rich or poor, 1950s or 1990s. Though blessed with individual gifts, perhaps even with social privilege, we become, like the protagonist, a construct of others' prejudices, expectations, and stereotypesDwe become ambiguous to self, invisible to our own society. The society, attitudes, and institutions of the 1950s play large roles in shaping the invisible hero. It seems a shame that not much has changed: parallel influences seem to have kept us from understanding very much more as a society now than we knew then. Highly recommended for adult fiction collections.DCliff Glaviano, Bowling Green State Univ. Libs., OH
Copyright 2001 Reed Business Information, Inc.
Most helpful customer reviews
159 of 179 people found the following review helpful.
A Heartbreaking Work of Staggering Genius
By Bruce Kendall
Ellison, Baldwin and Wright formed the triumvirate of great African American male novelists of the past 200 years. Of the three, Ellison may well prove to be the most timeless. While Native Son, Black Boy and Go Tell it on a Mountain are powerful works, they don't quite measure up to Invisible Man, in terms of sheer literary genius.
While Ellison wears his influences on his sleeve (Dostoevsky, symbolist poets, existentialist writers, etc.[he even borrows his title from HG Wells]), his writing never suffers or sinks beneath the weight of literary associations. His was a unique voice and vision.
Like Dostoevsky's Underground Man, Ellison's narrator has essentially beat a retreat from the world. He holes up in a subterranean room, where he reflects on the the injustices society has dealt him. Dostoevsky's narrator purposely bumps into people on the Nevsky Prospect in order to certify that he is visible and just as important as the next man. Ellison's Invisible Man beats and almost kills a white man he confronts on an empty street, also in order to rationalize his own existence.
Both the underground man and the invisible man are filled with self loathing. Yet, in Ellison's work, the narrator does achieve a sort of spiritual progress and affirmative self-knowledge. He goes from being a pathetically exploited non-being that must acceed to the whims and wishes of the white opressor (the often anthologized battle royal scene at the beginning of the book), to a point near the conclusion of the book in which he can state he is free to pursue "infinite possibilities."
Irving Howe, in an overall favorable review of the novel, took Ellison to task on several fronts. He complained that the section wherein the narrator falls in with "The Brotherhood" portrays the communist party in an an unrealistic vein. He was also troubled by Ellison's narrative design: "Because the book is written in the first person singular, Ellison cannot establish ironic distance between his hero and himself, or between the matured "I" telling the story and the "I" who is its victim. And because the experience is so apocalyptic and magnified, it absorbs and then dissolves the hero; every minor character comes through brilliantly, but the seeing "I" is seldom seen." Though I generally have a high opinion of Irving Howe's criticism, I think he's arriving at a conclusion here which entirely deflates his own remarks. Yes, the "I" in Invisible Man is harder to see than the other characters, but that is part of the author's construct. It's the very point he makes over and over throughout the novel. How better to portray an "invisible man?"
If you've never read this important work, try reading the first 40 pages that are on display here at .... It includes the famous battle royal sequence, which is one of the best hook chapters in all of literature. It should be enough to induce you to read the rest of the novel. You are in for an unforgettable read.
2 of 2 people found the following review helpful.
Trying Hard to See You
By Gregory N. Hullender
Ellison's African-American hero (appropriately, we never learn his name) wanders through life suffering from people who expect him to be someone he's not. Every time he tries to assert himself, people punish him for failing to conform to their expectations, and since no two people seem to expect the same thing from him - and since he meets so many different people - he suffers a lot. He calls himself the invisible man, then, because no one sees him for himself. The novel tells how he comes to this realization and how he concludes that forcing people to conform is wrong and that diversity is a strength. Surprisingly for a black novel set in the 1950s, only about half of his troubles come from racism, and he seems to have little or no internalized racism. Also, although the novel can be read just on the surface, it has a rich allegorical subtext that rewards careful examination. (E.g. the Liberty Paint Company secretly adds a few drops of black graduate to each bucket of their award-winning white paint.) Finally, the book is almost completely free of modern notions of political correctness, so it should be readable and enjoyable for everyone.
0 of 0 people found the following review helpful.
Its reputation says it all. A must read for ...
By Amazon Customer
Its reputation says it all. A must read for all Americans. Any violence or sexual content is necessary to the story and the truth that is spoken here,
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