Invisible Man Page 2

  Like my sudden recall of an incident from my college days when, opening a vat of Plasticine donated to an invalid sculptor friend by some northern studio, I found enfolded within the oily mass a frieze of figures modeled after those depicted on Saint-Gaudens’s monument to Colonel Robert Gould Shaw and his 54th Massachusetts Negro Regiment, a memorial which stands on the Boston Common. I had no idea as to why it should surface, but perhaps it was to remind me that since I was writing fiction and seeking vaguely for images of black and white fraternity I would do well to recall that Henry James’s brother Wilky had fought as an officer with those Negro soldiers, and that Colonel Shaw’s body had been thrown into a ditch with those of his men. Perhaps it was also to remind me that war could, with art, be transformed into something deeper and more meaningful than its surface violence …

  At any rate, it now appeared that the voice of invisibility issued from deep within our complex American underground. So how crazy-logical that I should finally locate its owner living—and oh, so garrulously—in an abandoned cellar. Of course, the process was far more disjointed than I make it sound, but such was the inner-outer, subjective-objective process of the developing fiction, its pied rind and surreal heart …

  Even so, I was still inclined to close my ears and get on with my interrupted novel, but like many writers atoss in what Conrad described as the “destructive element,” I had floundered into a state of hyperreceptivity; a desperate condition in which a fiction writer finds it difficult to ignore even the most nebulous idea-emotion that might arise in the process of creation. For he soon learns that such amorphous projections might well be unexpected gifts from his daydreaming muse that might, when properly perceived, provide exactly the materials needed to keep afloat in the turbulent tides of composition. On the other hand, they might wreck him, drown him in the quicksands of indecision. I was already having enough difficulty trying to avoid writing what might turn out to be nothing more than another novel of racial protest instead of the dramatic study in comparative humanity which I felt any worthwhile novel should be, and the voice appeared to be leading me precisely in that direction. But then as I listened to its taunting laughter and speculated as to what kind of individual would speak in such accents, I decided that it would be one who had been forged in the underground of American experience and yet managed to emerge less angry than ironic. That he would be a blues-toned laugher-at-wounds who included himself in his indictment of the human condition. I liked the idea, and as I tried to visualize the speaker I came to relate him to those ongoing conflicts, tragic and comic, that had claimed my group’s energies since the abandonment of the Reconstruction. And after coaxing him into revealing a bit more about himself, I concluded that he was without question a “character,” and that in the dual meaning of the term. And I saw that he was young, powerless (reflecting the difficulties of Negro leaders of the period) and ambitious for a role of leadership; a role at which he was doomed to fail. Having nothing to lose, and by way of providing myself the widest field for success or failure, I associated him, ever so distantly, with the narrator of Dostoevsky’s Notes from Underground, and with that I began to structure the movement of my plot, while he began to merge with my more specialized concerns with fictional form and with certain problems arising out of the pluralistic literary tradition from which I spring.

  Among these was the question of why most protagonists of Afro-American fiction (not to mention the black characters in fiction written by whites) were without intellectual depth. Too often they were figures caught up in the most intense forms of social struggle, subject to the most extreme forms of the human predicament but yet seldom able to articulate the issues which tortured them. Not that many worthy individuals aren’t in fact inarticulate, but that there were, and are, enough exceptions in real life to provide the perceptive novelist with models. And even if they did not exist it would be necessary, both in the interest of fictional expressiveness and as examples of human possibility, to invent them. Henry James had taught us much with his hyperconscious, “Super subtle fry,” characters who embodied in their own cultured, upper-class way the American virtues of conscience and consciousness. Such ideal creatures were unlikely to turn up in the world I inhabited, but one never knew because so much in this society is unnoticed and unrecorded. On the other hand, I felt that one of the ever-present challenges facing the American novelist was that of endowing his inarticulate characters, scenes and social processes with eloquence. For it is by such attempts that he fulfills his social responsibility as an American artist.

  Here it would seem that the interests of art and democracy converge, the development of conscious, articulate citizens being an established goal of this democratic society, and the creation of conscious, articulate characters being indispensable to the creation of resonant compositional centers through which an organic consistency can be achieved in the fashioning of fictional forms. By way of imposing meaning upon our disparate American experience the novelist seeks to create forms in which acts, scenes and characters speak for more than their immediate selves, and in this enterprise the very nature of language is on his side For by a trick of fate (and our racial problems notwithstanding) the human imagination is integrative—and the same is true of the centrifugal force that inspirits the democratic process. And while fiction is but a form of symbolic action, a mere game of “as if,” therein lies its true function and its potential for effecting change. For at its most serious, just as is true of politics at its best, it is a thrust toward a human ideal. And it approaches that ideal by a subtle process of negating the world of things as given in favor of a complex of man-made positives.

  So if the ideal of achieving a true political equality eludes us in reality—as it continues to do—there is still available that fictional vision of an ideal democracy in which the actual combines with the ideal and gives us representations of a state of things in which the highly placed and the lowly, the black and the white, the northerner and the southerner, the native-born and the immigrant are combined to tell us of transcendent truths and possibilities such as those discovered when Mark Twain set Huck and Jim afloat on the raft.

  Which suggested to me that a novel could be fashioned as a raft of hope, perception and entertainment that might help keep us afloat as we tried to negotiate the snags and whirlpools that mark our nations vacillating course toward and away from the democratic ideal. There are, of course, other goals for fiction. Yet I recalled that during the early, more optimistic days of this republic it was assumed that each individual citizen could become (and should prepare to become) President. For democracy was considered not only a collectivity of individuals, as was defined by W. H. Auden, but a collectivity of politically astute citizens who, by virtue of our vaunted system of universal education and our freedom of opportunity, would be prepared to govern. As things turned out it was an unlikely possibility—but not entirely, as is attested by the recent examples of the peanut farmer and the motion-picture actor.

  And even for Afro-Americans there was the brief hope that had been encouraged by the presence of black congressmen in Washington during the Reconstruction. Nor could I see any reason for allowing our more chastened view of political possibility (not too long before I began this novel A. Phillip Randolph had to threaten our beloved F.D.R. with a march on Washington before our war industries were opened to Negroes) to impose undue restrictions upon my novelist’s freedom to manipulate imaginatively those possibilities that existed both in Afro-American personality and in the restricted structure of American society. My task was to transcend those restrictions. And as an example, Mark Twain had demonstrated that the novel could serve as a comic antidote to the ailments of politics, and since in 1945, as well as now, Afro-Americans were usually defeated in their bouts with circumstance, there was no reason why they, like Brer Rabbit and his more literary cousins, the great heroes of tragedy and comedy, shouldn’t be allowed to snatch the victory of conscious perception from the forces that overwhelmed them. The
refore I would have to create a narrator who could think as well as act, and I saw a capacity for conscious self-assertion as basic to his blundering quest for freedom.

  So my task was one of revealing the human universals hidden within the plight of one who was both black and American, and not only as a means of conveying my personal vision of possibility, but as a way of dealing with the sheer rhetorical challenge involved in communicating across our barriers of race and religion, class, color and region—barriers which consist of the many strategies of division that were designed, and still function, to prevent what would otherwise have been a more or less natural recognition of the reality of black and white fraternity. And to defeat this national tendency to deny the common humanity shared by my character and those who might happen to read of his experience, I would have to provide him with something of a worldview, give him a consciousness in which serious philosophical questions could be raised, provide him with a range of diction that could play upon the richness of our readily shared vernacular speech and construct a plot that would bring him in contact with a variety of American types as they operated on various levels of society. Most of all, I would have to approach racial stereotypes as a given fact of the social process and proceed, while gambling with the reader’s capacity for fictional truth, to reveal the human complexity which stereotypes are intended to conceal.

  It would be misleading, however, to leave the impression that all of the process of writing was so solemn. For in fact there was a great deal of fun along the way. I knew that I was composing a work of fiction, a work of literary art and one that would allow me to take advantage of the novel’s capacity for telling the truth while actually telling a “lie,” which is the Afro-American folk term for an improvised story. Having worked in barbershops where that form of oral art flourished, I knew that I could draw upon the rich culture of the folk tale as well as that of the novel, and that being uncertain of my skill I would have to improvise upon my materials in the manner of a jazz musician putting a musical theme through a wild star-burst of metamorphosis. By the time I realized that the words of the Prologue contained the germ of the ending as well as that of the beginning, I was free to enjoy the surprises of incident and character as they popped into view.

  And there were surprises. Five years before the book was completed, Frank Taylor, who had given me my first book contract, showed a section to Cyril Connolly, the editor of the English magazine Horizon, and it was published in an issue devoted to art in America. This marked the initial publication of the first chapter, which appeared in America shortly afterward in the 1948 volume of the now-defunct Magazine of the Year—a circumstance which accounts for the 1947 and 1948 copyright dates that have caused confusion for scholars. The actual publication date of the complete volume was 1952.

  These surprises were both encouraging and intimidating because after savoring that bit of success I became afraid that this single section, which contained the “battle royal” scene, might well be the novel’s only incident of interest. But I persisted and finally arrived at the moment when it became meaningful to work with my editor, Albert Erskine. The rest, as the saying goes, is history. My highest hope for the novel was that it would sell enough copies to prevent my publishers from losing on their investment and my editor from having wasted his time. But, as I said in the beginning, this has always been a most willful, most self-generating novel, and the proof of that statement is witnessed by the fact that here, thirty astounding years later, it has me writing about it again.

  Ralph Ellison

  November 10, 1981

  “You are saved,” cried Captain Delano, more and more astonished and pained; “you are saved: what has cast such a shadow upon you?”

  Herman Melville, Benito Cereno

  HARRY: I tell you, it is not me you are looking at,

  Not me you are grinning at, not me your confidential looks

  Incriminate, but that other person, if person,

  You thought I was: let your necrophily

  Feed upon that carcase….

  T. S. Eliot, Family Reunion

  Prologue

  I am an invisible man.

  No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids—and I might even be said to possess a mind. 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.

  Nor is my invisibility exactly a matter of a biochemical accident to my epidermis. That invisibility to which I refer occurs because of a peculiar disposition of the eyes of those with whom I come in contact. A matter of the construction of their inner eyes, those eyes with which they look through their physical eyes upon reality. I am not complaining, nor am I protesting either. It is sometimes advantageous to be unseen, although it is most often rather wearing on the nerves. Then too, you’re constantly being bumped against by those of poor vision. Or again, you often doubt if you really exist. You wonder whether you aren’t simply a phantom in other people’s minds. Say, a figure in a nightmare which the sleeper tries with all his strength to destroy. It’s when you feel like this that, out of resentment, you begin to bump people back. And, let me confess, you feel that way most of the time. You ache with the need to convince yourself that you do exist in the real world, that you’re a part of all the sound and anguish, and you strike out with your fists, you curse and you swear to make them recognize you. And, alas, it’s seldom successful.

  One night I accidentally bumped into a man, and perhaps because of the near darkness he saw me and called me an insulting name. I sprang at him, seized his coat lapels and demanded that he apologize. He was a tall blond man, and as my face came close to his he looked insolently out of his blue eyes and cursed me, his breath hot in my face as he struggled. I pulled his chin down sharp upon the crown of my head, butting him as I had seen the West Indians do, and I felt his flesh tear and the blood gush out, and I yelled, “Apologize! Apologize!” But he continued to curse and struggle, and I butted him again and again until he went down heavily, on his knees, profusely bleeding. I kicked him repeatedly, in a frenzy because he still uttered insults though his lips were frothy with blood. Oh yes, I kicked him! And in my outrage I got out my knife and prepared to slit his throat, right there beneath the lamplight in the deserted street, holding him in the collar with one hand, and opening the knife with my teeth—when it occurred to me that the man had not seen me, actually; that he, as far as he knew, was in the midst of a walking nightmare! And I stopped the blade, slicing the air as I pushed him away, letting him fall back to the street. I stared at him hard as the lights of a car stabbed through the darkness. He lay there, moaning on the asphalt; a man almost killed by a phantom. It unnerved me. I was both disgusted and ashamed. I was like a drunken man myself, wavering about on weakened legs. Then I was amused: Something in this man’s thick head had sprung out and beaten him within an inch of his life. I began to laugh at this crazy discovery. Would he have awakened at the point of death? Would Death himself have freed him for wakeful living? But I didn’t linger. I ran away into the dark, laughing so hard I feared I might rupture myself. The next day I saw his picture in the Daily News, beneath a caption stating that he had been “mugged.” Poor fool, poor blind fool, I thought with sincere compassion, mugged by an invisible man!

  Most of the time (although I do not choose as I once did to deny the violence of my days by ignoring it) I am not so overtly violent. I remember that I am invisible and walk softly so as not to awaken the sleeping ones. Sometimes it is best not to awaken them; there are few things in the world as dangerous as sleepwalkers. I learned in time though that it is possible to carry on a fight against them without their realizing it. For instanc
e, I have been carrying on a fight with Monopolated Light & Power for some time now. I use their service and pay them nothing at all, and they don’t know it. Oh, they suspect that power is being drained off, but they don’t know where. All they know is that according to the master meter back there in their power station a hell of a lot of free current is disappearing somewhere into the jungle of Harlem. The joke, of course, is that I don’t live in Harlem but in a border area. Several years ago (before I discovered the advantages of being invisible) I went through the routine process of buying service and paying their outrageous rates. But no more. I gave up all that, along with my apartment, and my old way of life: That way based upon the fallacious assumption that I, like other men, was visible. Now, aware of my invisibility, 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, which I discovered when I was trying to escape in the night from Ras the Destroyer. But that’s getting too far ahead of the story, almost to the end, although the end is in the beginning and lies far ahead.