Published in 1952, Invisible Man featured a protagonist whose activities enabled the novel’s author, Ralph Ellison, to explore and to blend themes specifically tied to the history and plight of African Americans with themes, also explored by many European writers with whose works Ellison was familiar, about the fractured, evanescent quality of European fictional modes lessened his contribution to the development of a distinctly African American novelistic style.
Ellison found these criticisms to voice a common demand, namely that writers should censor themselves and sacrifice their individuality for supposedly more important political and cultural purposes. He replied that it demeans a people and its artists to suggest that a particular historical situation requires cultural segregation in the arts. Such a assumption that audiences are capable of viewing the world only from their own perspectives.
Models for understanding Invisible Man that may be of more help than those employed by its critics can be found in Ellison’s own love for and celebration of jazz. Jazz has never closed itself off from other musical forms, and some jazz musicians have been able to take the European-influenced songs of to explore and express the issues of identity and character that had so interested European writers.
Further, jazz, featuring solos that, however daring, remain rooted in the band’s rhythm section, provides a rich model for understanding the relationship of artist to community and parallels the ways the protagonist’s voice in Invisible Man is set within a wider communal context. Ellison’s explorations in the novel, often in the manner of the transmutation of a cultural inheritance can never be completely cut off from the community.
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