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“For now I had begun to believe, despite all the talk of science around me, that there was a magic in spoken words.”

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Ralph Ellison buch Invisible Man

Quelle: Invisible Man (1952), Chapter 17.

“Perhaps everyone loved someone; I didn't know, I couldn't give much thought to love; in order to travel far you had to be detached, and I had a long road back to the campus before me.”

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Ralph Ellison buch Invisible Man

Quelle: Invisible Man (1952), Chapter 9

“The act of writing requires a constant plunging back into the shadow of the past where time hovers ghostlike.”

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Ralph Ellison buch Shadow and Act

Shadow and Act (New York: Random House, 1964), Introduction, p. xix; in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 56.

“And yet I am what they think I am.”

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Ralph Ellison buch Invisible Man

Quelle: Invisible Man (1952), Chapter 17.

“I denounce because though implicated and partially responsible, I have been hurt to the point of abysmal pain, hurt to the point of invisibility. And I defend because in spite of all I find that I love. In order to get some of it down I have to love. I sell you no phony forgiveness, I'm a desperate man—but too much of your life will be lost, its meaning lost, unless you approach it as much through love as through hate. So I approach it through division. So I denounce and I defend and I hate and I love.”

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Ralph Ellison buch Invisible Man

Epilogue.
Invisible Man (1952)

“The clock ticked with empty urgency, as though trying to catch up with the time. In the street a siren howled.”

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Ralph Ellison buch Invisible Man

Quelle: Invisible Man (1952), Chapter 14.

“The work of art is, after all, an act of faith in our ability to communicate symbolically.”

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Ralph Ellison

"The Little Man at Chehaw Station" (1978), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 503.

“…you both fail to understand what is happening to you. You cannot see or hear or smell the truth of what you see — and you, looking for destiny! It’s classic! And the boy, this automaton, he was made of the very mud of the region and sees far less than you. Poor stumblers, neither of you can see the other. To you he is a mark on the score-card of your achievement, a thing and not a man; a child, or even less — a black, amorphous thing. And you, for all your power, are not a man to him, but a God, a force…”

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Ralph Ellison buch Invisible Man

Quelle: Invisible Man (1952), Chapter 3.

“…to hell with being ashamed of what you liked.”

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Ralph Ellison buch Invisible Man

Quelle: Invisible Man (1952), Chapter 13.

“Eclecticism is the word. Like a jazz musician who creates his own style out of the styles around him, I play by ear.”

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Ralph Ellison

"The Essential Ellison", interview by Ishmael Reed in Y'Bird 1, no. 1 (1978): 130-59.

“Our task then is always to challenge the apparent forms of reality—that is, the fixed meaning and values of the few—and to struggle with it until it reveals its mad, vari-implicated chaos, its false faces, and on until it surrenders its insight, its truth.”

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Ralph Ellison

"Brave Words for a Startling Occasion" (1953), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 154.

“…remember that the antidote to hubris, to overweening pride, is irony, that capacity to discover and systematize clear ideas. Or as Emerson insisted, the development of consciousness, consciousness, consciousness. And with consciousness a more refined conscientiousness, and most of all, that tolerance which takes the form of humor, for when Americans can no longer laugh at each other, they have to fight one another.”

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Ralph Ellison

"Address to the Harvard College Alumni, Class of 1949" (1974), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 429.

“All novels are about certain minorities: the individual is a minority. The universal in the novel—and isn't that what we're all clamoring for these days?—is reached only through the depiction of the specific man in a specific circumstance.”

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Ralph Ellison

"The Art of Fiction: An Interview" (The Paris Review, Spring 1955), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 212.

“…there's always an element of crime in freedom.”

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Ralph Ellison buch Invisible Man

Quelle: Invisible Man (1952), Chapter 7.

“The truth is the light and light is the truth.”

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Ralph Ellison buch Invisible Man

Prologue.
Invisible Man (1952)

“At best Americans give but limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest.”

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Ralph Ellison

"The Golden Age, Time Past" (1959), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 239.

“Some people are your relatives but others are your ancestors, and you choose the ones you want to have as ancestors. You create yourself out of those values.”

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Ralph Ellison

Time Magazine (27 March 1964).

“…the way we talk…you know that our people like to talk around a subject even when there's no danger. They enjoy it, and if they know you well enough they're apt to leave their true subject unstated so you'll have to supply the missing meaning.”

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Ralph Ellison buch Three Days Before the Shooting...

Quelle: Three Days Before the Shooting... (2010), pp. 680-1.

“If you can show me how I can cling to that which is real to me, while teaching me a way into the larger society, then I will not only drop my defenses and my hostility, but I will sing your praises and help you to make the desert bear fruit.”

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Ralph Ellison

"What These Children Are Like" (1963), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 555.

“But what a feeling can come over a man just from seeing the things he believes in and hopes for symbolized in the concrete form of a man. In something that gives a focus to all the other things he knows to be real. Something that makes unseen things manifest and allows him to come to his hopes and dreams through his outer eye and through the touch and feel of his natural hand.”

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Ralph Ellison buch Three Days Before the Shooting...

Quelle: Three Days Before the Shooting... (2010), p. 418.

“Perhaps the most insidious and least understood form of segregation is that of the word. […] For if the word has the potency to revive and make us free, it has also the power to blind, imprison and destroy.”

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Ralph Ellison

"Twentieth-Century Fiction and the Black Mask of Humanity" (1953), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 81.

“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.”

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Ralph Ellison buch Invisible Man

Prologue.
Invisible Man (1952)

“Life is as the sea, art a ship in which man conquers life's crushing formlessness, reducing it to a course, a series of swells, tides and wind currents inscribed on a chart.”

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Ralph Ellison

"Richard Wright's Blues" (1945), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 133.

“Commercial rock ’n’ roll music is a brutalization of the stream of contemporary Negro church music … an obscene looting of a cultural expression.”

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Ralph Ellison

"Some Questions and Some Answers" (1958), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 298.

“By and large, the critics and readers gave me an affirmed sense of my identity as a writer. You might know this within yourself, but to have it affirmed by others is of utmost importance. Writing is, after all, a form of communication.”

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Ralph Ellison

"The Art of Fiction: An Interview" (The Paris Review, Spring 1955), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 218.

“Whence all this passion toward conformity anyway?—diversity is the word.”

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Ralph Ellison buch Invisible Man

Epilogue.
Invisible Man (1952)

“The understanding of art depends finally upon one's willingness to extend one's humanity and one's knowledge of human life.”

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Ralph Ellison

"The Art of Fiction: An Interview" (The Paris Review, Spring 1955), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 217.