...Cheryl Alison In 1952, Ralph Ellison published Invisible Man to acclaim, though the novel’s subterranean ending has inspired critical debate. For over forty years afterward, he worked on his second novel, unfinished when he died in 1994. This article considers what was at stake for Ellison both...

...Nathaniel Mills This article challenges long-standing narratives of Ralph Ellison’s response to civil rights-era struggles as one of quietism, conservatism, or apolitical aestheticism. Focusing on a key episode early in Ellison’s Three Days before the Shooting …, in which a jazz musician burns his...

...Robert Genter Copyright © Hofstra University 2003 w Toward a Theory of Rhetoric: Ralph Ellison, Kenneth Burke, and the Problem of Modernism Robert Genter In 1937 a major shift in American intellectual circles occurred with the rebirth of the literary journal Partisan...

...Elizabeth Yukins In the posthumously published Three Days before the Shooting . . . (2010), Ralph Ellison’s protagonist spends years as a film actor and filmmaker, and cinematographic effects appear throughout the narrative. Sharply aware of what he called the “enormous myth-making potential...

...Marc Singer Copyright © Hofstra University 2003 “A Slightly Different Sense of Time”: Palimpsestic Time in Invisible Man Marc Singer I^ .a lp h Ellison once argued, in a panel discussion with William Sty- ron and Robert Penn Warren on “The Uses of History in Fiction...

... critics have been,” formulating “hip” both etymologically and culturally to situate Faulkner in discourses of fashion and urban culture. Smith prefaces his reading of Faulkner’s novel with a story of an encounter between Faulkner and Ralph Ellison in 1953, and Ellison’s remark in a letter...

...-life novel is Ralph Ellison (211). But Ellison’s influence is evident throughout Charles’s book, particularly in Charles’s two key contentions about racial privacy and sympathy. Ellison’s 1944 review of Gunnar Myrdal’s influential sociological study, An American Dilemma, for instance, accepted...

... narrative moments in Underworld that work against DeLillo’s desire to hypostasize disembodied systems. As in the case of part 1, Chodat also counters DeLillo with a more conventional novelist who remains skeptical of any attempt to displace the personal by the suprapersonal—namely, Ralph Ellison...

.... Auden and Ralph Ellison, as the behavioral mode of waiting in Elizabeth Bowen, and as the sound of war in Frank O’Hara (228). Following these various threads requires a wide range of approaches and critical frameworks, and it is with little fanfare but great dexterity that Seiler succeeds, demonstrating...

... Ellison, and James Baldwin. Each of these thinkers challenges the coercive effect of tradi- tion on Black individuality. Moreover, they refuse the idea of Black American innocence and victimhood, asserting instead that as modern subjects African Americans must claim responsibility...

... critics of African American fiction are too insulated and concerned largely with the criti­ cal discourses holding sway in the academy, reminiscent of how mid—twentieth-century writers like Richard Wright and Ralph Ellison focused on mainstream literary traditions to establish...

... in the nineteenth century, as Fernandez does, we must account for the unique trajectory that African American literature takes from the slave narrative through figures like Baldwin and Ellison, who draw from the autobiographical tradition and struggle with the balance between aesthetic experimentation...

... . DeGout Yasmin Y. 1992 . “ Dividing the Mind: Contradictory Portraits of Homoerotic Love in Giovanni’s Room .” African American Review 26 , no. 3 : 425 – 35 . Ellison Ralph . (1953) 1995 . Shadow and Act . New York : Vintage . Fabre Michel . 1991 . From Harlem to Paris...

... that corporate personhood is integral to American modernism. In five tightly written chapters, Siraganian ranges across canonical figures (such as F. Scott Fitzgerald, Gertrude Stein, and Ralph Ellison); other well-known writers rarely associated with modernism (such as Frank Norris, Theodore Dreiser, and George...

... Generation.” 49.1 (2003): 82-102 .E liot, T. S. See Cuda; Fluet Ellison, Ralph. See Genter; Singer Engle, Howard. See Durham Engle,John.“Friends and Strangers.” 49.1 (2003): 1-11 Falconer, Rachel. “Bouncing Down to the Underworld: Classical Katabasis in The Ground Beneath Her Feet." 47.4...

... spaces of the barrio, while displacing insurgency into the hands o f an ‘exceptional’ figure— Morales as writer.” To a certain extent, this should sound familiar: it is similar to the criticisms that first communists and then Black Aestheticians leveled at Ralph Ellison’s...

... does not, finishing with a reassessment of Ralph Ellison’s Invisible Man. Here Ellison emerges as a nationalist who saw the danger of this 1950s-style pluralist bargaining: that covenants require sacrifices, and that our national one has required the sacrifice of black Americans. At the same...

... around 1943 and the emergence of a Cold War consciousness around 1947 and 1948 (the year of Orwell’s 1984). To the conventional modernist version of the 1940s—which in many accounts skips from Native Son (1940) to Ellison’s Invisible Man (1952) with only a brief interruption for Norman Mailer’s...

... this most conspicuously through music. It thematizes jazz and blues music but, as its title suggests, models itself as a work of the blues in form and content as well, especially in its intertwining of suffering and affirmation. As Ralph Ellison ([1945] 2016: 491) famously puts it, “The blues is an impulse...

..., by the 1950s the South again became, in a context of heightened Cold War rhetoric and anxiety over the speed of progress, a site for imaginatively containing national anxiety and fos­ tering discrimination. Both William Faulkner’s Requiem for a Nun and Ralph Ellison’s Invisible Man, Duck claims, show...