Analysis
Ralph Ellison’s Invisible Man follows the unnamed narrator’s bildungsroman journey, capturing his journey from high school graduation to his challenging early years in the real world. As the story progresses, the narrator grapples with an increasingly heavy burden, both socially and regarding his own identity. Ellison employs a unique technique to convey this burden: the narrator collects a bunch of objects, each symbolizing a specific encounter or experience. These objects become tangible representations of the narrator’s past, particularly his encounters with racism and the legacy of slavery. Brother Tarp’s leg chain, Tod Clifton’s Sambo doll, and the broken fragments of Mary’s racist coin bank all serve as stark reminders of the oppressive forces he faces. Other objects also connect to the narrator’s confused sense of self. The fragment of paper with his Brotherhood name and the Rinehart disguise represent external attempts to define him, highlighting his struggle to find his authentic identity. Collectively, these objects serve as a constant reminder of the imposed and historical identities that burden him. The novel’s conclusion finds the narrator discarding or destroying these objects, signifying his attempt to shed the weight of the past and imposed identities. This act symbolizes his commitment to discovering his true self outside of external definitions.
The novel unfolds in a linear fashion, but it’s framed within the narrator’s present situation in his hidden underground refuge. This creates a circular structure where the story starts and ends at the same point, allowing the narrator to reflect on the experiences that led him there. This framework emphasizes the act of storytelling as a crucial tool for the narrator to make sense of his past experiences and gain a deeper understanding of his present state, particularly his status as an “invisible man.” By the end, the reader not only understands why the narrator retreated but also witnesses his decision to re-emerge and fight for change.
The first half of the novel has a predominantly episodic structure. The narrator quickly transitions through formative experiences like the “battle royal,” encounters with characters like Jim Trueblood, and his expulsion from college. This rapid pace reflects the disorienting and fragmented nature of his early experiences. The narrative structure then shifts with the introduction of Brother Jack. The second half, focused on the Brotherhood, adopts a more improvisational style reminiscent of jazz music. Individual chapters become less focused on specific events, and the narrative becomes more fluid, reflecting the chaotic and unpredictable nature of the Brotherhood and its eventual downfall.
Ellison first published the “battle royal” chapter of Invisible Man in October 1947 in the British magazine Horizon. Following this, in 1948, the same section appeared in the American magazine, Magazine of the Year. Subsequently, in the early months of 1952, the novel’s prologue was published in the Partisan Review. The complete novel was officially released in April 1952, receiving positive feedback from both white and black audiences. There was some negative feedback from a minority within the Afro-American community, who accused the novel of displaying disdain toward blacks. However, Invisible Man remains a powerful exploration of race and racism and a man’s search for self-identity and determination in a society that continuously imposes its prejudices.
