Midterm Flashcards
(103 cards)
“My hole is warm and full of light. Yes, full of light. I doubt if there is a brighter spot in all New York than this hole of mine, and I do not exclude Broadway. Or the Empire State Building on a photographer’s dream night… I now can see the darkness of lightness. And I love light. Perhaps you’ll think it strange that an invisible man should need light, desire light, love light. But maybe it is exactly because I am invisible. Light confirms my reality, gives birth to my form… Without light, I am not only invisible, but formless as well, and to be unaware of one’s form is to live a death. I myself, after existing some twenty years, did not become alive until I discovered my invisibility.”
Ralph Ellison
Whiteness/blackness makes the narrator feel alive. He believes that if his room is full of light, then his shadow will stand out in the room, making him actually visible instead of invisible. Right now, he is not ready to go outside because he doesn’t know what to do or how to contribute to his world; he feels like a ghost or a shadow outside.
“…‘You should have hated him,’ I said. ‘That’s why I’m here.’ ‘What’s that?’ ‘Nothing, a word that doesn’t explain it. Why do you mean?’ ‘I mean this way ‘cause he’s dead,’ she said. ‘Then tell me, who is that laughing upstairs?’ ‘ Them’s my sons. They glad.’ ‘Yes, I can understand that too,’ I said. ‘I laughs too, but I means too. He promised to set us free but he never could have bring himself to do it. Still I loved him…’ ‘Loved him? You mean…?’ ‘Oh, yes, but I loved something else even more.’ ‘What more?’ ‘Freedom.’”
Ralph Ellison
The narrator has a dream about a preacher and about a woman who talks about how much she loves a man who had impregnated her, but hates him for not letting her out free. She values her freedom more than she values him.
“Son, after I’m gone I want you to keep up the good fight. I never told you, but our life is a war and I have been a traitor all my born days, a spy in the enemy’s country ever since I give up my gun back in the Reconstruction. Live with your head in the lion’s mouth. I want you to overcome ‘em with yeses, undermine ‘em with grins, agree ‘em to death and destruction, let ‘em swoller you till they vomit or bust wide open.”
Ralph Ellison
The narrator’s grandfather tells him to stay humble and to say yes to everything, but then contradicts himself by saying that doing so will make the narrator a “traitor.” This confuses the narrator because he doesn’t know how to follow his grandfather’s advice/live up to his grandfather’s standards. However, the reader knows that his grandfather is telling him that, because he is an invisible man, standing up for himself would not do any good, because he will never be acknowledged.
“I am standing puzzled, unable to decide whether the veil is really being lifted, or lowered more firmly in place; whether I am witnessing a revelation or a more efficient blinding.”
Ralph Ellison
The narrator wonders if the college is actually trying to educate black people, or if it is trying to drive them away/oppress them (like they did with the narrator).
“He cleared his throat, his eyes gleaming and his voice taking on a deep, incantatory quality, as though he had told the story many, many times.”
Ralph Ellison
Trueblood knows how to tell the story because he has told it many times. He also represents the racial stereotype about black men and their sexuality.
“Finally, one night, way early in the mornin’, I looks up and sees the stars and I starts singin’. I don’t mean to, I didn’t think ‘bout it, just start singin’. I don’t know what it was, some kinda church song, I guess. All I know is I ends up singin’ the blues. I sings me some blues that night ain’t never been sang before, and while I’m singin’ them blues I makes up my mind that I ain’t nobody but myself and ain’t nothin’ I can do but let whatever is gonna happen, happen. I made up my mind that I was goin’ back home and face Kate; yeah, and face Mary Lou too.”
Ralph Ellison
Trueblood starts singing the blues, a call back to Langston Hughes and his poems about blues. The blues are a way for the self to better cope with their lives. This is what Trueblood is doing; he knows what he did is wrong, but he believes that singing the blues will bring him peace, even though the song will not ever change the circumstances and consequences in his household.
“He believes in you as he believes in the vet of his heart. He believes in that great false wisdom taught slaves and pragmatists alike, that white is right.”
Ralph Ellison
The vet confirms the invisible man’s invisibility and also adds that they are told the white man is always right; pragmatists will try to play into it so they can get what they want.
“To some, you are the great white father, to others the lyncher of souls, but for all, you are confusion come even into the Golden Day.”
Ralph Ellison
The vet tells Mr. Norton that to some, he will always be looked up to, and to others, he will always be seen as a lyncher, but to everyone, he will always be a confusion.
“Here within this quiet greenness I possessed the only identity I had ever known, and I was losing it.”
Ralph Ellison
The narrator drives Mr. Norton back to the campus after their events with Trueblood and the Golden Day. He thinks about his identity at the college, knowing that soon enough he will not be a student there anymore and will have to seek his own identity in the outside world.
“Ha! Susie Gresham, Mother Gresham, guardian of the hot young women on the puritan benches who couldn’t see your Jordan’s water for their private steam…”
Ralph Ellison
Ms. Gresham is a quiet yet powerful, maternal presence in the audience, a woman who has her own true identity and true form, and the narrator feels as if he failed her with his mistakes from that day’s earlier events with Mr. Norton. She has connections back to slavery, has gone through it and through the Reconstruction era and therefore has a lot of strength, and it’s because of this that the narrator feels he has failed her.
“Around me the students move with faces frozen in solemn masks, and I seem to hear already the voices mechanically raised in the songs the visitors loved… And here, sitting rigid, I remember the evenings spent before the sweeping platform in awe and in pleasure, and in the pleasure of awe; remember the short formal sermons in-toned from the pulpit there, rendered in smooth articulate tones, with calm assurance purged of that wild emotion of the crude preachers most of us knew in our home towns and of whom we were deeply ashamed, these logical appeals which reached us more like the thrust of a firm and formal design requiring nothing more than the lucidity of uncluttered periods, the lulling movement of multi-syllable words to thrill and console us…”
Ralph Ellison
The chapel has formed the students into acting a certain way, giving them identities that they cannot question no longer, and the narrator feels out of place there, because he doesn’t believe that the form they have–the “frozen masks” they wear–do not fit his overall identity.
“‘He said that I believed that white was right,’ I said. ‘What?’ Suddenly, his voice twitched and cracked like the surface of dark water. ‘And you do, don’t you?’”
Ralph Ellison
Dr. Bledsoe is a pragmatist
“‘So, you go ahead, go tell your story; match your truth against my truth, because what I’ve said is truth, the broader truth. Test it, try it out…”
Ralph Ellison
“‘I’ve got something good for you,’ he said, placing a glass of water before me. ‘How about the special?’ ‘What’s the special?’ ‘Pork chops, grits, one egg, hot biscuits, and coffee!’ He leaned over the counter that seemed to say, There, that ought to excite you, boy. Could everyone see that I was southern? ‘I’ll have orange juice, toast, and coffee,’ I said coldly. He shook his head. ‘You fooled me,’ he said, slamming two pieces of bread into the toaster. ‘I would have sworn you were a pork chop man.’”
Ralph Ellison
The narrator gets offended because the waiter tries to perceive his identity as a man who gets traditional Southern breakfast; the narrator wants to hold onto a certain identity that is completely different from that.
“I walked along, munching the yam, just as suddenly overcome by an intense feeling of freedom—simply because I was eating while walking along the street. It was exhilarating. I no longer had to worry about who saw me or about who was proper. To hell with all that, and as sweet as the yam actually was, it became like nectar with the thought… Why, you could cause us the greatest humiliation simply by confronting us with something we liked.”
Ralph Ellison
The narrator is finally starting to embrace his identity by enjoying the yams. Other people tell him he should be ashamed to eat the street vendor yams, but he thinks they are delicious.
“If it’s Optic White, it’s the Right White.”
Ralph Ellison
Racial overtones - white supremacy
To turn it into a bright shade of white, the narrator has to put drops of black inside the paint
“You can’t have whiteness without blackness”: the white paint suggests white represents superiority/purity/proper color for an American
“My eyes fell upon a pair of crudely carved and polished bones, ‘knocking bones,’ used to accompany music at country dances, used in black-face minstrels…”
Ralph Ellison
Lists objects that were thrown out of the evicted couple’s home:
Straightening comb, a curling iron, pots and pots of green plants, etc.
All these objects had a connection back to slavery
He still gets reminders of the fact that he’s coming out of slavery, no matter how far he is now from his home
They make him think of his family and of their struggles with slavery
“Why were they causing me discomfort so far beyond their intrinsic meanings as objects? And why did I see them now, as beyond a veil that threatened to lift, stirred by the cold wind in the narrow street?”
Ralph Ellison
He realizes that they were also a part of slavery as he looks over these objects
Stream of consciousness that is pulling him back and rising a reaction out of him
He sees this couple’s whole life just by looking at these objects
“But to hell with this Booker T. Washington business. I would do the work but I would be no one but myself—whoever I was. I would pattern my life on that of the Founder.”
Ralph Ellison
The narrator is still trying to find his own form, but every time he tries, he can’t seem to get it to fit correctly with his identity
Contradicts himself in this quote
“Then near the door I saw something which I’d never noticed there before: the cast-iron figure of a very black, red-lipped and wide-mouthed Negro, whose white eyes stared up at me from the floor, his face an enormous grin, his single large black hand held palm up before his chest.”
Ralph Ellison
Represents the Sambo image
“I don’t think of it in terms of but two words, yes and no; but it signifies a heap more…”
Ralph Ellison
He tells the narrator his story:
Got caught in a chain gang
He eventually escaped the chain and kept a piece of the metal that he managed to break off; gives the metal to the narrator
Brother Tarp teaches the narrator how to say yes and how to say no. Not every situation will be fair, but the narrator needs to learn how to say them at the right times
“The train went on up the track out of sight, around one of the hills of burnt timber. Nick sat down on the bundle of canvas and bedding the baggage man had pitched out of the door of the baggage car. There was no town, nothing but the rails and the burned over country. The thirteen saloons that had lined the one street of Seney had not left a trace. The foundations of the Mansion House hotel stuck up above the ground. The stone was chipped and split by the fire. It was all that was left of the town of Seney. Even the surface had been burned off the ground.”
Ernest Hemingway
Everything is changed and burned off, and he’s looking around at the violent destruction
He’s stepping into a “waste land”
Something in him has changed as well
He’s trying to escape whatever he is dealing with, but only finds himself facing it dead-on
“Nick looked down into the pool from the bridge. It was a hot day. A kingfisher flew up the stream. It was a long time since Nick had looked into a stream and seen trout. They were very satisfactory. As the shadow of the kingfisher moved up the stream, a big trout shot upstream in a long angle, only his shadow marking the angle, then lost his shadow as he came through the surface of the water…”
Ernest Hemingway
“Nick’s heart tightened as the trout moved. He felt all the old feeling.”
Ernest Hemingway
The fish is trying to tighten its body, while Nick’s heart tightens
Looking for some type of model in the fish
The fish knows where his place in life is, while Nick is trying to figure out who he is, where his place in his life is
Contrast between fish and his memory
Fish: associated with positivity
Memory: may be associated with negativity