Examine individual changes
This page allows you to examine the variables generated by the Edit Filter for an individual change.
Variables generated for this change
| Variable | Value |
|---|---|
Edit count of the user (user_editcount) | null |
Name of the user account (user_name) | '2603:6011:5E00:3A:E0C1:3F50:120C:61C2' |
Age of the user account (user_age) | 0 |
Groups (including implicit) the user is in (user_groups) | [
0 => '*'
] |
Rights that the user has (user_rights) | [
0 => 'createaccount',
1 => 'read',
2 => 'edit',
3 => 'createtalk',
4 => 'writeapi',
5 => 'viewmywatchlist',
6 => 'editmywatchlist',
7 => 'viewmyprivateinfo',
8 => 'editmyprivateinfo',
9 => 'editmyoptions',
10 => 'abusefilter-log-detail',
11 => 'urlshortener-create-url',
12 => 'centralauth-merge',
13 => 'abusefilter-view',
14 => 'abusefilter-log'
] |
Whether the user is editing from mobile app (user_app) | false |
Whether or not a user is editing through the mobile interface (user_mobile) | false |
Page ID (page_id) | 396639 |
Page namespace (page_namespace) | 0 |
Page title without namespace (page_title) | 'Invisible Man' |
Full page title (page_prefixedtitle) | 'Invisible Man' |
Edit protection level of the page (page_restrictions_edit) | [] |
Last ten users to contribute to the page (page_recent_contributors) | [
0 => 'KylieTastic',
1 => 'Maurice Magnus',
2 => '2804:D59:89DB:3B00:51F6:ED1A:C29D:EA75',
3 => 'Em-mustapha',
4 => '209.65.111.194',
5 => '108.49.70.67',
6 => 'Jmabel',
7 => 'Sdkb',
8 => 'Seahawks4Life',
9 => '72.90.153.40'
] |
Page age in seconds (page_age) | 560475741 |
Action (action) | 'edit' |
Edit summary/reason (summary) | '/* Background */ ' |
Old content model (old_content_model) | 'wikitext' |
New content model (new_content_model) | 'wikitext' |
Old page wikitext, before the edit (old_wikitext) | '{{for|the H. G. Wells novel|The Invisible Man}}
{{other uses|The Invisible Man (disambiguation)}}
{{short description|Novel by Ralph Ellison published 1952}}
{{Use mdy dates|date=July 2011}}
{{Infobox book|
| name = Invisible Man
| image = Invisible Man (1952 1st ed jacket cover).jpg
| caption = First edition
| author = [[Ralph Ellison]]
| illustrator =
| cover_artist = [[E. McKnight Kauffer]]
| country = United States
| language = English
| series =
| genre = {{hlist | [[Bildungsroman]] | [[African-American literature]] | [[social commentary]]}}
| publisher = [[Random House]]
| pub_date = April 14, 1952<ref>{{cite web |url=http://www.newyorker.com/books/page-turner/justice-for-ralph-ellison |title=Justice For Ralph Ellison |last=Denby |first=David |date=April 12, 2012 |website=[[The New Yorker]] |access-date=July 23, 2018 }}</ref>
| media_type = Print (hardcover and paperback)
| pages = 581 (second edition)
| isbn = 978-0-679-60139-5
| dewey = 813/.54 20
| congress = PS3555.L625 I5 1994
| oclc = 30780333
}}
'''''Invisible Man''''' is a novel by [[Ralph Ellison]], published by [[Random House]] in 1952. It addresses many of the social and intellectual issues faced by African Americans in the early twentieth century, including [[black nationalism]], the relationship between black identity and [[Marxism]], and the reformist racial policies of [[Booker T. Washington]], as well as issues of individuality and personal identity.
''Invisible Man'' won the U.S. [[National Book Award for Fiction]] in 1953, making Ellison the first African American writer to win the award.<ref name=nba1953>
[https://www.nationalbook.org/awards-prizes/national-book-awards-1953 "National Book Awards – 1953"]. [[National Book Foundation]].<br/>(With acceptance speech by Ellison, essay by [[Neil Baldwin (writer)|Neil Baldwin]] from the 50-year publication, and essays by Charles Johnson and four others from the Awards' 60-year anniversary blog.)</ref>
In 1998, the [[Modern Library]] ranked ''Invisible Man'' 19th on its list of the [[Modern Library 100 Best Novels|100 best English-language novels of the 20th century]].<ref>{{cite web|title=100 Best Novels|url=http://www.modernlibrary.com/top-100/100-best-novels/|publisher=Modern Library|access-date=19 May 2014}}</ref> [[Time (magazine)|''Time'']] magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005, calling it "the quintessential American picaresque of the 20th century," rather than a "race novel, or even a [[bildungsroman]]."<ref>{{cite web|url=http://entertainment.time.com/2005/10/16/all-time-100-novels/slide/invisible-man-1952-by-ralph-ellison/|title=All-TIME 100 Novels|first=Lev|last=Grossman|via=entertainment.time.com}}</ref> [[Malcolm Bradbury]] and Richard Ruland recognize an existential vision with a "Kafka-like absurdity."<ref>Malcolm Bradbury and Richard Ruland, ''From Puritanism to Postmodernism: A History of American Literature''. Penguin, 380. {{ISBN|0-14-014435-8}}</ref> According to ''[[The New York Times]]'', [[Barack Obama]] modeled his 1995 memoir ''[[Dreams from My Father]]'' on Ellison's novel.<ref>Greg Grandin, [https://www.nytimes.com/2014/01/19/opinion/sunday/obama-melville-and-the-tea-party.html "Obama, Melville, and the Tea Party".] ''The New York Times'', 18 January 2014. Retrieved on 17 March 2016.</ref>
==Background==
Ellison says in his introduction to the 30th Anniversary Edition<ref name= "novel">Ellison, Ralph Waldo 1982. ''Invisible Man''. New York: Random House.</ref> that he started to write what would eventually become ''Invisible Man'' in a barn in [[Waitsfield, Vermont]], in the summer of 1945 while on [[sick leave]] from the [[United States Merchant Marine|Merchant Marine]]. The book took five years to complete with one year off for what Ellison termed an "ill-conceived short novel."<ref name= "PR">{{cite magazine| first = Ralph | last = Ellison|title= The Art of Fiction | number = 8 |magazine= The Paris Review |date= 1955|page=113|url= https://www.theparisreview.org/interviews/5053/ralph-ellison-the-art-of-fiction-no-8-ralph-ellison}}</ref> ''Invisible Man'' was published as a whole in 1952. Ellison had published a section of the book in 1947, the famous "Battle Royal" scene, which had been shown to [[Cyril Connolly]], the editor of ''[[Horizon (magazine)|Horizon]]'' magazine by Frank Taylor, one of Ellison's early supporters.
In his speech accepting the 1953 [[National Book Award]], Ellison said that he considered the novel's chief significance to be its "experimental attitude."<ref name=Rice>{{cite book|title=Ralph Ellison and the Politics of the Novel|author=Herbert William Rice|page=107|publisher=Lexington Books|date= 2003|isbn=9780739106549|url=https://books.google.com/books?id=NMRc7r0tPqQC&pg=PA107}}</ref> Before ''Invisible Man'', many (if not most) novels dealing with African Americans were written solely for social protest, most notably, ''[[Native Son]]'' and ''[[Uncle Tom's Cabin]]''. By contrast, the narrator in ''Invisible Man'' says, "I am not complaining, nor am I protesting either," signaling the break from the normal protest novel that Ellison held about his work. Likewise, in the essay 'The World and the Jug,' which is a response to [[Irving Howe]]'s essay 'Black Boys and Native Sons,' which "pit[s] Ellison and [James] Baldwin against [Richard] Wright and then," as Ellison would say, "gives Wright the better argument," Ellison makes a fuller statement about the position he held about his book in the larger canon of work by an American who happens to be of African ancestry. In the opening paragraph to that essay Ellison poses three questions: "Why is it so often true that when critics confront the American as Negro they suddenly drop their advanced critical armament and revert with an air of confident superiority to quite primitive modes of analysis? Why is it that Sociology-oriented critics seem to rate [[literature]] so far below politics and ideology that they would rather kill a novel than modify their presumptions concerning a given reality which it seeks in its own terms to project? Finally, why is it that so many of those who would tell us the meaning of Negro life never bother to learn how varied it really is?"
Placing Invisible Man within the canon of either the [[Harlem Renaissance]] or the [[Black Arts Movement]] is difficult. It owes allegiance to both and neither at the same time. Interestingly enough, Ellison's own resistance to being pigeonholed by his peers bubbled over into his statement to Irving Howe about what he deemed to be a relative vs. an ancestor. He says, to Howe: "...perhaps you will understand when I say that he [Wright] did not influence me if I point out that while one can do nothing about choosing one's relatives, one can, as an artist, choose one's 'ancestors.' Wright was, in this sense, a 'relative'; Hemingway an 'ancestor.' " And it was this idea of "playing the field," so to speak, not being "all-in," that lead to some of Ellison's more staunch critics. The aforementioned Howe, in "Black Boys and Native Sons," but also the likes of other black writers such as [[John Oliver Killens]], who once denounced ''Invisible Man'' by saying: “The Negro people need Ralph Ellison’s Invisible Man like we need a hole in the head or a stab in the back. … It is a vicious distortion of Negro life."
[[File:Ralph Ellison photo portrait seated.jpg|left|thumb|A portrait of the author Ralph Ellison in 1961.]]
Ellison's "ancestors" included, among others, ''[[The Waste Land]]'' by [[T.S. Eliot]].<ref>Eliot, T. S. (1963) ''Collected Poems, 1909–1962''</ref> In an interview with Richard Kostelanetz, Ellison states that what he had learned from the poem was imagery, and also improvisation techniques he had only before seen in jazz.<ref>Ellison, Ralph and Richard Kostelanetz. [http://ir.uiowa.edu/iowareview/vol19/iss3/2 "An Interview with Ralph Ellison."] The Iowa Review 19.3 (1989): 1–10.</ref>
Some other influences include [[William Faulkner]] and [[Ernest Hemingway]]. Ellison once called Faulkner the South's greatest artist. Likewise, in the Spring 1955 ''Paris Review'', Ellison said of Hemingway: "I read him to learn his sentence structure and how to organize a story. I guess many young writers were doing this, but I also used his description of hunting when I went into the fields the next day. I had been hunting since I was eleven, but no one had broken down the process of wing-shooting for me, and it was from reading Hemingway that I learned to lead a bird. When he describes something in print, believe him; believe him even when he describes the process of art in terms of baseball or boxing; he’s been there."<ref name="PR" />
Some of Ellison's influences had a more direct impact on his novel as when Ellison divulges this, in his introduction to the 30th anniversary of ''Invisible Man'', that the "character" ("in the dual sense of the word") who had announced himself on his page he "associated, ever so distantly, with the narrator of Dostoevsky's [[Notes From Underground]]". Although, despite the "distantly" remark, it appears that Ellison used that novella more than just on that occasion. The beginning of ''Invisible Man'', for example, seems to be structured very similar to ''Notes from Underground'': "I am a sick man" compared to "I am an invisible man".
[[Arnold Rampersad]], Ellison's biographer, expounds that Melville had a profound influence on Ellison's freedom to describe race so acutely and generously. [The narrator] "resembles no one else in previous fiction so much as he resembles Ishmael of Moby-Dick." Ellison signals his debt in the prologue to the novel, where the narrator remembers a moment of truth under the influence of marijuana and evokes a church service: "Brothers and sisters, my text this morning is the 'Blackness of Blackness.' And the congregation answers: 'That blackness is most black, brother, most black…'" In this scene Ellison "reprises a moment in the second chapter of Moby-Dick", where Ishmael wanders around New Bedford looking for a place to spend the night and enters a black church: "It was a negro church; and the preacher's text was about the blackness of darkness, and the weeping and wailing and teeth-gnashing there." According to Rampersad, it was Melville who "empowered Ellison to insist on a place in the American literary tradition" by his example of "representing the complexity of race and racism so acutely and generously" in Moby-Dick.
Other most likely influences to Ellison, by way of how much he speaks about them, are: [[Kenneth Burke]], [[Andre Malraux]], [[Mark Twain]], to name a few.{{citationneeded|date=March 2021}}
==Political influences and the Communist Party==
The letters he wrote to fellow novelist [[Richard Wright (author)|Richard Wright]] as he started working on the novel provide evidence for his disillusion with and defection from the CPUSA for perceived [[Revisionism (Marxism)|revisionism]]. In a letter to Wright on August 18, 1945, Ellison poured out his anger toward party leaders for betraying African-American and Marxist class politics during the war years: "If they want to play ball with the [[bourgeoisie]] they needn't think they can get away with it... Maybe we can't smash the atom, but we can, with a few well-chosen, well-written words, smash all that crummy filth to hell."<ref>Carol Polsgrove, ''Divided Minds: Intellectuals and the Civil Rights Movement'' (2001), pp. 66-69.</ref> Ellison resisted attempts to ferret out such allusions in the book itself however, stating "I did not want to describe an existing Socialist or Communist or Marxist political group, primarily because it would have allowed the reader to escape confronting certain political patterns, patterns which still exist and of which our two major political parties are guilty in their relationships to Negro Americans."<ref>Ralph Ellison, The Collected Essays of Ralph Ellison, edited by John F. Callahan (New York: Modern Library, 2003), 542.</ref>
==Plot summary==
The narrator, an unnamed black man, begins by describing his living conditions: an underground room wired with hundreds of electric lights, operated by power stolen from the city's electric grid. He reflects on the various ways in which he has experienced social invisibility during his life and begins to tell his story, returning to his teenage years.
The narrator lives in a small Southern town and, upon graduating from high school, wins a scholarship to an [[Historically black colleges and universities|all-black college]]. However, to receive it, he must first take part in a brutal, humiliating [[battle royal]] for the entertainment of the town's rich white dignitaries.
One afternoon during his junior year at the college, the narrator chauffeurs Mr. Norton, a visiting rich white [[trustee]], out among the old slave-quarters beyond the campus. By chance, he stops at the cabin of Jim Trueblood, who has caused a scandal by impregnating both his wife and his daughter in his sleep. Trueblood's account horrifies Mr. Norton so badly that he asks the narrator to find him a drink. The narrator drives him to a bar filled with prostitutes and patients from a nearby mental hospital. The mental patients rail against both of them and eventually overwhelm the orderly assigned to keep the patients under control, injuring Mr. Norton in the process. The narrator hurries Mr. Norton away from the chaotic scene and back to campus.
Dr. Bledsoe, the college president, excoriates the narrator for showing Mr. Norton the underside of black life beyond the campus and expels him. However, Bledsoe gives several sealed letters of recommendation to the narrator, to be delivered to friends of the college in order to assist him in finding a job so that he may eventually re-enroll. The narrator travels to New York and distributes his letters, with no success; the son of one recipient shows him the letter, which reveals Bledsoe's intent to never admit the narrator as a student again.
Acting on the son's suggestion, the narrator seeks work at the Liberty Paint factory, renowned for its pure white paint. He is assigned first to the shipping department, then to the boiler room, whose chief attendant, Lucius Brockway, is highly [[paranoia|paranoid]] and suspects that the narrator is trying to take his job. This distrust worsens after the narrator stumbles into a [[labor union|union]] meeting, and Brockway attacks the narrator and tricks him into setting off an explosion in the boiler room. The narrator is hospitalized and subjected to [[electroconvulsive therapy|shock treatment]], overhearing the doctors' discussion of him as a possible mental patient.
After leaving the hospital, the narrator faints on the streets of [[Harlem]] and is taken in by Mary Rambo, a kindly old-fashioned woman who reminds him of his relatives in the South. He later happens across the eviction of an elderly black couple and makes an impassioned speech that incites the crowd to attack the law enforcement officials in charge of the proceedings. The narrator escapes over the rooftops and is confronted by Brother Jack, the leader of a group known as "the Brotherhood" that professes its commitment to bettering conditions in Harlem and the rest of the world. At Jack's urging, the narrator agrees to join and speak at rallies to spread the word among the black community. Using his new salary, he pays Mary back the rent he owes her and moves into an apartment provided by the Brotherhood.
The rallies go smoothly at first, with the narrator receiving extensive indoctrination on the Brotherhood's ideology and methods. Soon, though, he encounters trouble from Ras the Exhorter, a fanatical [[black nationalist]] who believes that the Brotherhood is controlled by whites. Neither the narrator nor Tod Clifton, a youth leader within the Brotherhood, is particularly swayed by his words. The narrator is later called before a meeting of the Brotherhood and accused of putting his own ambitions ahead of the group. He is reassigned to another part of the city to address issues concerning women, seduced by the wife of a Brotherhood member, and eventually called back to Harlem when Clifton is reported missing and the Brotherhood's membership and influence begin to falter.
The narrator can find no trace of Clifton at first, but soon discovers him selling dancing [[Sambo (racial term)|Sambo]] dolls on the street, having become disillusioned with the Brotherhood. Clifton is shot and killed by a policeman while resisting arrest; at his funeral, the narrator delivers a rousing speech that rallies the crowd to support the Brotherhood again. At an emergency meeting, Jack and the other Brotherhood leaders criticize the narrator for his unscientific arguments and the narrator determines that the group has no real interest in the black community's problems.
The narrator returns to Harlem, trailed by Ras's men, and buys a hat and a pair of sunglasses to elude them. As a result, he is repeatedly mistaken for a man named Rinehart, known as a lover, a hipster, a gambler, a briber, and a spiritual leader. Understanding that Rinehart has adapted to white society at the cost of his own identity, the narrator resolves to undermine the Brotherhood by feeding them dishonest information concerning the Harlem membership and situation. After seducing the wife of one member in a fruitless attempt to learn their new activities, he discovers that [[riot]]s have broken out in Harlem due to widespread unrest. He realizes that the Brotherhood has been counting on such an event in order to further its own aims. The narrator gets mixed up with a gang of looters, who burn down a [[tenement]] building, and wanders away from them to find Ras, now on horseback, armed with a spear and shield, and calling himself "the Destroyer". Ras shouts for the crowd to [[lynching|lynch]] the narrator, but the narrator attacks him with the spear and escapes into an underground coal bin. Two white men seal him in, leaving him alone to ponder the racism he has experienced in his life.
The epilogue returns to the present, with the narrator stating that he is ready to return to the world because he has spent enough time hiding from it. He explains that he has told his story in order to help people see past his own invisibility, and also to provide a voice for people with a similar plight: "Who knows but that, on the lower frequencies, I speak for you?"
== Reception ==
Critic [[Orville Prescott]] of ''[[The New York Times]]'' called the novel "the most impressive work of fiction by an American Negro which I have ever read," and felt it marked "the appearance of a richly talented writer."<ref>{{cite news|last=Prescott|first=Orville|title=Books of the Times|url=https://www.nytimes.com/books/99/06/20/specials/ellison-invisible2.html|newspaper=The New York Times|access-date=6 November 2013}}</ref> Novelist [[Saul Bellow]] in his review found it "a book of the very first order, a superb book...it is tragi-comic, poetic, the tone of the very strongest sort of creative intelligence."<ref>{{cite magazine|last=Bellow|first=Saul|title=Man Underground|url=http://www.writing.upenn.edu/~afilreis/50s/bellow-on-ellison.html|magazine=Commentary|access-date=6 November 2013}}</ref> George Mayberry of ''[[The New Republic]]'' said Ellison "is a master at catching the shape, flavor and sound of the common vagaries of human character and experience."<ref>{{cite magazine|last=Mayberry|first=George|title=George Mayberry's 1952 Review of Ralph Ellison's Invisible Man|url=https://newrepublic.com/article/114842/george-mayberry-ralph-ellison-invisible-man|magazine=New Republic|access-date=6 November 2013}}</ref>
In ''[[The Paris Review]]'', literary critic [[Harold Bloom]] referred to ''Invisible Man'', along with [[Zora Neale Hurston]]'s ''[[Their Eyes Were Watching God]]'', as "the only full scale works of fiction I have read by American blacks in this century that have survival possibilities at all."<ref>{{cite magazine|last=Weiss|first=Antonio|title=Harold Bloom, The Art of Criticism No. 1|url=http://www.theparisreview.org/interviews/2225/the-art-of-criticism-no-1-harold-bloom|magazine=The Paris Review|access-date=6 November 2013}}</ref>
[[Anthony Burgess]] described the novel as "a masterpiece".<ref name="Burgess2014">{{cite book|author=Anthony Burgess|title=You've Had Your Time|url=https://books.google.com/books?id=9AvZAgAAQBAJ|date=3 April 2014|publisher=Random House|isbn=978-1-4735-1239-9|page=130}}</ref>
In 2003, a sculpture titled "Invisible Man: A Memorial to Ralph Ellison" by [[Elizabeth Catlett]], was unveiled at Riverside Park at 150th Street in Manhattan, opposite from where Ellison lived and three blocks from the [[Trinity Church Cemetery]] and Mausoleum, where he is interred in a crypt. The 15-foot-high, 10-foot-wide bronze monolith features a hollow silhouette of a man and two granite panels that are inscribed with Ellison quotations.<ref>[https://www.nycgovparks.org/parks/northernriversidepark/highlights/19691 NYC Parks]</ref>
==Adaptation==
It was reported in October 2017 that streaming service [[Hulu]] was developing the novel into a television series.<ref>{{cite web|last1=Holloway|first1=Daniel|title=Ralph Ellison's 'Invisible Man' Series Adaptation in the Works at Hulu (EXCLUSIVE)|url=https://variety.com/2017/tv/news/invisible-man-hulu-series-1202599486/|website=Variety|access-date=26 October 2017|date=26 October 2017}}</ref>
==See also==
{{portal|Novels}}
* [[African-American literature]]
* [[Black existentialism]]
* ''[[Juneteenth (novel)|Juneteenth]]''
* ''[[Three Days Before the Shooting...]]''
==References==
{{Reflist|30em}}
== External links ==
{{Wikiquote}}
* [http://www.voanews.com/learningenglish/home/Ralph-Ellison-1914-1994-His-Book-Invisible-Man-Won-Awards-and-is-Still-Discussed-Today--103201169.html Ralph Ellison, 1914–1994: His Book ''Invisible Man'' Won Awards and Is Still Discussed Today] (VOA Special English).
* [http://www.theparisreview.org/interviews/5053/the-art-of-fiction-no-8-ralph-ellison Full text of ''The Paris Review''<nowiki>'s</nowiki> 1955 interview with Mr. Ellison ].
* [https://www.nytimes.com/books/99/06/20/specials/ellison-vivid.html ''New York Times'' article on the 30th Anniversary of the novel's publication—includes an interview with the author].
* [http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780679732761&view=tg Teacher's Guide] at Random House.
* [http://www.shmoop.com/invisible-man-ellison/ ''Invisible Man''] study guide, themes, quotes, character analyses, teaching resources.
{{NBA for Fiction 1950–1974}}
{{Ralph Ellison navbox}}
{{s-start}}
{{S-ach|aw}}
{{succession box
| before = [[From Here to Eternity (novel)|''From Here to Eternity'']]<br/>[[James Jones (author)|James Jones]]
| title = [[National Book Award for Fiction]]
| years = 1953
| after = ''[[The Adventures of Augie March]]''<br/>[[Saul Bellow]]
}}
{{s-end}}
{{Authority control}}
[[Category:1952 American novels]]
[[Category:Existentialist novels]]
[[Category:National Book Award for Fiction winning works]]
[[Category:Novels by Ralph Ellison]]
[[Category:American autobiographical novels]]
[[Category:Harlem in fiction]]
[[Category:Novels set in Manhattan]]
[[Category:Southern United States in fiction]]
[[Category:Random House books]]
[[Category:1952 debut novels]]
[[Category:African-American novels]]
.' |
New page wikitext, after the edit (new_wikitext) | '{{for|the H. G. Wells novel|The Invisible Man}}
{{other uses|The Invisible Man (disambiguation)}}
{{short description|Novel by Ralph Ellison published 1952}}
{{Use mdy dates|date=July 2011}}
{{Infobox book|
| name = Invisible Man
| image = Invisible Man (1952 1st ed jacket cover).jpg
| caption = First edition
| author = [[Ralph Ellison]]
| illustrator =
| cover_artist = [[E. McKnight Kauffer]]
| country = United States
| language = English
| series =
| genre = {{hlist | [[Bildungsroman]] | [[African-American literature]] | [[social commentary]]}}
| publisher = [[Random House]]
| pub_date = April 14, 1952<ref>{{cite web |url=http://www.newyorker.com/books/page-turner/justice-for-ralph-ellison |title=Justice For Ralph Ellison |last=Denby |first=David |date=April 12, 2012 |website=[[The New Yorker]] |access-date=July 23, 2018 }}</ref>
| media_type = Print (hardcover and paperback)
| pages = 581 (second edition)
| isbn = 978-0-679-60139-5
| dewey = 813/.54 20
| congress = PS3555.L625 I5 1994
| oclc = 30780333
}}
'''''Invisible Man''''' is a novel by [[Ralph Ellison]], published by [[Random House]] in 1952. It addresses many of the social and intellectual issues faced by African Americans in the early twentieth century, including [[black nationalism]], the relationship between black identity and [[Marxism]], and the reformist racial policies of [[Booker T. Washington]], as well as issues of individuality and personal identity.
''Invisible Man'' won the U.S. [[National Book Award for Fiction]] in 1953, making Ellison the first African American writer to win the award.<ref name=nba1953>
[https://www.nationalbook.org/awards-prizes/national-book-awards-1953 "National Book Awards – 1953"]. [[National Book Foundation]].<br/>(With acceptance speech by Ellison, essay by [[Neil Baldwin (writer)|Neil Baldwin]] from the 50-year publication, and essays by Charles Johnson and four others from the Awards' 60-year anniversary blog.)</ref>
In 1998, the [[Modern Library]] ranked ''Invisible Man'' 19th on its list of the [[Modern Library 100 Best Novels|100 best English-language novels of the 20th century]].<ref>{{cite web|title=100 Best Novels|url=http://www.modernlibrary.com/top-100/100-best-novels/|publisher=Modern Library|access-date=19 May 2014}}</ref> [[Time (magazine)|''Time'']] magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005, calling it "the quintessential American picaresque of the 20th century," rather than a "race novel, or even a [[bildungsroman]]."<ref>{{cite web|url=http://entertainment.time.com/2005/10/16/all-time-100-novels/slide/invisible-man-1952-by-ralph-ellison/|title=All-TIME 100 Novels|first=Lev|last=Grossman|via=entertainment.time.com}}</ref> [[Malcolm Bradbury]] and Richard Ruland recognize an existential vision with a "Kafka-like absurdity."<ref>Malcolm Bradbury and Richard Ruland, ''From Puritanism to Postmodernism: A History of American Literature''. Penguin, 380. {{ISBN|0-14-014435-8}}</ref> According to ''[[The New York Times]]'', [[Barack Obama]] modeled his 1995 memoir ''[[Dreams from My Father]]'' on Ellison's novel.<ref>Greg Grandin, [https://www.nytimes.com/2014/01/19/opinion/sunday/obama-melville-and-the-tea-party.html "Obama, Melville, and the Tea Party".] ''The New York Times'', 18 January 2014. Retrieved on 17 March 2016.</ref>
kinda funny but a shit book to let kids read,
==Political influences and the Communist Party==
The letters he wrote to fellow novelist [[Richard Wright (author)|Richard Wright]] as he started working on the novel provide evidence for his disillusion with and defection from the CPUSA for perceived [[Revisionism (Marxism)|revisionism]]. In a letter to Wright on August 18, 1945, Ellison poured out his anger toward party leaders for betraying African-American and Marxist class politics during the war years: "If they want to play ball with the [[bourgeoisie]] they needn't think they can get away with it... Maybe we can't smash the atom, but we can, with a few well-chosen, well-written words, smash all that crummy filth to hell."<ref>Carol Polsgrove, ''Divided Minds: Intellectuals and the Civil Rights Movement'' (2001), pp. 66-69.</ref> Ellison resisted attempts to ferret out such allusions in the book itself however, stating "I did not want to describe an existing Socialist or Communist or Marxist political group, primarily because it would have allowed the reader to escape confronting certain political patterns, patterns which still exist and of which our two major political parties are guilty in their relationships to Negro Americans."<ref>Ralph Ellison, The Collected Essays of Ralph Ellison, edited by John F. Callahan (New York: Modern Library, 2003), 542.</ref>
==Plot summary==
The narrator, an unnamed black man, begins by describing his living conditions: an underground room wired with hundreds of electric lights, operated by power stolen from the city's electric grid. He reflects on the various ways in which he has experienced social invisibility during his life and begins to tell his story, returning to his teenage years.
The narrator lives in a small Southern town and, upon graduating from high school, wins a scholarship to an [[Historically black colleges and universities|all-black college]]. However, to receive it, he must first take part in a brutal, humiliating [[battle royal]] for the entertainment of the town's rich white dignitaries.
One afternoon during his junior year at the college, the narrator chauffeurs Mr. Norton, a visiting rich white [[trustee]], out among the old slave-quarters beyond the campus. By chance, he stops at the cabin of Jim Trueblood, who has caused a scandal by impregnating both his wife and his daughter in his sleep. Trueblood's account horrifies Mr. Norton so badly that he asks the narrator to find him a drink. The narrator drives him to a bar filled with prostitutes and patients from a nearby mental hospital. The mental patients rail against both of them and eventually overwhelm the orderly assigned to keep the patients under control, injuring Mr. Norton in the process. The narrator hurries Mr. Norton away from the chaotic scene and back to campus.
Dr. Bledsoe, the college president, excoriates the narrator for showing Mr. Norton the underside of black life beyond the campus and expels him. However, Bledsoe gives several sealed letters of recommendation to the narrator, to be delivered to friends of the college in order to assist him in finding a job so that he may eventually re-enroll. The narrator travels to New York and distributes his letters, with no success; the son of one recipient shows him the letter, which reveals Bledsoe's intent to never admit the narrator as a student again.
Acting on the son's suggestion, the narrator seeks work at the Liberty Paint factory, renowned for its pure white paint. He is assigned first to the shipping department, then to the boiler room, whose chief attendant, Lucius Brockway, is highly [[paranoia|paranoid]] and suspects that the narrator is trying to take his job. This distrust worsens after the narrator stumbles into a [[labor union|union]] meeting, and Brockway attacks the narrator and tricks him into setting off an explosion in the boiler room. The narrator is hospitalized and subjected to [[electroconvulsive therapy|shock treatment]], overhearing the doctors' discussion of him as a possible mental patient.
After leaving the hospital, the narrator faints on the streets of [[Harlem]] and is taken in by Mary Rambo, a kindly old-fashioned woman who reminds him of his relatives in the South. He later happens across the eviction of an elderly black couple and makes an impassioned speech that incites the crowd to attack the law enforcement officials in charge of the proceedings. The narrator escapes over the rooftops and is confronted by Brother Jack, the leader of a group known as "the Brotherhood" that professes its commitment to bettering conditions in Harlem and the rest of the world. At Jack's urging, the narrator agrees to join and speak at rallies to spread the word among the black community. Using his new salary, he pays Mary back the rent he owes her and moves into an apartment provided by the Brotherhood.
The rallies go smoothly at first, with the narrator receiving extensive indoctrination on the Brotherhood's ideology and methods. Soon, though, he encounters trouble from Ras the Exhorter, a fanatical [[black nationalist]] who believes that the Brotherhood is controlled by whites. Neither the narrator nor Tod Clifton, a youth leader within the Brotherhood, is particularly swayed by his words. The narrator is later called before a meeting of the Brotherhood and accused of putting his own ambitions ahead of the group. He is reassigned to another part of the city to address issues concerning women, seduced by the wife of a Brotherhood member, and eventually called back to Harlem when Clifton is reported missing and the Brotherhood's membership and influence begin to falter.
The narrator can find no trace of Clifton at first, but soon discovers him selling dancing [[Sambo (racial term)|Sambo]] dolls on the street, having become disillusioned with the Brotherhood. Clifton is shot and killed by a policeman while resisting arrest; at his funeral, the narrator delivers a rousing speech that rallies the crowd to support the Brotherhood again. At an emergency meeting, Jack and the other Brotherhood leaders criticize the narrator for his unscientific arguments and the narrator determines that the group has no real interest in the black community's problems.
The narrator returns to Harlem, trailed by Ras's men, and buys a hat and a pair of sunglasses to elude them. As a result, he is repeatedly mistaken for a man named Rinehart, known as a lover, a hipster, a gambler, a briber, and a spiritual leader. Understanding that Rinehart has adapted to white society at the cost of his own identity, the narrator resolves to undermine the Brotherhood by feeding them dishonest information concerning the Harlem membership and situation. After seducing the wife of one member in a fruitless attempt to learn their new activities, he discovers that [[riot]]s have broken out in Harlem due to widespread unrest. He realizes that the Brotherhood has been counting on such an event in order to further its own aims. The narrator gets mixed up with a gang of looters, who burn down a [[tenement]] building, and wanders away from them to find Ras, now on horseback, armed with a spear and shield, and calling himself "the Destroyer". Ras shouts for the crowd to [[lynching|lynch]] the narrator, but the narrator attacks him with the spear and escapes into an underground coal bin. Two white men seal him in, leaving him alone to ponder the racism he has experienced in his life.
The epilogue returns to the present, with the narrator stating that he is ready to return to the world because he has spent enough time hiding from it. He explains that he has told his story in order to help people see past his own invisibility, and also to provide a voice for people with a similar plight: "Who knows but that, on the lower frequencies, I speak for you?"
== Reception ==
Critic [[Orville Prescott]] of ''[[The New York Times]]'' called the novel "the most impressive work of fiction by an American Negro which I have ever read," and felt it marked "the appearance of a richly talented writer."<ref>{{cite news|last=Prescott|first=Orville|title=Books of the Times|url=https://www.nytimes.com/books/99/06/20/specials/ellison-invisible2.html|newspaper=The New York Times|access-date=6 November 2013}}</ref> Novelist [[Saul Bellow]] in his review found it "a book of the very first order, a superb book...it is tragi-comic, poetic, the tone of the very strongest sort of creative intelligence."<ref>{{cite magazine|last=Bellow|first=Saul|title=Man Underground|url=http://www.writing.upenn.edu/~afilreis/50s/bellow-on-ellison.html|magazine=Commentary|access-date=6 November 2013}}</ref> George Mayberry of ''[[The New Republic]]'' said Ellison "is a master at catching the shape, flavor and sound of the common vagaries of human character and experience."<ref>{{cite magazine|last=Mayberry|first=George|title=George Mayberry's 1952 Review of Ralph Ellison's Invisible Man|url=https://newrepublic.com/article/114842/george-mayberry-ralph-ellison-invisible-man|magazine=New Republic|access-date=6 November 2013}}</ref>
In ''[[The Paris Review]]'', literary critic [[Harold Bloom]] referred to ''Invisible Man'', along with [[Zora Neale Hurston]]'s ''[[Their Eyes Were Watching God]]'', as "the only full scale works of fiction I have read by American blacks in this century that have survival possibilities at all."<ref>{{cite magazine|last=Weiss|first=Antonio|title=Harold Bloom, The Art of Criticism No. 1|url=http://www.theparisreview.org/interviews/2225/the-art-of-criticism-no-1-harold-bloom|magazine=The Paris Review|access-date=6 November 2013}}</ref>
[[Anthony Burgess]] described the novel as "a masterpiece".<ref name="Burgess2014">{{cite book|author=Anthony Burgess|title=You've Had Your Time|url=https://books.google.com/books?id=9AvZAgAAQBAJ|date=3 April 2014|publisher=Random House|isbn=978-1-4735-1239-9|page=130}}</ref>
In 2003, a sculpture titled "Invisible Man: A Memorial to Ralph Ellison" by [[Elizabeth Catlett]], was unveiled at Riverside Park at 150th Street in Manhattan, opposite from where Ellison lived and three blocks from the [[Trinity Church Cemetery]] and Mausoleum, where he is interred in a crypt. The 15-foot-high, 10-foot-wide bronze monolith features a hollow silhouette of a man and two granite panels that are inscribed with Ellison quotations.<ref>[https://www.nycgovparks.org/parks/northernriversidepark/highlights/19691 NYC Parks]</ref>
==Adaptation==
It was reported in October 2017 that streaming service [[Hulu]] was developing the novel into a television series.<ref>{{cite web|last1=Holloway|first1=Daniel|title=Ralph Ellison's 'Invisible Man' Series Adaptation in the Works at Hulu (EXCLUSIVE)|url=https://variety.com/2017/tv/news/invisible-man-hulu-series-1202599486/|website=Variety|access-date=26 October 2017|date=26 October 2017}}</ref>
==See also==
{{portal|Novels}}
* [[African-American literature]]
* [[Black existentialism]]
* ''[[Juneteenth (novel)|Juneteenth]]''
* ''[[Three Days Before the Shooting...]]''
==References==
{{Reflist|30em}}
== External links ==
{{Wikiquote}}
* [http://www.voanews.com/learningenglish/home/Ralph-Ellison-1914-1994-His-Book-Invisible-Man-Won-Awards-and-is-Still-Discussed-Today--103201169.html Ralph Ellison, 1914–1994: His Book ''Invisible Man'' Won Awards and Is Still Discussed Today] (VOA Special English).
* [http://www.theparisreview.org/interviews/5053/the-art-of-fiction-no-8-ralph-ellison Full text of ''The Paris Review''<nowiki>'s</nowiki> 1955 interview with Mr. Ellison ].
* [https://www.nytimes.com/books/99/06/20/specials/ellison-vivid.html ''New York Times'' article on the 30th Anniversary of the novel's publication—includes an interview with the author].
* [http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780679732761&view=tg Teacher's Guide] at Random House.
* [http://www.shmoop.com/invisible-man-ellison/ ''Invisible Man''] study guide, themes, quotes, character analyses, teaching resources.
{{NBA for Fiction 1950–1974}}
{{Ralph Ellison navbox}}
{{s-start}}
{{S-ach|aw}}
{{succession box
| before = [[From Here to Eternity (novel)|''From Here to Eternity'']]<br/>[[James Jones (author)|James Jones]]
| title = [[National Book Award for Fiction]]
| years = 1953
| after = ''[[The Adventures of Augie March]]''<br/>[[Saul Bellow]]
}}
{{s-end}}
{{Authority control}}
[[Category:1952 American novels]]
[[Category:Existentialist novels]]
[[Category:National Book Award for Fiction winning works]]
[[Category:Novels by Ralph Ellison]]
[[Category:American autobiographical novels]]
[[Category:Harlem in fiction]]
[[Category:Novels set in Manhattan]]
[[Category:Southern United States in fiction]]
[[Category:Random House books]]
[[Category:1952 debut novels]]
[[Category:African-American novels]]
.' |
Unified diff of changes made by edit (edit_diff) | '@@ -30,20 +30,5 @@
In 1998, the [[Modern Library]] ranked ''Invisible Man'' 19th on its list of the [[Modern Library 100 Best Novels|100 best English-language novels of the 20th century]].<ref>{{cite web|title=100 Best Novels|url=http://www.modernlibrary.com/top-100/100-best-novels/|publisher=Modern Library|access-date=19 May 2014}}</ref> [[Time (magazine)|''Time'']] magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005, calling it "the quintessential American picaresque of the 20th century," rather than a "race novel, or even a [[bildungsroman]]."<ref>{{cite web|url=http://entertainment.time.com/2005/10/16/all-time-100-novels/slide/invisible-man-1952-by-ralph-ellison/|title=All-TIME 100 Novels|first=Lev|last=Grossman|via=entertainment.time.com}}</ref> [[Malcolm Bradbury]] and Richard Ruland recognize an existential vision with a "Kafka-like absurdity."<ref>Malcolm Bradbury and Richard Ruland, ''From Puritanism to Postmodernism: A History of American Literature''. Penguin, 380. {{ISBN|0-14-014435-8}}</ref> According to ''[[The New York Times]]'', [[Barack Obama]] modeled his 1995 memoir ''[[Dreams from My Father]]'' on Ellison's novel.<ref>Greg Grandin, [https://www.nytimes.com/2014/01/19/opinion/sunday/obama-melville-and-the-tea-party.html "Obama, Melville, and the Tea Party".] ''The New York Times'', 18 January 2014. Retrieved on 17 March 2016.</ref>
-==Background==
-Ellison says in his introduction to the 30th Anniversary Edition<ref name= "novel">Ellison, Ralph Waldo 1982. ''Invisible Man''. New York: Random House.</ref> that he started to write what would eventually become ''Invisible Man'' in a barn in [[Waitsfield, Vermont]], in the summer of 1945 while on [[sick leave]] from the [[United States Merchant Marine|Merchant Marine]]. The book took five years to complete with one year off for what Ellison termed an "ill-conceived short novel."<ref name= "PR">{{cite magazine| first = Ralph | last = Ellison|title= The Art of Fiction | number = 8 |magazine= The Paris Review |date= 1955|page=113|url= https://www.theparisreview.org/interviews/5053/ralph-ellison-the-art-of-fiction-no-8-ralph-ellison}}</ref> ''Invisible Man'' was published as a whole in 1952. Ellison had published a section of the book in 1947, the famous "Battle Royal" scene, which had been shown to [[Cyril Connolly]], the editor of ''[[Horizon (magazine)|Horizon]]'' magazine by Frank Taylor, one of Ellison's early supporters.
-
-In his speech accepting the 1953 [[National Book Award]], Ellison said that he considered the novel's chief significance to be its "experimental attitude."<ref name=Rice>{{cite book|title=Ralph Ellison and the Politics of the Novel|author=Herbert William Rice|page=107|publisher=Lexington Books|date= 2003|isbn=9780739106549|url=https://books.google.com/books?id=NMRc7r0tPqQC&pg=PA107}}</ref> Before ''Invisible Man'', many (if not most) novels dealing with African Americans were written solely for social protest, most notably, ''[[Native Son]]'' and ''[[Uncle Tom's Cabin]]''. By contrast, the narrator in ''Invisible Man'' says, "I am not complaining, nor am I protesting either," signaling the break from the normal protest novel that Ellison held about his work. Likewise, in the essay 'The World and the Jug,' which is a response to [[Irving Howe]]'s essay 'Black Boys and Native Sons,' which "pit[s] Ellison and [James] Baldwin against [Richard] Wright and then," as Ellison would say, "gives Wright the better argument," Ellison makes a fuller statement about the position he held about his book in the larger canon of work by an American who happens to be of African ancestry. In the opening paragraph to that essay Ellison poses three questions: "Why is it so often true that when critics confront the American as Negro they suddenly drop their advanced critical armament and revert with an air of confident superiority to quite primitive modes of analysis? Why is it that Sociology-oriented critics seem to rate [[literature]] so far below politics and ideology that they would rather kill a novel than modify their presumptions concerning a given reality which it seeks in its own terms to project? Finally, why is it that so many of those who would tell us the meaning of Negro life never bother to learn how varied it really is?"
-
-Placing Invisible Man within the canon of either the [[Harlem Renaissance]] or the [[Black Arts Movement]] is difficult. It owes allegiance to both and neither at the same time. Interestingly enough, Ellison's own resistance to being pigeonholed by his peers bubbled over into his statement to Irving Howe about what he deemed to be a relative vs. an ancestor. He says, to Howe: "...perhaps you will understand when I say that he [Wright] did not influence me if I point out that while one can do nothing about choosing one's relatives, one can, as an artist, choose one's 'ancestors.' Wright was, in this sense, a 'relative'; Hemingway an 'ancestor.' " And it was this idea of "playing the field," so to speak, not being "all-in," that lead to some of Ellison's more staunch critics. The aforementioned Howe, in "Black Boys and Native Sons," but also the likes of other black writers such as [[John Oliver Killens]], who once denounced ''Invisible Man'' by saying: “The Negro people need Ralph Ellison’s Invisible Man like we need a hole in the head or a stab in the back. … It is a vicious distortion of Negro life."
-[[File:Ralph Ellison photo portrait seated.jpg|left|thumb|A portrait of the author Ralph Ellison in 1961.]]
-Ellison's "ancestors" included, among others, ''[[The Waste Land]]'' by [[T.S. Eliot]].<ref>Eliot, T. S. (1963) ''Collected Poems, 1909–1962''</ref> In an interview with Richard Kostelanetz, Ellison states that what he had learned from the poem was imagery, and also improvisation techniques he had only before seen in jazz.<ref>Ellison, Ralph and Richard Kostelanetz. [http://ir.uiowa.edu/iowareview/vol19/iss3/2 "An Interview with Ralph Ellison."] The Iowa Review 19.3 (1989): 1–10.</ref>
-
-Some other influences include [[William Faulkner]] and [[Ernest Hemingway]]. Ellison once called Faulkner the South's greatest artist. Likewise, in the Spring 1955 ''Paris Review'', Ellison said of Hemingway: "I read him to learn his sentence structure and how to organize a story. I guess many young writers were doing this, but I also used his description of hunting when I went into the fields the next day. I had been hunting since I was eleven, but no one had broken down the process of wing-shooting for me, and it was from reading Hemingway that I learned to lead a bird. When he describes something in print, believe him; believe him even when he describes the process of art in terms of baseball or boxing; he’s been there."<ref name="PR" />
-
-Some of Ellison's influences had a more direct impact on his novel as when Ellison divulges this, in his introduction to the 30th anniversary of ''Invisible Man'', that the "character" ("in the dual sense of the word") who had announced himself on his page he "associated, ever so distantly, with the narrator of Dostoevsky's [[Notes From Underground]]". Although, despite the "distantly" remark, it appears that Ellison used that novella more than just on that occasion. The beginning of ''Invisible Man'', for example, seems to be structured very similar to ''Notes from Underground'': "I am a sick man" compared to "I am an invisible man".
-
-[[Arnold Rampersad]], Ellison's biographer, expounds that Melville had a profound influence on Ellison's freedom to describe race so acutely and generously. [The narrator] "resembles no one else in previous fiction so much as he resembles Ishmael of Moby-Dick." Ellison signals his debt in the prologue to the novel, where the narrator remembers a moment of truth under the influence of marijuana and evokes a church service: "Brothers and sisters, my text this morning is the 'Blackness of Blackness.' And the congregation answers: 'That blackness is most black, brother, most black…'" In this scene Ellison "reprises a moment in the second chapter of Moby-Dick", where Ishmael wanders around New Bedford looking for a place to spend the night and enters a black church: "It was a negro church; and the preacher's text was about the blackness of darkness, and the weeping and wailing and teeth-gnashing there." According to Rampersad, it was Melville who "empowered Ellison to insist on a place in the American literary tradition" by his example of "representing the complexity of race and racism so acutely and generously" in Moby-Dick.
-
-Other most likely influences to Ellison, by way of how much he speaks about them, are: [[Kenneth Burke]], [[Andre Malraux]], [[Mark Twain]], to name a few.{{citationneeded|date=March 2021}}
+kinda funny but a shit book to let kids read,
==Political influences and the Communist Party==
' |
New page size (new_size) | 16297 |
Old page size (old_size) | 23613 |
Size change in edit (edit_delta) | -7316 |
Lines added in edit (added_lines) | [
0 => 'kinda funny but a shit book to let kids read,'
] |
Lines removed in edit (removed_lines) | [
0 => '==Background==',
1 => 'Ellison says in his introduction to the 30th Anniversary Edition<ref name= "novel">Ellison, Ralph Waldo 1982. ''Invisible Man''. New York: Random House.</ref> that he started to write what would eventually become ''Invisible Man'' in a barn in [[Waitsfield, Vermont]], in the summer of 1945 while on [[sick leave]] from the [[United States Merchant Marine|Merchant Marine]]. The book took five years to complete with one year off for what Ellison termed an "ill-conceived short novel."<ref name= "PR">{{cite magazine| first = Ralph | last = Ellison|title= The Art of Fiction | number = 8 |magazine= The Paris Review |date= 1955|page=113|url= https://www.theparisreview.org/interviews/5053/ralph-ellison-the-art-of-fiction-no-8-ralph-ellison}}</ref> ''Invisible Man'' was published as a whole in 1952. Ellison had published a section of the book in 1947, the famous "Battle Royal" scene, which had been shown to [[Cyril Connolly]], the editor of ''[[Horizon (magazine)|Horizon]]'' magazine by Frank Taylor, one of Ellison's early supporters.',
2 => '',
3 => 'In his speech accepting the 1953 [[National Book Award]], Ellison said that he considered the novel's chief significance to be its "experimental attitude."<ref name=Rice>{{cite book|title=Ralph Ellison and the Politics of the Novel|author=Herbert William Rice|page=107|publisher=Lexington Books|date= 2003|isbn=9780739106549|url=https://books.google.com/books?id=NMRc7r0tPqQC&pg=PA107}}</ref> Before ''Invisible Man'', many (if not most) novels dealing with African Americans were written solely for social protest, most notably, ''[[Native Son]]'' and ''[[Uncle Tom's Cabin]]''. By contrast, the narrator in ''Invisible Man'' says, "I am not complaining, nor am I protesting either," signaling the break from the normal protest novel that Ellison held about his work. Likewise, in the essay 'The World and the Jug,' which is a response to [[Irving Howe]]'s essay 'Black Boys and Native Sons,' which "pit[s] Ellison and [James] Baldwin against [Richard] Wright and then," as Ellison would say, "gives Wright the better argument," Ellison makes a fuller statement about the position he held about his book in the larger canon of work by an American who happens to be of African ancestry. In the opening paragraph to that essay Ellison poses three questions: "Why is it so often true that when critics confront the American as Negro they suddenly drop their advanced critical armament and revert with an air of confident superiority to quite primitive modes of analysis? Why is it that Sociology-oriented critics seem to rate [[literature]] so far below politics and ideology that they would rather kill a novel than modify their presumptions concerning a given reality which it seeks in its own terms to project? Finally, why is it that so many of those who would tell us the meaning of Negro life never bother to learn how varied it really is?"',
4 => '',
5 => 'Placing Invisible Man within the canon of either the [[Harlem Renaissance]] or the [[Black Arts Movement]] is difficult. It owes allegiance to both and neither at the same time. Interestingly enough, Ellison's own resistance to being pigeonholed by his peers bubbled over into his statement to Irving Howe about what he deemed to be a relative vs. an ancestor. He says, to Howe: "...perhaps you will understand when I say that he [Wright] did not influence me if I point out that while one can do nothing about choosing one's relatives, one can, as an artist, choose one's 'ancestors.' Wright was, in this sense, a 'relative'; Hemingway an 'ancestor.' " And it was this idea of "playing the field," so to speak, not being "all-in," that lead to some of Ellison's more staunch critics. The aforementioned Howe, in "Black Boys and Native Sons," but also the likes of other black writers such as [[John Oliver Killens]], who once denounced ''Invisible Man'' by saying: “The Negro people need Ralph Ellison’s Invisible Man like we need a hole in the head or a stab in the back. … It is a vicious distortion of Negro life."',
6 => '[[File:Ralph Ellison photo portrait seated.jpg|left|thumb|A portrait of the author Ralph Ellison in 1961.]]',
7 => 'Ellison's "ancestors" included, among others, ''[[The Waste Land]]'' by [[T.S. Eliot]].<ref>Eliot, T. S. (1963) ''Collected Poems, 1909–1962''</ref> In an interview with Richard Kostelanetz, Ellison states that what he had learned from the poem was imagery, and also improvisation techniques he had only before seen in jazz.<ref>Ellison, Ralph and Richard Kostelanetz. [http://ir.uiowa.edu/iowareview/vol19/iss3/2 "An Interview with Ralph Ellison."] The Iowa Review 19.3 (1989): 1–10.</ref>',
8 => '',
9 => 'Some other influences include [[William Faulkner]] and [[Ernest Hemingway]]. Ellison once called Faulkner the South's greatest artist. Likewise, in the Spring 1955 ''Paris Review'', Ellison said of Hemingway: "I read him to learn his sentence structure and how to organize a story. I guess many young writers were doing this, but I also used his description of hunting when I went into the fields the next day. I had been hunting since I was eleven, but no one had broken down the process of wing-shooting for me, and it was from reading Hemingway that I learned to lead a bird. When he describes something in print, believe him; believe him even when he describes the process of art in terms of baseball or boxing; he’s been there."<ref name="PR" />',
10 => '',
11 => 'Some of Ellison's influences had a more direct impact on his novel as when Ellison divulges this, in his introduction to the 30th anniversary of ''Invisible Man'', that the "character" ("in the dual sense of the word") who had announced himself on his page he "associated, ever so distantly, with the narrator of Dostoevsky's [[Notes From Underground]]". Although, despite the "distantly" remark, it appears that Ellison used that novella more than just on that occasion. The beginning of ''Invisible Man'', for example, seems to be structured very similar to ''Notes from Underground'': "I am a sick man" compared to "I am an invisible man".',
12 => '',
13 => '[[Arnold Rampersad]], Ellison's biographer, expounds that Melville had a profound influence on Ellison's freedom to describe race so acutely and generously. [The narrator] "resembles no one else in previous fiction so much as he resembles Ishmael of Moby-Dick." Ellison signals his debt in the prologue to the novel, where the narrator remembers a moment of truth under the influence of marijuana and evokes a church service: "Brothers and sisters, my text this morning is the 'Blackness of Blackness.' And the congregation answers: 'That blackness is most black, brother, most black…'" In this scene Ellison "reprises a moment in the second chapter of Moby-Dick", where Ishmael wanders around New Bedford looking for a place to spend the night and enters a black church: "It was a negro church; and the preacher's text was about the blackness of darkness, and the weeping and wailing and teeth-gnashing there." According to Rampersad, it was Melville who "empowered Ellison to insist on a place in the American literary tradition" by his example of "representing the complexity of race and racism so acutely and generously" in Moby-Dick.',
14 => '',
15 => 'Other most likely influences to Ellison, by way of how much he speaks about them, are: [[Kenneth Burke]], [[Andre Malraux]], [[Mark Twain]], to name a few.{{citationneeded|date=March 2021}}'
] |
All external links added in the edit (added_links) | [] |
All external links removed in the edit (removed_links) | [
0 => 'http://ir.uiowa.edu/iowareview/vol19/iss3/2',
1 => 'https://books.google.com/books?id=NMRc7r0tPqQC&pg=PA107',
2 => 'https://www.theparisreview.org/interviews/5053/ralph-ellison-the-art-of-fiction-no-8-ralph-ellison'
] |
All external links in the new text (all_links) | [
0 => 'http://www.newyorker.com/books/page-turner/justice-for-ralph-ellison',
1 => 'https://www.nationalbook.org/awards-prizes/national-book-awards-1953',
2 => 'http://www.modernlibrary.com/top-100/100-best-novels/',
3 => 'http://entertainment.time.com/2005/10/16/all-time-100-novels/slide/invisible-man-1952-by-ralph-ellison/',
4 => 'https://www.nytimes.com/2014/01/19/opinion/sunday/obama-melville-and-the-tea-party.html',
5 => 'https://www.nytimes.com/books/99/06/20/specials/ellison-invisible2.html',
6 => 'http://www.writing.upenn.edu/~afilreis/50s/bellow-on-ellison.html',
7 => 'https://newrepublic.com/article/114842/george-mayberry-ralph-ellison-invisible-man',
8 => 'http://www.theparisreview.org/interviews/2225/the-art-of-criticism-no-1-harold-bloom',
9 => 'https://books.google.com/books?id=9AvZAgAAQBAJ',
10 => 'https://www.nycgovparks.org/parks/northernriversidepark/highlights/19691',
11 => 'https://variety.com/2017/tv/news/invisible-man-hulu-series-1202599486/',
12 => 'https://www.wikidata.org/wiki/Q1784288#identifiers',
13 => 'https://www.worldcat.org/oclc/30780333',
14 => 'http://www.voanews.com/learningenglish/home/Ralph-Ellison-1914-1994-His-Book-Invisible-Man-Won-Awards-and-is-Still-Discussed-Today--103201169.html',
15 => 'http://www.theparisreview.org/interviews/5053/the-art-of-fiction-no-8-ralph-ellison',
16 => 'https://www.nytimes.com/books/99/06/20/specials/ellison-vivid.html',
17 => 'http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780679732761&view=tg',
18 => 'http://www.shmoop.com/invisible-man-ellison/',
19 => 'https://d-nb.info/gnd/4232411-7',
20 => 'https://viaf.org/viaf/176059326',
21 => 'https://www.worldcat.org/identities/containsVIAFID/176059326',
22 => 'https://catalogue.bnf.fr/ark:/12148/cb12120540n',
23 => 'https://data.bnf.fr/ark:/12148/cb12120540n',
24 => 'https://id.loc.gov/authorities/names/no2006009070',
25 => 'https://nla.gov.au/anbd.aut-an35062839',
26 => 'https://www.idref.fr/029617448'
] |
Links in the page, before the edit (old_links) | [
0 => 'http://entertainment.time.com/2005/10/16/all-time-100-novels/slide/invisible-man-1952-by-ralph-ellison/',
1 => 'http://ir.uiowa.edu/iowareview/vol19/iss3/2',
2 => 'http://www.modernlibrary.com/top-100/100-best-novels/',
3 => 'http://www.newyorker.com/books/page-turner/justice-for-ralph-ellison',
4 => 'http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780679732761&view=tg',
5 => 'http://www.shmoop.com/invisible-man-ellison/',
6 => 'http://www.theparisreview.org/interviews/5053/the-art-of-fiction-no-8-ralph-ellison',
7 => 'http://www.theparisreview.org/interviews/2225/the-art-of-criticism-no-1-harold-bloom',
8 => 'http://www.voanews.com/learningenglish/home/Ralph-Ellison-1914-1994-His-Book-Invisible-Man-Won-Awards-and-is-Still-Discussed-Today--103201169.html',
9 => 'http://www.writing.upenn.edu/~afilreis/50s/bellow-on-ellison.html',
10 => 'https://books.google.com/books?id=9AvZAgAAQBAJ',
11 => 'https://books.google.com/books?id=NMRc7r0tPqQC&pg=PA107',
12 => 'https://catalogue.bnf.fr/ark:/12148/cb12120540n',
13 => 'https://d-nb.info/gnd/4232411-7',
14 => 'https://data.bnf.fr/ark:/12148/cb12120540n',
15 => 'https://id.loc.gov/authorities/names/no2006009070',
16 => 'https://newrepublic.com/article/114842/george-mayberry-ralph-ellison-invisible-man',
17 => 'https://nla.gov.au/anbd.aut-an35062839',
18 => 'https://variety.com/2017/tv/news/invisible-man-hulu-series-1202599486/',
19 => 'https://viaf.org/viaf/176059326',
20 => 'https://www.idref.fr/029617448',
21 => 'https://www.nationalbook.org/awards-prizes/national-book-awards-1953',
22 => 'https://www.nycgovparks.org/parks/northernriversidepark/highlights/19691',
23 => 'https://www.nytimes.com/2014/01/19/opinion/sunday/obama-melville-and-the-tea-party.html',
24 => 'https://www.nytimes.com/books/99/06/20/specials/ellison-invisible2.html',
25 => 'https://www.nytimes.com/books/99/06/20/specials/ellison-vivid.html',
26 => 'https://www.theparisreview.org/interviews/5053/ralph-ellison-the-art-of-fiction-no-8-ralph-ellison',
27 => 'https://www.wikidata.org/wiki/Q1784288#identifiers',
28 => 'https://www.worldcat.org/identities/containsVIAFID/176059326',
29 => 'https://www.worldcat.org/oclc/30780333'
] |
Parsed HTML source of the new revision (new_html) | '<div class="mw-parser-output"><style data-mw-deduplicate="TemplateStyles:r1033289096">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}</style><div role="note" class="hatnote navigation-not-searchable">For the H. G. Wells novel, see <a href="/enwiki/wiki/The_Invisible_Man" title="The Invisible Man">The Invisible Man</a>.</div>
<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1033289096"/><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/enwiki/wiki/The_Invisible_Man_(disambiguation)" class="mw-disambig" title="The Invisible Man (disambiguation)">The Invisible Man (disambiguation)</a>.</div>
<div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Novel by Ralph Ellison published 1952</div>
<p class="mw-empty-elt">
</p>
<table class="infobox vcard"><caption class="infobox-title" style="font-size:125%; font-style:italic; padding-bottom:0.2em;">Invisible Man <span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Invisible+Man&rft.author=%5B%5BRalph+Ellison%5D%5D&rft.date=April+14%2C+1952&rft.pub=%5B%5BRandom+House%5D%5D&rft.pages=581+%28second+edition%29&rft_id=info:oclcnum/30780333"></span></caption><tbody><tr><td colspan="2" class="infobox-image"><a href="/enwiki/wiki/File:Invisible_Man_(1952_1st_ed_jacket_cover).jpg" class="image"><img alt="Invisible Man (1952 1st ed jacket cover).jpg" src="/upwiki/wikipedia/commons/thumb/e/ee/Invisible_Man_%281952_1st_ed_jacket_cover%29.jpg/220px-Invisible_Man_%281952_1st_ed_jacket_cover%29.jpg" decoding="async" width="220" height="341" srcset="/upwiki/wikipedia/commons/thumb/e/ee/Invisible_Man_%281952_1st_ed_jacket_cover%29.jpg/330px-Invisible_Man_%281952_1st_ed_jacket_cover%29.jpg 1.5x, /upwiki/wikipedia/commons/thumb/e/ee/Invisible_Man_%281952_1st_ed_jacket_cover%29.jpg/440px-Invisible_Man_%281952_1st_ed_jacket_cover%29.jpg 2x" data-file-width="1869" data-file-height="2895" /></a><div class="infobox-caption">First edition</div></td></tr><tr><th scope="row" class="infobox-label">Author</th><td class="infobox-data"><a href="/enwiki/wiki/Ralph_Ellison" title="Ralph Ellison">Ralph Ellison</a></td></tr><tr><th scope="row" class="infobox-label">Cover artist</th><td class="infobox-data"><a href="/enwiki/wiki/E._McKnight_Kauffer" class="mw-redirect" title="E. McKnight Kauffer">E. McKnight Kauffer</a></td></tr><tr><th scope="row" class="infobox-label">Country</th><td class="infobox-data">United States</td></tr><tr><th scope="row" class="infobox-label">Language</th><td class="infobox-data">English</td></tr><tr><th scope="row" class="infobox-label">Genre</th><td class="infobox-data"><div class="hlist hlist-separated"><ul><li><a href="/enwiki/wiki/Bildungsroman" title="Bildungsroman">Bildungsroman</a></li><li><a href="/enwiki/wiki/African-American_literature" title="African-American literature">African-American literature</a></li><li><a href="/enwiki/wiki/Social_commentary" title="Social commentary">social commentary</a></li></ul></div></td></tr><tr><th scope="row" class="infobox-label">Publisher</th><td class="infobox-data"><a href="/enwiki/wiki/Random_House" title="Random House">Random House</a></td></tr><tr><th scope="row" class="infobox-label"><div style="display:inline-block; padding:0.1em 0;line-height:1.2em;">Publication date</div></th><td class="infobox-data">April 14, 1952<sup id="cite_ref-1" class="reference"><a href="#cite_note-1">[1]</a></sup></td></tr><tr><th scope="row" class="infobox-label">Media type</th><td class="infobox-data">Print (hardcover and paperback)</td></tr><tr><th scope="row" class="infobox-label">Pages</th><td class="infobox-data">581 (second edition)</td></tr><tr><th scope="row" class="infobox-label"><a href="/enwiki/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a></th><td class="infobox-data"><style data-mw-deduplicate="TemplateStyles:r999302996">.mw-parser-output cite.citation{font-style:inherit}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free a{background:linear-gradient(transparent,transparent),url("/upwiki/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:linear-gradient(transparent,transparent),url("/upwiki/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription a{background:linear-gradient(transparent,transparent),url("/upwiki/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-ws-icon a{background:linear-gradient(transparent,transparent),url("/upwiki/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-maint{display:none;color:#33aa33;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}</style><a href="/enwiki/wiki/Special:BookSources/978-0-679-60139-5" title="Special:BookSources/978-0-679-60139-5">978-0-679-60139-5</a></td></tr><tr><th scope="row" class="infobox-label"><a href="/enwiki/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)"><abbr title="Online Computer Library Center number">OCLC</abbr></a></th><td class="infobox-data"><a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/30780333">30780333</a></td></tr><tr><th scope="row" class="infobox-label"><div style="display:inline-block; padding:0.1em 0;line-height:1.2em;"><a href="/enwiki/wiki/Dewey_Decimal_Classification" title="Dewey Decimal Classification">Dewey Decimal</a></div></th><td class="infobox-data">813/.54 20</td></tr><tr><th scope="row" class="infobox-label"><a href="/enwiki/wiki/LCC_(identifier)" class="mw-redirect" title="LCC (identifier)"><abbr title="Library of Congress Classification">LC Class</abbr></a></th><td class="infobox-data">PS3555.L625 I5 1994</td></tr></tbody></table>
<p><i><b>Invisible Man</b></i> is a novel by <a href="/enwiki/wiki/Ralph_Ellison" title="Ralph Ellison">Ralph Ellison</a>, published by <a href="/enwiki/wiki/Random_House" title="Random House">Random House</a> in 1952. It addresses many of the social and intellectual issues faced by African Americans in the early twentieth century, including <a href="/enwiki/wiki/Black_nationalism" title="Black nationalism">black nationalism</a>, the relationship between black identity and <a href="/enwiki/wiki/Marxism" title="Marxism">Marxism</a>, and the reformist racial policies of <a href="/enwiki/wiki/Booker_T._Washington" title="Booker T. Washington">Booker T. Washington</a>, as well as issues of individuality and personal identity.
</p><p><i>Invisible Man</i> won the U.S. <a href="/enwiki/wiki/National_Book_Award_for_Fiction" title="National Book Award for Fiction">National Book Award for Fiction</a> in 1953, making Ellison the first African American writer to win the award.<sup id="cite_ref-nba1953_2-0" class="reference"><a href="#cite_note-nba1953-2">[2]</a></sup>
In 1998, the <a href="/enwiki/wiki/Modern_Library" title="Modern Library">Modern Library</a> ranked <i>Invisible Man</i> 19th on its list of the <a href="/enwiki/wiki/Modern_Library_100_Best_Novels" title="Modern Library 100 Best Novels">100 best English-language novels of the 20th century</a>.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3">[3]</a></sup> <a href="/enwiki/wiki/Time_(magazine)" title="Time (magazine)"><i>Time</i></a> magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005, calling it "the quintessential American picaresque of the 20th century," rather than a "race novel, or even a <a href="/enwiki/wiki/Bildungsroman" title="Bildungsroman">bildungsroman</a>."<sup id="cite_ref-4" class="reference"><a href="#cite_note-4">[4]</a></sup> <a href="/enwiki/wiki/Malcolm_Bradbury" title="Malcolm Bradbury">Malcolm Bradbury</a> and Richard Ruland recognize an existential vision with a "Kafka-like absurdity."<sup id="cite_ref-5" class="reference"><a href="#cite_note-5">[5]</a></sup> According to <i><a href="/enwiki/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i>, <a href="/enwiki/wiki/Barack_Obama" title="Barack Obama">Barack Obama</a> modeled his 1995 memoir <i><a href="/enwiki/wiki/Dreams_from_My_Father" title="Dreams from My Father">Dreams from My Father</a></i> on Ellison's novel.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6">[6]</a></sup>
</p><p>kinda funny but a shit book to let kids read,
</p>
<div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none" /><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#Political_influences_and_the_Communist_Party"><span class="tocnumber">1</span> <span class="toctext">Political influences and the Communist Party</span></a></li>
<li class="toclevel-1 tocsection-2"><a href="#Plot_summary"><span class="tocnumber">2</span> <span class="toctext">Plot summary</span></a></li>
<li class="toclevel-1 tocsection-3"><a href="#Reception"><span class="tocnumber">3</span> <span class="toctext">Reception</span></a></li>
<li class="toclevel-1 tocsection-4"><a href="#Adaptation"><span class="tocnumber">4</span> <span class="toctext">Adaptation</span></a></li>
<li class="toclevel-1 tocsection-5"><a href="#See_also"><span class="tocnumber">5</span> <span class="toctext">See also</span></a></li>
<li class="toclevel-1 tocsection-6"><a href="#References"><span class="tocnumber">6</span> <span class="toctext">References</span></a></li>
<li class="toclevel-1 tocsection-7"><a href="#External_links"><span class="tocnumber">7</span> <span class="toctext">External links</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="Political_influences_and_the_Communist_Party">Political influences and the Communist Party</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/enwiki/w/index.php?title=Invisible_Man&action=edit&section=1" title="Edit section: Political influences and the Communist Party">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The letters he wrote to fellow novelist <a href="/enwiki/wiki/Richard_Wright_(author)" title="Richard Wright (author)">Richard Wright</a> as he started working on the novel provide evidence for his disillusion with and defection from the CPUSA for perceived <a href="/enwiki/wiki/Revisionism_(Marxism)" title="Revisionism (Marxism)">revisionism</a>. In a letter to Wright on August 18, 1945, Ellison poured out his anger toward party leaders for betraying African-American and Marxist class politics during the war years: "If they want to play ball with the <a href="/enwiki/wiki/Bourgeoisie" title="Bourgeoisie">bourgeoisie</a> they needn't think they can get away with it... Maybe we can't smash the atom, but we can, with a few well-chosen, well-written words, smash all that crummy filth to hell."<sup id="cite_ref-7" class="reference"><a href="#cite_note-7">[7]</a></sup> Ellison resisted attempts to ferret out such allusions in the book itself however, stating "I did not want to describe an existing Socialist or Communist or Marxist political group, primarily because it would have allowed the reader to escape confronting certain political patterns, patterns which still exist and of which our two major political parties are guilty in their relationships to Negro Americans."<sup id="cite_ref-8" class="reference"><a href="#cite_note-8">[8]</a></sup>
</p>
<h2><span class="mw-headline" id="Plot_summary">Plot summary</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/enwiki/w/index.php?title=Invisible_Man&action=edit&section=2" title="Edit section: Plot summary">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The narrator, an unnamed black man, begins by describing his living conditions: an underground room wired with hundreds of electric lights, operated by power stolen from the city's electric grid. He reflects on the various ways in which he has experienced social invisibility during his life and begins to tell his story, returning to his teenage years.
</p><p>The narrator lives in a small Southern town and, upon graduating from high school, wins a scholarship to an <a href="/enwiki/wiki/Historically_black_colleges_and_universities" title="Historically black colleges and universities">all-black college</a>. However, to receive it, he must first take part in a brutal, humiliating <a href="/enwiki/wiki/Battle_royal" title="Battle royal">battle royal</a> for the entertainment of the town's rich white dignitaries.
</p><p>One afternoon during his junior year at the college, the narrator chauffeurs Mr. Norton, a visiting rich white <a href="/enwiki/wiki/Trustee" title="Trustee">trustee</a>, out among the old slave-quarters beyond the campus. By chance, he stops at the cabin of Jim Trueblood, who has caused a scandal by impregnating both his wife and his daughter in his sleep. Trueblood's account horrifies Mr. Norton so badly that he asks the narrator to find him a drink. The narrator drives him to a bar filled with prostitutes and patients from a nearby mental hospital. The mental patients rail against both of them and eventually overwhelm the orderly assigned to keep the patients under control, injuring Mr. Norton in the process. The narrator hurries Mr. Norton away from the chaotic scene and back to campus.
</p><p>Dr. Bledsoe, the college president, excoriates the narrator for showing Mr. Norton the underside of black life beyond the campus and expels him. However, Bledsoe gives several sealed letters of recommendation to the narrator, to be delivered to friends of the college in order to assist him in finding a job so that he may eventually re-enroll. The narrator travels to New York and distributes his letters, with no success; the son of one recipient shows him the letter, which reveals Bledsoe's intent to never admit the narrator as a student again.
</p><p>Acting on the son's suggestion, the narrator seeks work at the Liberty Paint factory, renowned for its pure white paint. He is assigned first to the shipping department, then to the boiler room, whose chief attendant, Lucius Brockway, is highly <a href="/enwiki/wiki/Paranoia" title="Paranoia">paranoid</a> and suspects that the narrator is trying to take his job. This distrust worsens after the narrator stumbles into a <a href="/enwiki/wiki/Labor_union" class="mw-redirect" title="Labor union">union</a> meeting, and Brockway attacks the narrator and tricks him into setting off an explosion in the boiler room. The narrator is hospitalized and subjected to <a href="/enwiki/wiki/Electroconvulsive_therapy" title="Electroconvulsive therapy">shock treatment</a>, overhearing the doctors' discussion of him as a possible mental patient.
</p><p>After leaving the hospital, the narrator faints on the streets of <a href="/enwiki/wiki/Harlem" title="Harlem">Harlem</a> and is taken in by Mary Rambo, a kindly old-fashioned woman who reminds him of his relatives in the South. He later happens across the eviction of an elderly black couple and makes an impassioned speech that incites the crowd to attack the law enforcement officials in charge of the proceedings. The narrator escapes over the rooftops and is confronted by Brother Jack, the leader of a group known as "the Brotherhood" that professes its commitment to bettering conditions in Harlem and the rest of the world. At Jack's urging, the narrator agrees to join and speak at rallies to spread the word among the black community. Using his new salary, he pays Mary back the rent he owes her and moves into an apartment provided by the Brotherhood.
</p><p>The rallies go smoothly at first, with the narrator receiving extensive indoctrination on the Brotherhood's ideology and methods. Soon, though, he encounters trouble from Ras the Exhorter, a fanatical <a href="/enwiki/wiki/Black_nationalist" class="mw-redirect" title="Black nationalist">black nationalist</a> who believes that the Brotherhood is controlled by whites. Neither the narrator nor Tod Clifton, a youth leader within the Brotherhood, is particularly swayed by his words. The narrator is later called before a meeting of the Brotherhood and accused of putting his own ambitions ahead of the group. He is reassigned to another part of the city to address issues concerning women, seduced by the wife of a Brotherhood member, and eventually called back to Harlem when Clifton is reported missing and the Brotherhood's membership and influence begin to falter.
</p><p>The narrator can find no trace of Clifton at first, but soon discovers him selling dancing <a href="/enwiki/wiki/Sambo_(racial_term)" title="Sambo (racial term)">Sambo</a> dolls on the street, having become disillusioned with the Brotherhood. Clifton is shot and killed by a policeman while resisting arrest; at his funeral, the narrator delivers a rousing speech that rallies the crowd to support the Brotherhood again. At an emergency meeting, Jack and the other Brotherhood leaders criticize the narrator for his unscientific arguments and the narrator determines that the group has no real interest in the black community's problems.
</p><p>The narrator returns to Harlem, trailed by Ras's men, and buys a hat and a pair of sunglasses to elude them. As a result, he is repeatedly mistaken for a man named Rinehart, known as a lover, a hipster, a gambler, a briber, and a spiritual leader. Understanding that Rinehart has adapted to white society at the cost of his own identity, the narrator resolves to undermine the Brotherhood by feeding them dishonest information concerning the Harlem membership and situation. After seducing the wife of one member in a fruitless attempt to learn their new activities, he discovers that <a href="/enwiki/wiki/Riot" title="Riot">riots</a> have broken out in Harlem due to widespread unrest. He realizes that the Brotherhood has been counting on such an event in order to further its own aims. The narrator gets mixed up with a gang of looters, who burn down a <a href="/enwiki/wiki/Tenement" title="Tenement">tenement</a> building, and wanders away from them to find Ras, now on horseback, armed with a spear and shield, and calling himself "the Destroyer". Ras shouts for the crowd to <a href="/enwiki/wiki/Lynching" title="Lynching">lynch</a> the narrator, but the narrator attacks him with the spear and escapes into an underground coal bin. Two white men seal him in, leaving him alone to ponder the racism he has experienced in his life.
</p><p>The epilogue returns to the present, with the narrator stating that he is ready to return to the world because he has spent enough time hiding from it. He explains that he has told his story in order to help people see past his own invisibility, and also to provide a voice for people with a similar plight: "Who knows but that, on the lower frequencies, I speak for you?"
</p>
<h2><span class="mw-headline" id="Reception">Reception</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/enwiki/w/index.php?title=Invisible_Man&action=edit&section=3" title="Edit section: Reception">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Critic <a href="/enwiki/wiki/Orville_Prescott" title="Orville Prescott">Orville Prescott</a> of <i><a href="/enwiki/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i> called the novel "the most impressive work of fiction by an American Negro which I have ever read," and felt it marked "the appearance of a richly talented writer."<sup id="cite_ref-9" class="reference"><a href="#cite_note-9">[9]</a></sup> Novelist <a href="/enwiki/wiki/Saul_Bellow" title="Saul Bellow">Saul Bellow</a> in his review found it "a book of the very first order, a superb book...it is tragi-comic, poetic, the tone of the very strongest sort of creative intelligence."<sup id="cite_ref-10" class="reference"><a href="#cite_note-10">[10]</a></sup> George Mayberry of <i><a href="/enwiki/wiki/The_New_Republic" title="The New Republic">The New Republic</a></i> said Ellison "is a master at catching the shape, flavor and sound of the common vagaries of human character and experience."<sup id="cite_ref-11" class="reference"><a href="#cite_note-11">[11]</a></sup>
</p><p>In <i><a href="/enwiki/wiki/The_Paris_Review" title="The Paris Review">The Paris Review</a></i>, literary critic <a href="/enwiki/wiki/Harold_Bloom" title="Harold Bloom">Harold Bloom</a> referred to <i>Invisible Man</i>, along with <a href="/enwiki/wiki/Zora_Neale_Hurston" title="Zora Neale Hurston">Zora Neale Hurston</a>'s <i><a href="/enwiki/wiki/Their_Eyes_Were_Watching_God" title="Their Eyes Were Watching God">Their Eyes Were Watching God</a></i>, as "the only full scale works of fiction I have read by American blacks in this century that have survival possibilities at all."<sup id="cite_ref-12" class="reference"><a href="#cite_note-12">[12]</a></sup>
</p><p><a href="/enwiki/wiki/Anthony_Burgess" title="Anthony Burgess">Anthony Burgess</a> described the novel as "a masterpiece".<sup id="cite_ref-Burgess2014_13-0" class="reference"><a href="#cite_note-Burgess2014-13">[13]</a></sup>
</p><p>In 2003, a sculpture titled "Invisible Man: A Memorial to Ralph Ellison" by <a href="/enwiki/wiki/Elizabeth_Catlett" title="Elizabeth Catlett">Elizabeth Catlett</a>, was unveiled at Riverside Park at 150th Street in Manhattan, opposite from where Ellison lived and three blocks from the <a href="/enwiki/wiki/Trinity_Church_Cemetery" title="Trinity Church Cemetery">Trinity Church Cemetery</a> and Mausoleum, where he is interred in a crypt. The 15-foot-high, 10-foot-wide bronze monolith features a hollow silhouette of a man and two granite panels that are inscribed with Ellison quotations.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14">[14]</a></sup>
</p>
<h2><span class="mw-headline" id="Adaptation">Adaptation</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/enwiki/w/index.php?title=Invisible_Man&action=edit&section=4" title="Edit section: Adaptation">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>It was reported in October 2017 that streaming service <a href="/enwiki/wiki/Hulu" title="Hulu">Hulu</a> was developing the novel into a television series.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15">[15]</a></sup>
</p>
<h2><span class="mw-headline" id="See_also">See also</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/enwiki/w/index.php?title=Invisible_Man&action=edit&section=5" title="Edit section: See also">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<style data-mw-deduplicate="TemplateStyles:r936637989">.mw-parser-output .portal{border:solid #aaa 1px;padding:0}.mw-parser-output .portal.tleft{margin:0.5em 1em 0.5em 0}.mw-parser-output .portal.tright{margin:0.5em 0 0.5em 1em}.mw-parser-output .portal>ul{display:table;box-sizing:border-box;padding:0.1em;max-width:175px;background:#f9f9f9;font-size:85%;line-height:110%;font-style:italic;font-weight:bold}.mw-parser-output .portal>ul>li{display:table-row}.mw-parser-output .portal>ul>li>span:first-child{display:table-cell;padding:0.2em;vertical-align:middle;text-align:center}.mw-parser-output .portal>ul>li>span:last-child{display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle}</style><div role="navigation" aria-label="Portals" class="noprint portal plainlist tright">
<ul>
<li><span><a href="/enwiki/wiki/File:Book_collection.jpg" class="image"><img alt="icon" src="/upwiki/wikipedia/commons/thumb/3/3f/Book_collection.jpg/32px-Book_collection.jpg" decoding="async" width="32" height="25" class="noviewer thumbborder" srcset="/upwiki/wikipedia/commons/thumb/3/3f/Book_collection.jpg/48px-Book_collection.jpg 1.5x, /upwiki/wikipedia/commons/thumb/3/3f/Book_collection.jpg/64px-Book_collection.jpg 2x" data-file-width="299" data-file-height="238" /></a></span><span><a href="/enwiki/wiki/Portal:Novels" title="Portal:Novels">Novels portal</a></span></li></ul></div>
<ul><li><a href="/enwiki/wiki/African-American_literature" title="African-American literature">African-American literature</a></li>
<li><a href="/enwiki/wiki/Black_existentialism" title="Black existentialism">Black existentialism</a></li>
<li><i><a href="/enwiki/wiki/Juneteenth_(novel)" title="Juneteenth (novel)">Juneteenth</a></i></li>
<li><i><a href="/enwiki/wiki/Three_Days_Before_the_Shooting..." title="Three Days Before the Shooting...">Three Days Before the Shooting...</a></i></li></ul>
<h2><span class="mw-headline" id="References">References</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/enwiki/w/index.php?title=Invisible_Man&action=edit&section=6" title="Edit section: References">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<style data-mw-deduplicate="TemplateStyles:r1011085734">.mw-parser-output .reflist{font-size:90%;margin-bottom:0.5em;list-style-type:decimal}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;">
<ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFDenby2012" class="citation web cs1">Denby, David (April 12, 2012). <a rel="nofollow" class="external text" href="http://www.newyorker.com/books/page-turner/justice-for-ralph-ellison">"Justice For Ralph Ellison"</a>. <i><a href="/enwiki/wiki/The_New_Yorker" title="The New Yorker">The New Yorker</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">July 23,</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+Yorker&rft.atitle=Justice+For+Ralph+Ellison&rft.date=2012-04-12&rft.aulast=Denby&rft.aufirst=David&rft_id=http%3A%2F%2Fwww.newyorker.com%2Fbooks%2Fpage-turner%2Fjustice-for-ralph-ellison&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-nba1953-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-nba1953_2-0">^</a></b></span> <span class="reference-text">
<a rel="nofollow" class="external text" href="https://www.nationalbook.org/awards-prizes/national-book-awards-1953">"National Book Awards – 1953"</a>. <a href="/enwiki/wiki/National_Book_Foundation" title="National Book Foundation">National Book Foundation</a>.<br />(With acceptance speech by Ellison, essay by <a href="/enwiki/wiki/Neil_Baldwin_(writer)" title="Neil Baldwin (writer)">Neil Baldwin</a> from the 50-year publication, and essays by Charles Johnson and four others from the Awards' 60-year anniversary blog.)</span>
</li>
<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.modernlibrary.com/top-100/100-best-novels/">"100 Best Novels"</a>. Modern Library<span class="reference-accessdate">. Retrieved <span class="nowrap">May 19,</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=100+Best+Novels&rft.pub=Modern+Library&rft_id=http%3A%2F%2Fwww.modernlibrary.com%2Ftop-100%2F100-best-novels%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFGrossman" class="citation web cs1">Grossman, Lev. <a rel="nofollow" class="external text" href="http://entertainment.time.com/2005/10/16/all-time-100-novels/slide/invisible-man-1952-by-ralph-ellison/">"All-TIME 100 Novels"</a> – via entertainment.time.com.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=All-TIME+100+Novels&rft.aulast=Grossman&rft.aufirst=Lev&rft_id=http%3A%2F%2Fentertainment.time.com%2F2005%2F10%2F16%2Fall-time-100-novels%2Fslide%2Finvisible-man-1952-by-ralph-ellison%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Malcolm Bradbury and Richard Ruland, <i>From Puritanism to Postmodernism: A History of American Literature</i>. Penguin, 380. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><a href="/enwiki/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/enwiki/wiki/Special:BookSources/0-14-014435-8" title="Special:BookSources/0-14-014435-8">0-14-014435-8</a></span>
</li>
<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Greg Grandin, <a rel="nofollow" class="external text" href="https://www.nytimes.com/2014/01/19/opinion/sunday/obama-melville-and-the-tea-party.html">"Obama, Melville, and the Tea Party".</a> <i>The New York Times</i>, 18 January 2014. Retrieved on 17 March 2016.</span>
</li>
<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Carol Polsgrove, <i>Divided Minds: Intellectuals and the Civil Rights Movement</i> (2001), pp. 66-69.</span>
</li>
<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Ralph Ellison, The Collected Essays of Ralph Ellison, edited by John F. Callahan (New York: Modern Library, 2003), 542.</span>
</li>
<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFPrescott" class="citation news cs1">Prescott, Orville. <a rel="nofollow" class="external text" href="https://www.nytimes.com/books/99/06/20/specials/ellison-invisible2.html">"Books of the Times"</a>. <i>The New York Times</i><span class="reference-accessdate">. Retrieved <span class="nowrap">November 6,</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Books+of+the+Times&rft.aulast=Prescott&rft.aufirst=Orville&rft_id=https%3A%2F%2Fwww.nytimes.com%2Fbooks%2F99%2F06%2F20%2Fspecials%2Fellison-invisible2.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFBellow" class="citation magazine cs1">Bellow, Saul. <a rel="nofollow" class="external text" href="http://www.writing.upenn.edu/~afilreis/50s/bellow-on-ellison.html">"Man Underground"</a>. <i>Commentary</i><span class="reference-accessdate">. Retrieved <span class="nowrap">November 6,</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Commentary&rft.atitle=Man+Underground&rft.aulast=Bellow&rft.aufirst=Saul&rft_id=http%3A%2F%2Fwww.writing.upenn.edu%2F~afilreis%2F50s%2Fbellow-on-ellison.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFMayberry" class="citation magazine cs1">Mayberry, George. <a rel="nofollow" class="external text" href="https://newrepublic.com/article/114842/george-mayberry-ralph-ellison-invisible-man">"George Mayberry's 1952 Review of Ralph Ellison's Invisible Man"</a>. <i>New Republic</i><span class="reference-accessdate">. Retrieved <span class="nowrap">November 6,</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=New+Republic&rft.atitle=George+Mayberry%27s+1952+Review+of+Ralph+Ellison%27s+Invisible+Man&rft.aulast=Mayberry&rft.aufirst=George&rft_id=https%3A%2F%2Fnewrepublic.com%2Farticle%2F114842%2Fgeorge-mayberry-ralph-ellison-invisible-man&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFWeiss" class="citation magazine cs1">Weiss, Antonio. <a rel="nofollow" class="external text" href="http://www.theparisreview.org/interviews/2225/the-art-of-criticism-no-1-harold-bloom">"Harold Bloom, The Art of Criticism No. 1"</a>. <i>The Paris Review</i><span class="reference-accessdate">. Retrieved <span class="nowrap">November 6,</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Paris+Review&rft.atitle=Harold+Bloom%2C+The+Art+of+Criticism+No.+1&rft.aulast=Weiss&rft.aufirst=Antonio&rft_id=http%3A%2F%2Fwww.theparisreview.org%2Finterviews%2F2225%2Fthe-art-of-criticism-no-1-harold-bloom&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-Burgess2014-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-Burgess2014_13-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFAnthony_Burgess2014" class="citation book cs1">Anthony Burgess (April 3, 2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=9AvZAgAAQBAJ"><i>You've Had Your Time</i></a>. Random House. p. 130. <a href="/enwiki/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/enwiki/wiki/Special:BookSources/978-1-4735-1239-9" title="Special:BookSources/978-1-4735-1239-9"><bdi>978-1-4735-1239-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=You%27ve+Had+Your+Time&rft.pages=130&rft.pub=Random+House&rft.date=2014-04-03&rft.isbn=978-1-4735-1239-9&rft.au=Anthony+Burgess&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D9AvZAgAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.nycgovparks.org/parks/northernriversidepark/highlights/19691">NYC Parks</a></span>
</li>
<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r999302996"/><cite id="CITEREFHolloway2017" class="citation web cs1">Holloway, Daniel (October 26, 2017). <a rel="nofollow" class="external text" href="https://variety.com/2017/tv/news/invisible-man-hulu-series-1202599486/">"Ralph Ellison's 'Invisible Man' Series Adaptation in the Works at Hulu (EXCLUSIVE)"</a>. <i>Variety</i><span class="reference-accessdate">. Retrieved <span class="nowrap">October 26,</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Variety&rft.atitle=Ralph+Ellison%27s+%27Invisible+Man%27+Series+Adaptation+in+the+Works+at+Hulu+%28EXCLUSIVE%29&rft.date=2017-10-26&rft.aulast=Holloway&rft.aufirst=Daniel&rft_id=https%3A%2F%2Fvariety.com%2F2017%2Ftv%2Fnews%2Finvisible-man-hulu-series-1202599486%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInvisible+Man" class="Z3988"></span></span>
</li>
</ol></div>
<h2><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/enwiki/w/index.php?title=Invisible_Man&action=edit&section=7" title="Edit section: External links">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<table role="presentation" class="mbox-small plainlinks sistersitebox" style="background-color:#f9f9f9;border:1px solid #aaa;color:#000">
<tbody><tr>
<td class="mbox-image"><img alt="" src="/upwiki/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png" decoding="async" width="34" height="40" class="noviewer" srcset="/upwiki/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/51px-Wikiquote-logo.svg.png 1.5x, /upwiki/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/68px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></td>
<td class="mbox-text plainlist">Wikiquote has quotations related to: <i><b><a href="https://en.wikiquote.org/wiki/Special:Search/Invisible_Man" class="extiw" title="q:Special:Search/Invisible Man">Invisible Man</a></b></i></td></tr>
</tbody></table>
<ul><li><a rel="nofollow" class="external text" href="http://www.voanews.com/learningenglish/home/Ralph-Ellison-1914-1994-His-Book-Invisible-Man-Won-Awards-and-is-Still-Discussed-Today--103201169.html">Ralph Ellison, 1914–1994: His Book <i>Invisible Man</i> Won Awards and Is Still Discussed Today</a> (VOA Special English).</li>
<li><a rel="nofollow" class="external text" href="http://www.theparisreview.org/interviews/5053/the-art-of-fiction-no-8-ralph-ellison">Full text of <i>The Paris Review</i>'s 1955 interview with Mr. Ellison </a>.</li>
<li><a rel="nofollow" class="external text" href="https://www.nytimes.com/books/99/06/20/specials/ellison-vivid.html"><i>New York Times</i> article on the 30th Anniversary of the novel's publication—includes an interview with the author</a>.</li>
<li><a rel="nofollow" class="external text" href="http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780679732761&view=tg">Teacher's Guide</a> at Random House.</li>
<li><a rel="nofollow" class="external text" href="http://www.shmoop.com/invisible-man-ellison/"><i>Invisible Man</i></a> study guide, themes, quotes, character analyses, teaching resources.</li></ul>
<div role="navigation" class="navbox" aria-labelledby="National_Book_Award_for_Fiction_(1950–1974)" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><style data-mw-deduplicate="TemplateStyles:r992953826">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}.mw-parser-output .infobox .navbar{font-size:100%}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/enwiki/wiki/Template:NBA_for_Fiction_1950%E2%80%931974" title="Template:NBA for Fiction 1950–1974"><abbr title="View this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;;text-decoration:inherit;">v</abbr></a></li><li class="nv-talk"><a href="/enwiki/wiki/Template_talk:NBA_for_Fiction_1950%E2%80%931974" title="Template talk:NBA for Fiction 1950–1974"><abbr title="Discuss this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;;text-decoration:inherit;">t</abbr></a></li><li class="nv-edit"><a class="external text" href="https://en.wikipedia.org/enwiki/w/index.php?title=Template:NBA_for_Fiction_1950%E2%80%931974&action=edit"><abbr title="Edit this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;;text-decoration:inherit;">e</abbr></a></li></ul></div><div id="National_Book_Award_for_Fiction_(1950–1974)" style="font-size:114%;margin:0 4em"><a href="/enwiki/wiki/National_Book_Award_for_Fiction" title="National Book Award for Fiction">National Book Award for Fiction</a> (1950–1974)</div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd" style="width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/enwiki/wiki/The_Man_with_the_Golden_Arm_(novel)" title="The Man with the Golden Arm (novel)">The Man with the Golden Arm</a></i> by <a href="/enwiki/wiki/Nelson_Algren" title="Nelson Algren">Nelson Algren</a> (1950)</li>
<li><i><a href="/enwiki/wiki/Collected_Stories_of_William_Faulkner" title="Collected Stories of William Faulkner">Collected Stories of William Faulkner</a></i> by <a href="/enwiki/wiki/William_Faulkner" title="William Faulkner">William Faulkner</a> (1951)</li>
<li><i><a href="/enwiki/wiki/From_Here_to_Eternity_(novel)" title="From Here to Eternity (novel)">From Here to Eternity</a></i> by <a href="/enwiki/wiki/James_Jones_(author)" title="James Jones (author)">James Jones</a> (1952)</li>
<li><i><a class="mw-selflink selflink">Invisible Man</a></i> by <a href="/enwiki/wiki/Ralph_Ellison" title="Ralph Ellison">Ralph Ellison</a> (1953)</li>
<li><i><a href="/enwiki/wiki/The_Adventures_of_Augie_March" title="The Adventures of Augie March">The Adventures of Augie March</a></i> by <a href="/enwiki/wiki/Saul_Bellow" title="Saul Bellow">Saul Bellow</a> (1954)</li>
<li><i><a href="/enwiki/wiki/A_Fable" title="A Fable">A Fable</a></i> by <a href="/enwiki/wiki/William_Faulkner" title="William Faulkner">William Faulkner</a> (1955)</li>
<li><i><a href="/enwiki/wiki/Ten_North_Frederick" title="Ten North Frederick">Ten North Frederick</a></i> by <a href="/enwiki/wiki/John_O%27Hara" title="John O'Hara">John O'Hara</a> (1956)</li>
<li><i><a href="/enwiki/wiki/The_Field_of_Vision" title="The Field of Vision">The Field of Vision</a></i> by <a href="/enwiki/wiki/Wright_Morris" title="Wright Morris">Wright Morris</a> (1957)</li>
<li><i><a href="/enwiki/wiki/The_Wapshot_Chronicle" title="The Wapshot Chronicle">The Wapshot Chronicle</a></i> by <a href="/enwiki/wiki/John_Cheever" title="John Cheever">John Cheever</a> (1958)</li>
<li><i><a href="/enwiki/wiki/The_Magic_Barrel" title="The Magic Barrel">The Magic Barrel</a></i> by <a href="/enwiki/wiki/Bernard_Malamud" title="Bernard Malamud">Bernard Malamud</a> (1959)</li>
<li><i><a href="/enwiki/wiki/Goodbye,_Columbus" title="Goodbye, Columbus">Goodbye, Columbus</a></i> by <a href="/enwiki/wiki/Philip_Roth" title="Philip Roth">Philip Roth</a> (1960)</li>
<li><i><a href="/enwiki/wiki/The_Waters_of_Kronos" title="The Waters of Kronos">The Waters of Kronos</a></i> by <a href="/enwiki/wiki/Conrad_Richter" title="Conrad Richter">Conrad Richter</a> (1961)</li>
<li><i><a href="/enwiki/wiki/The_Moviegoer" title="The Moviegoer">The Moviegoer</a></i> by <a href="/enwiki/wiki/Walker_Percy" title="Walker Percy">Walker Percy</a> (1962)</li>
<li><i><a href="/enwiki/wiki/Morte_d%27Urban" title="Morte d'Urban">Morte d'Urban</a></i> by <a href="/enwiki/wiki/J._F._Powers" title="J. F. Powers">J. F. Powers</a> (1963)</li>
<li><i><a href="/enwiki/wiki/The_Centaur" title="The Centaur">The Centaur</a></i> by <a href="/enwiki/wiki/John_Updike" title="John Updike">John Updike</a> (1964)</li>
<li><i><a href="/enwiki/wiki/Herzog_(novel)" title="Herzog (novel)">Herzog</a></i> by <a href="/enwiki/wiki/Saul_Bellow" title="Saul Bellow">Saul Bellow</a> (1965)</li>
<li><i><a href="/enwiki/wiki/The_Collected_Stories_of_Katherine_Anne_Porter" title="The Collected Stories of Katherine Anne Porter">The Collected Stories of Katherine Anne Porter</a></i> by <a href="/enwiki/wiki/Katherine_Anne_Porter" title="Katherine Anne Porter">Katherine Anne Porter</a> (1966)</li>
<li><i><a href="/enwiki/wiki/The_Fixer_(novel)" title="The Fixer (novel)">The Fixer</a></i> by <a href="/enwiki/wiki/Bernard_Malamud" title="Bernard Malamud">Bernard Malamud</a> (1967)</li>
<li><i><a href="/enwiki/wiki/The_Eighth_Day_(novel)" title="The Eighth Day (novel)">The Eighth Day</a></i> by <a href="/enwiki/wiki/Thornton_Wilder" title="Thornton Wilder">Thornton Wilder</a> (1968)</li>
<li><i><a href="/enwiki/wiki/Steps_(book)" title="Steps (book)">Steps</a></i> by <a href="/enwiki/wiki/Jerzy_Kosi%C5%84ski" title="Jerzy Kosiński">Jerzy Kosiński</a> (1969)</li>
<li><i><a href="/enwiki/wiki/Them_(novel)" title="Them (novel)">them</a></i> by <a href="/enwiki/wiki/Joyce_Carol_Oates" title="Joyce Carol Oates">Joyce Carol Oates</a> (1970)</li>
<li><i><a href="/enwiki/wiki/Mr._Sammler%27s_Planet" title="Mr. Sammler's Planet">Mr. Sammler's Planet</a></i> by <a href="/enwiki/wiki/Saul_Bellow" title="Saul Bellow">Saul Bellow</a> (1971)</li>
<li><i><a href="/enwiki/wiki/The_Complete_Stories_(O%27Connor)" title="The Complete Stories (O'Connor)">The Complete Stories</a></i> by <a href="/enwiki/wiki/Flannery_O%27Connor" title="Flannery O'Connor">Flannery O'Connor</a> (1972)</li>
<li><i><a href="/enwiki/wiki/Chimera_(Barth_novel)" title="Chimera (Barth novel)">Chimera</a></i> by <a href="/enwiki/wiki/John_Barth" title="John Barth">John Barth</a> (1973)</li>
<li><i><a href="/enwiki/wiki/Augustus_(Williams_novel)" title="Augustus (Williams novel)">Augustus</a></i> by <a href="/enwiki/wiki/John_Edward_Williams" title="John Edward Williams">John Williams</a> (1973)</li>
<li><i><a href="/enwiki/wiki/Gravity%27s_Rainbow" title="Gravity's Rainbow">Gravity's Rainbow</a></i> by <a href="/enwiki/wiki/Thomas_Pynchon" title="Thomas Pynchon">Thomas Pynchon</a> (1974)</li>
<li><i><a href="/enwiki/wiki/A_Crown_of_Feathers_and_Other_Stories" title="A Crown of Feathers and Other Stories">A Crown of Feathers and Other Stories</a></i> by <a href="/enwiki/wiki/Isaac_Bashevis_Singer" title="Isaac Bashevis Singer">Isaac Bashevis Singer</a> (1974)</li></ul>
</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div>
<ul><li><a href="/enwiki/wiki/Template:NBA_for_Fiction" title="Template:NBA for Fiction">Complete list</a></li>
<li>(<a href="/enwiki/wiki/Template:NBA_for_Fiction_1950%E2%80%931974" title="Template:NBA for Fiction 1950–1974">1950–1974</a>)</li>
<li>(<a href="/enwiki/wiki/Template:NBA_for_Fiction_1975%E2%80%931999" title="Template:NBA for Fiction 1975–1999">1975–1999</a>)</li>
<li>(<a href="/enwiki/wiki/Template:NBA_for_Fiction_2000%E2%80%932024" title="Template:NBA for Fiction 2000–2024">2000–2024</a>)</li></ul>
</div></td></tr></tbody></table></div>
<div role="navigation" class="navbox" aria-labelledby="Ralph_Ellison" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r992953826"/><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/enwiki/wiki/Template:Ralph_Ellison_navbox" title="Template:Ralph Ellison navbox"><abbr title="View this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;;text-decoration:inherit;">v</abbr></a></li><li class="nv-talk"><a href="/enwiki/wiki/Template_talk:Ralph_Ellison_navbox" title="Template talk:Ralph Ellison navbox"><abbr title="Discuss this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;;text-decoration:inherit;">t</abbr></a></li><li class="nv-edit"><a class="external text" href="https://en.wikipedia.org/enwiki/w/index.php?title=Template:Ralph_Ellison_navbox&action=edit"><abbr title="Edit this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;;text-decoration:inherit;">e</abbr></a></li></ul></div><div id="Ralph_Ellison" style="font-size:114%;margin:0 4em"><a href="/enwiki/wiki/Ralph_Ellison" title="Ralph Ellison">Ralph Ellison</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Fiction</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a class="mw-selflink selflink">Invisible Man</a></i> (1952)</li>
<li><i>Flying Home and Other Stories</i> (1996)
<ul><li>"<a href="/enwiki/wiki/A_Party_Down_at_the_Square" title="A Party Down at the Square">A Party Down at the Square</a>"</li></ul></li>
<li><i><a href="/enwiki/wiki/Juneteenth_(novel)" title="Juneteenth (novel)">Juneteenth</a></i> (1999)</li>
<li><i><a href="/enwiki/wiki/Three_Days_Before_the_Shooting..." title="Three Days Before the Shooting...">Three Days Before the Shooting...</a></i> (2010)</li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Essays</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/enwiki/wiki/Shadow_and_Act" title="Shadow and Act">Shadow and Act</a></i> (1964)</li>
<li><i><a href="/enwiki/w/index.php?title=Going_To_The_Territory&action=edit&redlink=1" class="new" title="Going To The Territory (page does not exist)">Going To The Territory</a></i> (1986)</li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><a href="/enwiki/wiki/John_F._Callahan" title="John F. Callahan">John F. Callahan</a></li>
<li><a href="/enwiki/wiki/Adam_Bradley_(literary_critic)" title="Adam Bradley (literary critic)">Adam Bradley</a></li></ul>
</div></td></tr></tbody></table></div>
<table class="wikitable succession-box noprint" style="margin:0.5em auto; font-size:95%;clear:both;">
<tbody><tr>
<th colspan="3" style="border-top: 5px solid #FFF179;">Awards
</th></tr>
<tr style="text-align:center;">
<td style="width:30%;" rowspan="1">Preceded by<br /><span style="font-weight: bold"><a href="/enwiki/wiki/From_Here_to_Eternity_(novel)" title="From Here to Eternity (novel)"><i>From Here to Eternity</i></a><br /><a href="/enwiki/wiki/James_Jones_(author)" title="James Jones (author)">James Jones</a></span>
</td>
<td style="width: 40%; text-align: center;" rowspan="1"><b> <a href="/enwiki/wiki/National_Book_Award_for_Fiction" title="National Book Award for Fiction">National Book Award for Fiction</a></b><br />1953
</td>
<td style="width: 30%; text-align: center;" rowspan="1">Succeeded by<br /><span style="font-weight: bold"><i><a href="/enwiki/wiki/The_Adventures_of_Augie_March" title="The Adventures of Augie March">The Adventures of Augie March</a></i><br /><a href="/enwiki/wiki/Saul_Bellow" title="Saul Bellow">Saul Bellow</a></span>
</td></tr>
</tbody></table>
<div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_frameless_&#124;text-top_&#124;10px_&#124;alt=Edit_this_at_Wikidata_&#124;link=https&#58;//www.wikidata.org/wiki/Q1784288#identifiers&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_frameless_&#124;text-top_&#124;10px_&#124;alt=Edit_this_at_Wikidata_&#124;link=https&#58;//www.wikidata.org/wiki/Q1784288#identifiers&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/enwiki/wiki/Help:Authority_control" title="Help:Authority control">Authority control</a> <a href="https://www.wikidata.org/wiki/Q1784288#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="/upwiki/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" style="vertical-align: text-top" srcset="/upwiki/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, /upwiki/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">General</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4232411-7">Integrated Authority File (Germany)</a></span></li>
<li><a href="/enwiki/wiki/VIAF_(identifier)" class="mw-redirect" title="VIAF (identifier)">VIAF</a>
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/176059326">1</a></span></li></ul></li>
<li><span class="nowrap"><a rel="nofollow" class="external text" href="https://www.worldcat.org/identities/containsVIAFID/176059326">WorldCat (via VIAF)</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National libraries</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb12120540n">France</a> <a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb12120540n">(data)</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/names/no2006009070">United States</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an35062839">Australia</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><a href="/enwiki/wiki/SUDOC_(identifier)" class="mw-redirect" title="SUDOC (identifier)">SUDOC (France)</a>
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/029617448">1</a></span></li></ul></li></ul>
</div></td></tr></tbody></table></div>
<p>.
</p>
' |
Whether or not the change was made through a Tor exit node (tor_exit_node) | false |
Unix timestamp of change (timestamp) | 1631572122 |