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Alan Nadel - Invisible Criticism: Ralph Ellison and the American Canon

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title Invisible Criticism Ralph Ellison and the American Canon author - photo 1

title:Invisible Criticism : Ralph Ellison and the American Canon
author:Nadel, Alan.
publisher:University of Iowa Press
isbn10 | asin:0877453217
print isbn13:9780877453215
ebook isbn13:9781587291630
language:English
subjectEllison, Ralph.--Invisible man, Canon (Literature)
publication date:1988
lcc:PS3555.L625I5358 1988eb
ddc:813/.54
subject:Ellison, Ralph.--Invisible man, Canon (Literature)
Page iii
Invisible Criticism
Ralph Ellison and the American Canon
By Alan Nadel
Picture 2
UNIVERSITY OF IOWA PRESS IOWA CITY
Page iv
University of Iowa Press, Iowa City 52242
Copyright 1988 by the University of Iowa
All rights reserved
Printed in the United States of America
First paperback printing, 1991
Typesetting by G & S Typesetters, Austin, Texas
Printing and binding by BookCrafters, Chelsea, Michigan
No part of this book may be reproduced or utilized in any form or
by any means, electronic or mechanical, including photocopying and
recording, without permission in writing from the publisher.
Library of Congress Cataloging-in-Publication Data
Nadel, Alan, 1947
Invisible criticism: Ralph Ellison and the American canon /
by Alan Nadel.1st ed.
p. cm.
Bibliography: p.
Includes index.
ISBN 0-87745-190-7, ISBN 0-87745-321-7 (pbk.)
1. Ellison, Ralph. Invisible man. 2. Canon (Literature).
I. Title.
PS3555.L62515358 1988 87-25071
813'.54dc19 CIP
Page v
Dedicated to my wife, Amy Perkins,
and my son, Alexander Percy Nadel,
who love words.
Page vii
Contents
Preface
ix
Introduction
xi
1. The Origins of Invisibility
1
2. Translating Tradition
27
3. Tod Clifton: Spiritual and Carnal
63
4. Invisible Man in the Golden Day
85
5. Invisible Criticism:
Melville and Emerson Revised
104
6. Invisible Man, Huck, and Jim
124
Conclusion
147
Notes
151
Works Cited
163
Index
173

Page ix
Preface
It goes a long way back, some twenty years." Thus begins chapter 1 of Invisible Man, and thus begins this book on Invisible Man, which is being published almost twenty years to the day from the time I wrote, as an undergraduate at Brooklyn College, my first words on Ellison's novel. The assignment was to compare two books, at least one of which had to appear in the syllabus, that is, the canon. The canonized text I chose was Adventures of Huckleberry Finn. Because I was poor and for the preceding couple of years had been more or less self-supporting, I chose the second book from a small paperback library I had accumulated two summers earlier, when I worked at near-minimum wage in a book warehouse near the Red Hook docks. It was a place in many ways not unlikeat least as I imagine itInvisible Man's Long Island City paint factory. Each day just before closing I would duck behind the stacks and slip a book under my shirt. Thus I was first exposed to an array of writers, including Sartre, Moravia, and Ellison.
At the time I wrote that undergraduate comparison between Ellison's work and Twain's, I was primarily concerned that the paper was overdue and, equally, that its completion would bring me that much closer to graduation and therefore to the draft. My literary concerns were secondary; I was wholly ignorant, moreover, of the issues of canonicity, historicity, and cultural criticism this fortuitous comparison suggested. I soon became very aware, however, that many similarities existed between the textsallusions and swerveswhich no one else seemed to have noticed. I had never seen the word "hermeneutics," but I knew some encoded relationship was present; I had never heard of "intertextuality," but I knew that in some way the meaning of the text at hand depended greatly on its relationship to other texts with which it had not been commonly grouped; I had never considered the concept of "rehistoricism,'' but I knew Ellison's book was pointing toward some gap, some omission, some blindness in the way we read the past or wrote about it. Or at least I think I knew these things, at some level, as I tried to fathom the uncanny resonance I found between two American novels. Perhaps I just dreamed that I knew those things.
If so, as the invisible man's last sentences in chapter 1 say, "it was a dream I was to remember and dream again for many years after. But at the
Page x
time I had no insight into its meaning. First I had to attend college" (or, in my case, graduate school). As my reading broadened, I found myself returning periodically, with ever-increasing insight, to Invisible Man and, through Invisible Man, to American literature and American studies. For this I am indebted to Ralph Ellison's prophetic novel. Frequently I was also struck with the sense that I had seen something no one else had. Or if others had seen what I had, they had not understood. Or if they had understood, they were not saying so. Or perhaps I was dreaming. I am indebted, therefore, to Ralph Ellison himself, who read an earlier version of my manuscript and responded with an invaluably generous letter convincing me that, like my original term paper, this work on
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