Ralph Ellison

"[T]o hell with being ashamed of what you liked."

"What and how much had I lost by trying to do only what was expected of me instead of what I myself had wished to do?"

"So she doesn't think Iʼm black enough. What does she want, a black-face comedian? [...] Maybe she wants to see me sweat coal tar, ink, shoe polish, graphite. What was I, a man or a natural resource?"

"The clock ticked with empty urgency, as though trying to catch up with the time. In the street a siren howled."

"And yet I am what they think I am."

"For now I had begun to believe, despite all the talk of science around me, that there was a magic in spoken words."

"I do not know if all cops are poets, but I know that all cops carry guns with triggers."

"Everywhere I've turned somebody has wanted to sacrifice me for my good—only they were the ones who benefited. And now we start on the old sacrificial merry-go-round. At what point do we stop?"

"They were very much the same, each attempting to force his picture of reality upon me and neither giving a hoot in hell for how things looked to me."

"And I knew that it was better to live out one's own absurdity than to die for that of others."

"[T]he world is just as concrete, ornery, vile, and sublimely wonderful as before, only now I better understand my relation to it and it to me."

"Whence all this passion toward conformity anyway?—diversity is the word."

"America is woven of many strands; I would recognize them and let it so remain. It's "winner take nothing" that is the great truth of our country or of any country. Life is to be lived, not controlled; and humanity is won by continuing to play in face of certain defeat. Our fate is to become one, and yet many— This is not prophecy, but description."

"Sometimes I feel the need to reaffirm all of it, the whole unhappy territory and all the things loved and unlovable in it, for all of it is part of me."

"Without the possibility of action, all knowledge comes to one labeled "File and forget.""

"I denounce because though implicated and partially responsible, I have been hurt to the point of abysmal pain, hurt to the point of invisibility. And I defend because in spite of all I find that I love. In order to get some of it down I have to love. I sell you no phony forgiveness, I'm a desperate man—but too much of your life will be lost, its meaning lost, unless you approach it as much through love as through hate. So I approach it through division. So I denounce and I defend and I hate and I love."

"And the mind that has conceived a plan of living must never lose sight of the chaos against which that pattern was conceived. That goes for societies as well as for individuals."

"Who knows but that, on the lower frequencies, I speak for you?"

"Words are everything and don't you forget it, ever."

"Meaning grows in the mind, but the shape and form of the act remains."

"But what a feeling can come over a man just from seeing the things he believes in and hopes for symbolized in the concrete form of a man. In something that gives a focus to all the other things he knows to be real. Something that makes unseen things manifest and allows him to come to his hopes and dreams through his outer eye and through the touch and feel of his natural hand."

"...the way we talk...you know that our people like to talk around a subject even when there's no danger. They enjoy it, and if they know you well enough they're apt to leave their true subject unstated so you'll have to supply the missing meaning."

"God is love, I said, but art's the possibility of forms, and shadows are the source of identity."

"I don't think that the Negro problem in America can be even discussed coherently without bearing in mind its context; its context being the history, traditions, customs, the moral assumptions and preoccupations of the country; in short, the general social fabric. Appearances to the contrary, no one in America escapes its effects and everyone in America bears some responsibility for it. I believe this the more firmly because it is the overwhelming tendency to speak of this problem as though it were a thing apart. But in the work of Faulkner, in the general attitude and certain specific passages in Robert Penn Warren, and, most significantly, in the advent of Ralph Ellison, one sees the beginnings-at least-of a more genuinely penetrating search. Mr. Ellison, by the way, is the first Negro novelist I have ever read to utilize in language, and brilliantly, some of the ambiguity and irony of Negro life."

"To be a Negro in this country is really-Ralph Ellison has said it very well-never to be looked at. What white people see when they look at you is not visible. What they do see when they do look at you is what they have invested you with. What they have invested you with is all the agony, and pain, and the danger, and the passion, and the torment-you know, sin, death, and hell of which everyone in this country is terrified."

"Ralph Ellison had a similar experience with a fire and lost a book he was writing; it was such a terrible blow to him that he never seemed to be able to come back from it."

"I was preoccupied with books by black people that approached the subject, but I always missed some intimacy, some direction, some voice. Ralph Ellison and Richard Wright-all of whose books I admire enormously-I didn't feel were telling me something. I thought they were saying something about it or us that revealed something about us to you, to others, to white people, to men. Just in terms of the style, I missed something in the fiction that I felt in a real sense in the music and poetry of black artists. When I began writing I was writing as though there was nobody in the world but me and the characters, as though I was talking to them, or us, and it just had a different sound to it."

"Dark matter as a metaphor offers us an interesting way of examining blacks and science fiction. The metaphor can be applied to a discussion of the individual writers as black artists in society and how that identity affects their work. It can also be applied to a discussion of their influence and impact on the sf genre in general. While the "black sf as dark matter" metaphor is novel, the concept behind it is not. The metaphor is neither farfetched nor uncommon if one considers popular themes within the black literary tradition. An excellent example is Ralph Ellison's Invisible Man (1945), a novel that introduced the idea of black invisibility. Ellison's "battle royale" scene and the ending...is classic sf."

"In his 1953 collection of cultural criticism, Shadow and Act, Ralph Ellison cautioned readers not to stumble "over that ironic obstacle which lies in the path of anyone who would fashion a theory of American Negro culture while ignoring the intricate network of connections which binds Negroes to the larger society. To do so is to attempt a delicate brain surgery with a switch-blade. And it is possible that any viable theory of Negro American culture obligates us to fashion a more adequate theory of American culture as a whole.""