"People rationalize what they shun or are incapable of dealing with; these superstitions and their rationalizations become ritual as they govern behavior." - Ralph Ellison
"The understanding of art depends finally upon one’s willingness to extend one’s humanity and one’s knowledge of human life." - Ralph Ellison
When Invisible Man, Ralph Ellison’s first novel, received the National Book Award for 1953, the author in his acceptance speech noted with dismay and gratification the conferring of the award to what he called an “attempt at a major novel.” His gratification was understandable, so too his dismay when one considers the amount of objectivity Mr. Ellison can display toward his own work. He felt the state of United States fiction to be so unhappy that it was an “attempt” rather than an achievement which received the important award.
Many of us will disagree with Mr. Ellison’s evaluation of his own work. Its crackling, brilliant, sometimes wild, but always controlled prose warrants this; so does the care and logic with which its form is revealed, and not least its theme: that of a young negro who emerges from the South and—in the tradition of James’s Hyacinth Robinson and Stendhal’s Julien Sorel—moves into the adventure of life at large.
In the summer of 1954, Mr. Ellison came abroad to travel and lecture. His visit ended in Paris where for a very few weeks he mingled with the American expatriate group to whom his work was known and of much interest. The day before he left he talked to us in the Café de la Mairie du VIe about art and the novel.
Ralph Ellison takes both art and the novel seriously. And the Café de la Mairie has a tradition of seriousness behind it, for here was written Djuna Barnes’s spectacular novel,Nightwood. There is a tradition, too, of speech and eloquence, for Miss Barnes’s hero, Dr. O’Connor, often drew a crowd of listeners to his mighty rhetoric. So here gravity is in the air, and rhetoric too. While Mr. Ellison speaks, he rarely pauses, and although the strain of organizing his thought is sometimes evident, his phraseology and the quiet, steady flow and development of ideas are overwhelming. To listen to him is rather like sitting in the back of a huge hall and feeling the lecturer’s faraway eyes staring directly into your own. The highly emphatic, almost professorial intonations, startle with their distance, self-confidence, and warm undertones of humor.
To read the full interview, click here.