Author: Ralph Ellison

Cites

• Herman Melville (1)
  • IN: Invisible Man (1995) Bildungsroman, African-American Literature, Social Commentary, American
    EPIGRAPH: "You are saved," cried Captain Delano, more and more astonished and pained; "you are saved: what has cast such a shadow upon you?"
    FROM: The Piazza Tales, (1856), Book, US
• T.S. Eliot (1)
  • IN: Invisible Man (1995) Bildungsroman, African-American Literature, Social Commentary, American
    EPIGRAPH: "Harry: I tell you, it is not me you are looking at, / Not me you are grinning at, not me your confidential looks / Incriminate, but that other person, if person, / You thought I was: let your necrophily / Feed upon that carcase…"
    FROM: The Family Reunion, (1939), Play, UK
• T. S. Eliot (1)
  • IN: juneteenth (1999) Fiction, American
    EPIGRAPH: For liberation - not less of love but expanding Of love beyond desire, and so liberation From the future as well as the past. Thus, love of a country Begins as an attachment to our own field of action And comes to find that action of little importance Though never indifferent. History may be servitude, History may be freedom. See, now they vanish, The faces and places, with the self which, as it could, loved them, To become renewed, transfigured, in another pattern.
    FROM: Little Gidding, (1942), Poem, UK

Cited by

• Karla FC Holloway (1)
  • IN: Legal Fictions: constituting race, composing literature (1949) American Literature, History and Criticism, NULL
    EPIGRAPH: Consult the text!
    FROM: The World and the Jug, (1964), EssY, US
• Henry Louis Gates Jr. (1)
  • IN: The Signifying Monkey (1988) American Literature, History and Criticism, American
    EPIGRAPH: There is a cruel contradiction implicit in the art form itself. For true jazz is an art of individual assertion within and against the group. Each true jazz moment (as disctinct from the uninspired commercial performance) springs from a contest in which each artist challenges all the rest, each solo flight, or improvisation, represents (like the successive canvases of a painter) a definition of his identity: as individual, as member of the collectivity and as link in the chain of tradition. Thus, because jazz finds its very life in an endless improvisation upon traditional metrials, the jazzman must lose his identity even as he finds it.
    FROM: Shadow and Act, (1964), Book, US
• Henry B. Wonham (1)
  • IN: Criticism and the Color Line: Desegregating American Literary Studies (1996) American Literature, History and criticism, NULL
    EPIGRAPH: Perhaps the most insidious and least understood form of segregation is that of the word.
    FROM: Twentieth-century fiction and the black mask of humanity, (1946), Essay, US
• Steve Erickson (1)
  • IN: Shadowbahn (2017) Fiction, American
    EPIGRAPH: In those days it was either live with music or die with noise, and we chose rather desperately to live.
    FROM: Living with Music, (2001), Book, US
• Sam Graham-Felsen (1)
  • IN: Green (2018) Fiction, American
    EPIGRAPH: Why, you could cause us the greatest humiliation simply by confronting us with something we liked.
    FROM: Invisible Man, (1952), Novel, US