Frases de Ralph Ellison

Fonte: Invisible Man (1952), Chapter 13.

Fonte: Invisible Man

Fonte: Invisible Man (1952), Chapter 7.

Fonte: Invisible Man (1952), Chapter 1.
Contexto: All my life I had been looking for something, and everywhere I turned someone tried to tell me what it was. I accepted their answers too, though they were often in contradiction and even self-contradictory. I was naïve. I was looking for myself and asking everyone except myself questions which I, and only I, could answer. It took me a long time and much painful boomeranging of my expectations to achieve a realization everyone else appears to have been born with: That I am nobody but myself.

"Society, Morality and the Novel" (1957), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), pp. 699-700.
Contexto: Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos. Man knows, despite the certainties which it is the psychological function of his social institutions to give him, that he did not create the universe, and that the universe is not at all concerned with human values. Man knows that even in this day of marvelous technology and the tenuous subjugation of the atom, that nature can crush him, and that at the boundaries of human order the arts and the instruments of technology are hardly more than magic objects which serve to aid us in our ceaseless quest for certainty. We cannot live, as someone has said, in the contemplation of chaos, but neither can we live without an awareness of chaos, and the means through which we achieve that awareness, and through which we assert our humanity most significantly against it, is in great art. In our time the most articulate art form for defining ourselves and for asserting our humanity is the novel. Certainly it is our most rational art form for dealing with the irrational.

"What These Children Are Like" (1963), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 548.

Fonte: Invisible Man (1952), Chapter 1.
Contexto: I never told you, but our life is a war and I have been a traitor all my born days, a spy in the enemy’s country ever since I give up my gun back in the Reconstruction. Live with your head in the lion’s mouth. I want you to overcome ‘em with yeses, undermine ‘em with grins, agree ‘em to death and destruction, let ‘em swoller you till they vomit or bust wide open...

"Society, Morality and the Novel" (1957), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), pp. 699-700.
Contexto: Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos. Man knows, despite the certainties which it is the psychological function of his social institutions to give him, that he did not create the universe, and that the universe is not at all concerned with human values. Man knows that even in this day of marvelous technology and the tenuous subjugation of the atom, that nature can crush him, and that at the boundaries of human order the arts and the instruments of technology are hardly more than magic objects which serve to aid us in our ceaseless quest for certainty. We cannot live, as someone has said, in the contemplation of chaos, but neither can we live without an awareness of chaos, and the means through which we achieve that awareness, and through which we assert our humanity most significantly against it, is in great art. In our time the most articulate art form for defining ourselves and for asserting our humanity is the novel. Certainly it is our most rational art form for dealing with the irrational.

Prologue.
Invisible Man (1952)
Contexto: I am one of the most irresponsible beings that ever lived. Irresponsibility is part of my invisibility; any way you face it, it is a denial. But to whom can I be responsible, and why should I be, when you refuse to see me? And wait until I reveal how truly irresponsible I am. Responsibility rests upon recognition, and recognition is a form of agreement.

Fonte: Invisible Man

Fonte: Invisible Man (1952), Chapter 6.

Fonte: Invisible Man

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Fonte: Invisible Man

Epilogue (last line of the novel).
Fonte: Invisible Man (1952)

Fonte: Invisible Man (1952), Chapter 21.

Shadow and Act (New York: Random House, 1964), Introduction, p. xix; in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 56.

Epilogue.
Fonte: Invisible Man (1952)

Fonte: Shadow and Act

Prologue.
Invisible Man (1952)

Fonte: Invisible Man

Prologue.
Fonte: Invisible Man (1952)

Epilogue.
Fonte: Invisible Man (1952)

Epilogue.
Fonte: Invisible Man (1952)

Fonte: Invisible Man (1952), Chapter 1.

Variante: And I knew that it was better to live out one's own absurdity than to die for that of others.
Fonte: Invisible Man (1952), Chapter 25.

Fonte: Invisible Man (1952), Chapter 23.

Fonte: Invisible Man