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Ralph Ellison, author of Invisible Man
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10 Facts About Ralph Ellison's 'Invisible Man'

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Ralph Ellison, author of Invisible Man
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For a generation marked by civil rights battles, the arrival of Ralph Ellison’s novel Invisible Man in 1952 signaled a new chapter in how people of color were depicted in literature. Ellison’s unnamed protagonist was a rejection of cultural stereotypes, grappling with his identity in a prejudiced world and attempting to make sense of the unease around him.

Since its publication, Invisible Man has been heralded as one of the most important novels of the 20th century. Ellison won a National Book Award for Fiction in 1953, and it’s been heavily circulated in classrooms ever since. Take a look at some things you might not know about Ellison and his landmark work.

1. ELLISON EXPECTED TO BECOME A MUSICIAN.

Picking up the cornet at the age of 8, Ralph Ellison (1914-1994) fell deeply in love with music while growing up in Oklahoma City. An appreciation for jazz and classical music led to his enrolling at the Tuskegee Institute as a music major at 19. When he visited New York City during his senior year, he was unable to return to finish school due to a lack of funds both on his end and Tuskegee’s—it had closed its music program. While in the city, he befriended author Richard Wright. Ellison’s passions turned to writing instead.

2. INVISIBLE MAN TOOK SEVEN YEARS TO WRITE.

Following the end of his service as a cook in the United States Merchant Marine during World War II, Ellison acted further on Wright’s encouragement and began to write what would become Invisible Man. The work took from 1945 to 1952, a seven-year stretch that would foreshadow Ellison’s difficulties in finishing future projects.

3. IT STARTED WITH JUST ONE LINE.

Although they shared similar experiences, Ellison has warned that the protagonist of Invisible Man is not a stand-in for the author. The novel began when Ellison was home from the war and visiting a friend in Vermont. Ellison recalled that he typed “I am an invisible man” almost spontaneously, without having any additional idea of where he was going or what the sentence meant.

4. THE FIRST CHAPTER WAS PUBLISHED YEARS EARLIER.

While still toiling on the complete novel, Ellison published the first chapter in Horizon magazine in 1947. The emotionally-charged nature of the scene—Ellison writes of black students forced to box blindfolded for the amusement of white spectators—led the literary community to brace for a potent novel by Ellison, even though he was first-time author.

5. HE WAS HIGHLY CRITICAL OF HIS ACCOMPLISHMENT.

Invisible Man was an instant success, spending 16 weeks on bestseller lists and hailed by critics as one of the most impressive novels of the century. But in accepting his National Book Award in 1953, Ellison referred to the book as an “attempt” at a great novel.

6. THE FBI KEPT A FILE ON HIM.

Ellison's considerable success in articulating the civil rights climate of the mid-20th century, and his tangential relationship to the Communist Party, prompted J. Edgar Hoover’s infamously paranoia-fueled FBI to keep a close watch on the author. The bureau amassed more than 1400 pages of information about his political and professional activities. Agents were even able to preview Invisible Man prior to publication thanks to informers in the publishing industry.

7. THE BOOK WASN’T INTENDED TO BE ONLY ABOUT DISCRIMINATION IN AMERICA.

Although Invisible Man has been heralded as a definitive exploration of how people of color are minimized in America, Ellison said that that is only one interpretation of the book—another is that it’s a parable about integration. “When I was a kid, I read the English novels. I read Russian translations and so on,” he said in 1983. “And always, I was the hero. I identified with the hero. Literature is integrated. And I'm not just talking about color, race. I'm talking about the power of literature to make us recognize again and again the wholeness of the human experience."

8. QUINCY JONES WANTED TO PRODUCE A FILM VERSION.

Like Catcher in the Rye, Invisible Man has never been translated into film or television. Music producer Quincy Jones once inquired about the rights, but nothing materialized: Ellison thought no film could capture what he had in the novel. It wasn’t until 2012 that Ellison’s estate allowed a stage production in Boston and Washington to be mounted, providing no new dialogue was added.

9. HE DEVELOPED SERIOUS WRITER’S BLOCK.

Invisible Man took years to finish, but it eventually saw the light of day. In the following four decades, Ellison would try and fail to complete a second, ambitious novel about a white child raised by a black minister. Theories abound as to why Ellison could never seem to complete the work, from a 1965 fire that destroyed a portion of the manuscript to his anxiety over how it would be received. After Ellison’s death in 1994, the novel appeared posthumously under the title Juneteenth.

10. IT WAS BANNED IN NORTH CAROLINA SCHOOLS IN 2013.

Following a complaint lodged by a parent that objected to the book’s language and content as being unsuitable for 11th graders, Invisible Man was pulled from the Randolph County school district libraries in North Carolina in 2013. The board that had voted in favor of the ban quickly reversed course after a local and national protest, with one bookstore handing out free copies to area students.

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Ralph Ellison, author of Invisible Man
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This Just In
Pablo Neruda's Death Wasn't Caused by Cancer, Experts Conclude
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Pablo Neruda—whose real name was Ricardo Eliecer Neftalí Reyes Basoalto—died on September 23, 1973, less than two years after he was awarded the 1971 Nobel Prize in Literature. The official cause of death was recorded as cancer cachexia, or wasting syndrome, from prostate cancer. But while Neruda did have cancer, new tests on his remains indicate that the left-leaning Chilean politician and poet didn’t actually succumb to the disease, according to BBC News.

It’s still unclear what, exactly, caused Neruda’s demise. But in a recent press conference, a team of 16 international experts announced that they were "100 percent convinced" that the author's death certificate "does not reflect the reality of the death,” as quoted by the BBC.

Neruda died in 1973 at the age of 69, less than two weeks after a military coup led by General Augusto Pinochet ousted the Marxist government of President Salvador Allende. Neruda, a Communist, was a former diplomat and senator, and a friend of the deposed politician.

In 2011, Manuel Araya, Neruda’s chauffeur, claimed that the poet had told him that Pinochet’s men had injected poison into his stomach as he was hospitalized during his final days, Nature reports. The Communist Party of Chile filed a criminal lawsuit, and Neruda’s remains were exhumed in 2013 and later reburied in 2016, according to the BBC.

Many of Neruda’s relatives and friends were reportedly skeptical of Araya’s account, as was the Pablo Neruda Foundation, according to The New York Times. But after samples of Neruda’s remains were analyzed by forensic genetics laboratories in four nations, Chile’s government acknowledged that it was “highly probable” that his official cause of death was incorrect.

And now, the team of scientists has unanimously ruled out cachexia as having caused Neruda’s death. “There was no indication of cachexia,” said Dr. Niels Morling, a forensic medical expert from the University of Copenhagen, as quoted by The Guardian. Neruda “was an obese man at the time of death. All other circumstances in his last phase of life pointed to some kind of infection.”

The investigating team says that their analysis yielded what might be lab-cultivated bacteria, although it could have also originated from the burial site or been produced during the body's decomposition process. Test results will be available within a year, they say.

[h/t BBC News]

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Ralph Ellison, author of Invisible Man
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The Charming English Fishing Village That Inspired Dracula
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Whitby as seen from the top of the 199 Steps
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The train departed King's Cross at 10:25 a.m. on July 29, 1890. Bram Stoker settled wearily into the carriage for the six-hour journey to Whitby, the fashionable and remote seaside village in North Yorkshire. The sooty sprawl of London gave way to green grids of farmland and pasture, and then windswept moors blanketed in heather and wild roses.

Stoker needed this holiday. The 42-year-old manager of London's Lyceum Theatre had just finished an exhausting national tour with his employer, the celebrated but demanding actor Henry Irving. The unrelenting task of running the business side of Irving's many theatrical enterprises for the past decade had left Stoker with little time for himself. When the curtains fell at the end of each night's performance, he may have felt that the energy had been sucked out of him.

Now he looked forward to a three-week getaway where he would have time to think about his next novel, a supernatural tale that harnessed the sources of Victorian anxiety: immigration and technology, gender roles and religion. In ways he didn't foresee, the small fishing port of Whitby would plant the seeds for a vampire novel that would terrify the world. Stoker started out on an innocent and much-deserved vacation, but ended up creating Dracula.

A photo of Bram Stoker
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As Stoker emerged from the train station in Whitby, the sounds and smell of the sea would have restored him after the long trip. He loaded his trunk into a horse-drawn cab for the journey up the West Cliff, where new vacation apartments and hotels served the crowds of holidaymakers. He checked into a flat at 6 Royal Crescent, a half-circle of elegant Georgian-style townhomes that faced the ocean.

He often felt invigorated by the seashore: "He's finally on a holiday, away from the hustle and bustle of London, the Lyceum Theatre, and Henry Irving's dominance over him," Dacre Stoker, a novelist and the author's great-grandnephew, tells Mental Floss. "The ocean and the seaside play into Bram's life, and, I believe, in stimulating his imagination."

Stoker's wife Florence and their 10-year-old son Noel would join him the following week. Now was his chance to explore Whitby on his own.

The East Cliff with Tate Hill Pier in the foreground
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"A curious blend of old and new it is," wrote a travel correspondent for the Leeds Mercury. The River Esk divided the town into two steep halves known as the West and East Cliffs. Down a tangle of paths from the brow of the West Cliff, Stoker found himself on the town's famed beach, where people gathered to watch the many vessels at sea or walked along the gentle surf. At the end of the beach was the Saloon, the nucleus of Whitby's social whirl.

"The enterprising manager engages the best musical and dramatic talent procurable, whilst on the promenade a selected band of professional musicians gives performances daily," wrote Horne's Guide to Whitby. Holidaymakers could purchase a day pass to the Saloon and enjoy afternoon tea, tennis, and endless people-watching.

Next to the Saloon, the West Pier featured a long promenade parallel to the river and a three-story building containing public baths, a museum with a collection of local fossils, and a subscription library. Shops selling fish and chips, ice cream, and Whitby rock lined the winding streets. Visitors could watch all kinds of fishing vessels discharging their daily catch, and even hop aboard a boat for a night's "herringing" with local fishermen.

Whitby's East Cliff had a more mysterious atmosphere. Across the town's single bridge, tightly packed medieval cottages and jet factories leaned over the narrow cobbled streets, "rising one above another from the water side in the most irregular, drunken sort of arrangement conceivable," the Leeds Mercury reported.

Above the ancient Tate Hill Pier, a stone stairway of 199 steps (which pallbearers used when they carried coffins) led up the cliff to St. Mary's parish church and its graveyard full of weathered headstones. Towering over the whole scene—and visible from nearly any spot in town—were the ruins of Whitby Abbey, a 13th-century pile of Gothic arches that had been built upon the remains of a 7th-century monastery.

"I think [Stoker] was struck by the setting. He's thinking, 'This is perfect. I have the ships coming in, I've got the abbey, a churchyard, a graveyard'," Dacre Stoker says. "Maybe it was by chance, but I think it just became that perfect scene."

Whitby Abbey
Whitby Abbey
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In Dracula, chapters six through eight kick the narrative into frightening action. By then, real estate agent Jonathan Harker has traveled to Transylvania to negotiate Dracula's purchase of a London property and become the vampire's prisoner. His fiancée Mina Murray, her friend Lucy Westenra, and Lucy's mother have traveled to Whitby for a relaxing holiday, but Mina remains troubled by the lack of letters from Jonathan. She confides her worries and records the strange scenes she witnesses in her journal.

On the afternoon of his arrival, according to a modern account compiled by historians at the Whitby Museum, Stoker climbed the 199 Steps to St. Mary's churchyard and found a bench in the southwest corner. The view made a deep impression on Stoker, and he took note of the river and harbor, the abbey's "noble ruin," the houses "piled up one over the other anyhow." In his novel, Mina arrives in late July on the same train as Stoker, mounts the 199 Steps, and echoes his thoughts:

"This is to my mind the nicest spot in Whitby, for it lies right over the town, and has a full view of the harbor ... It descends so steeply over the harbor that part of the bank has fallen away, and some of the graves have been destroyed. In one place part of the stonework of the graves stretches out over the sandy pathway far below. There are walks, with seats beside them, through the churchyard; and people go and sit there all day long looking at the beautiful view and enjoying the breeze. I shall come and sit here very often myself and work."

The churchyard gave Stoker a number of literary ideas. The following day, Stoker chatted there with three leathery old Greenland fisherman who likely spoke in a distinct Yorkshire dialect. They told Stoker a bit of mariner's lore: If a ship's crew heard bells at sea, an apparition of a lady would appear in one of the abbey's windows. "Then things is all wore out," one of the sailors warned.

Stoker ambled between the headstones that sprouted from the thick carpet of grass. Though most of the markers' names and dates had been erased by the wind, he copied almost 100 into his notes. Stoker used one of them, Swales, as the name of the fisherman with a face that is "all gnarled and twisted like the bark of an old tree," who begins talking with Mina in the churchyard. Mina asks him about the legend of the lady appearing in the abbey window, but Swales says it's all foolishness—stories of "boh-ghosts an' barguests an' bogles" that are only fit to scare children.

St. Mary's churchyard
St. Mary's churchyard, which Mina calls "the nicest spot in Whitby."
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For the first few days in August, Stoker was occupied by the summer's social calendar. He likely enjoyed dinner with friends arriving from London, and went to church on Sunday morning. On the 5th, Stoker's wife and son joined him at 6 Royal Crescent. The next several days may have been spent at the Saloon, promenading on the pier, and making social calls, as it was the custom for newly arrived visitors to visit with acquaintances in town.

But Whitby's infamous weather had the ability to turn a sunny day somber in an instant. August 11 was a "grey day," Stoker noted, "horizon lost in grey mist, all vastness, clouds piled up and a 'brool' over the sea." With Florence and Noel perhaps staying indoors, Stoker set off for the East Cliff again and chatted with a Coast Guard boatman named William Petherick. "Told me of various wrecks," Stoker jotted. During one furious gale, a "ship got into harbor, never knew how, all hands were below praying."

The ship was the Dmitry, a 120-ton schooner that had left the Russian port of Narva with a ballast of silver sand. The ship encountered a fierce storm as it neared Whitby on October 24, 1885, and aimed for the harbor.

"The 'Russian' got in but became a wreck during the night," according to a copy of the Coast Guard's log, which Petherick delivered to Stoker. The crew survived. In a picture taken by local photographer Frank Meadow Sutcliffe just a few days after the storm, the Dmitry is shown beached near Tate Hill Pier with its masts lying in the sand.

'The Wreck of the Dmitry' (1885), by Frank Meadow Sutcliffe
The Wreck of the Dmitry (1885), by Frank Meadow Sutcliffe
Courtesy of the Sutcliffe Gallery

Petherick's account gave Stoker the means for his vampire's arrival in England, the moment when the mysterious East disrupts the order of the West. Mina pastes a local newspaper article describing a sudden and ferocious storm that hurled Dracula's ship, the Demeter from Varna, against Tate Hill Pier. The Coast Guard discovered the crew had vanished and the captain was dead. Just then, "an immense dog sprang up on deck and … making straight for the steep cliff … it disappeared in the darkness, which seemed intensified just beyond the focus of the searchlight," the article in Mina's journal reads. The dog was never seen again, but townsfolk did find a dead mastiff that had been attacked by another large beast.

Mina describes the funeral for the Demeter's captain, which Stoker based on scenes from an annual celebration he watched on August 15 called the Water Fete. In reality, thousands of cheerful spectators lined the quays as a local band and choir performed popular songs and a parade of gaily decorated boats sailed up the river, with banners fluttering merrily in the breeze, according to the Whitby Gazette's report. But through Mina, Stoker transformed the scene into a memorial:

"Every boat in the harbor seemed to be there, and the coffin was carried by captains all the way from Tate Hill Pier up to the churchyard. Lucy came with me, and we went early to our old seat, whilst the cortege of boats went up the river to the Viaduct and came down again. We had a lovely view, and saw the procession nearly all the way."

The final week of Stoker's holiday elicited some of the most important details in Dracula. On August 19, he bought day passes to Whitby's museum library and the subscription library. In the museum's reading room, Stoker wrote down 168 words in the Yorkshire dialect and their English meanings from F.K. Robinson's A Glossary of Words Used in the Neighborhood of Whitby, which later formed the bulk of Mr. Swales's vocabulary in his chats with Mina.

One of the words was "barguest," a term for a "terrifying apparition," which also refers specifically to a "large black dog with flaming eyes as big as saucers" in Yorkshire folklore, whose "vocation appears to have been that of a presage of death," according to an account from 1879.

"I do think Stoker meant for that connection," John Edgar Browning, visiting lecturer at the Georgia Institute of Technology and expert in horror and the gothic, tells Mental Floss. "Moreover, he probably would have meant for the people of Whitby in the novel to make the connection, since it was they who perceived Dracula's form as a large black dog."

Downstairs, Stoker checked out books on Eastern European culture and folklore, clearly with the aim of fleshing out the origins of his vampire: Curious Myths of the Middle Ages, a travelogue titled On the Track of the Crescent, and most importantly, William Wilkinson's An Account of the Principalities of Wallachia and Moldovia: with Various Observations Relating to Them.

The library building where Stoker discovered Dracula
The library building where Stoker discovered Dracula
Courtesy of Dacre Stoker

From the latter book, Stoker wrote in his notes, "P. 19. DRACULA in Wallachian language means DEVIL. Wallachians were accustomed to give it as a surname to any person who rendered himself conspicuous by courage, cruel actions, or cunning."

The Wilkinson book gave Stoker not just the geographical origin and nationality for his character, but also his all-important name, redolent of mystery and malice. "The moment Stoker happened upon the name of 'Dracula' in Whitby—a name Stoker scribbled over and over on the same page on which he crossed through [the vampire's original name] 'Count Wampyr,' as if he were savoring the word's three evil syllables—the notes picked up tremendously," Browning says.

By the time Stoker and his family returned to London around August 23, he had developed his idea from a mere outline to a fully fledged villain with a sinister name and unforgettable fictional debut.

"The modernization of the vampire myth that we see in Dracula—and that many contemporary reviewers commented upon—may not have happened, at least to the same degree, without Stoker's visit to Whitby," Browning says. "Whitby was a major catalyst, the contemporary Gothic 'glue', as it were, for what would eventually become the most famous vampire novel ever written."

Bram Stoker visited Whitby only once in his life, but the seaside village made an indelible mark on his imagination. When he finally wrote the scenes as they appear in Dracula, "He placed all of these events in real time, in real places, with real names of people he pulled off gravestones. That's what set the story apart," Dacre Stoker says. "That's why readers were scared to death—because there is that potential, just for a moment, that maybe this story is real."

Additional source: Bram Stoker's Notes for Dracula: A Facsimile Edition, annotated and transcribed by Robert Eighteen-Bisang and Elizabeth Miller

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