To look at Charles W. White’s paintings is to see early 1900s Black America through the lens of a social realist. African-American novelist Ralph Ellison stood behind men and women, like Charles White who used art to express their personal views on their experiences of being Black in America (Heritage Gallery). “Most of the social realists of the period were concerned less with tragedy than with injustice,” said Ellison during a 1955 interview published in the Paris Review. “I wasn’t, and am not, primarily concerned with injustice, but with art” (Chester 1955). As early as the late 1700s, blacks began narrating and writing autobiographies in an effort to create “in words, a portrait of a human being” and to combat the derogatory images prevalent in American visual art forms (Gates 1990).
In his one of his most renowned short stories entitled “Battle Royal,” Ellison takes social realism from art to pen and paper, reflecting on the race, class and gender conflicts that the narrator must come to grips with as a “black man in white America.” In the story, the narrator, a young black high school graduate comes to the realization that he is an “invisible man.” The short story tells of the strange events leading up to this realization.
Shortly towards the end of his graduation, the narrator is invited to deliver his graduation speech at a gathering in front of upper-class white people who also lived in his small southern town. Upon arrival, he and his classmates were unexpectedly thrusted into a WWE Smackdown-styled fight, against each other. Before the fight, a white exotic dancer dances closely in front of the classmates. The boys, filled with terror are then blindfolded and made to fight until only two of them remain. The narrator, wh...
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...d, exotic dancing woman. As the woman danced before the white men and the black boys, “some of the boys stood with lowered heads, trembling,” the narrator explained. (Meyer 279) This woman, as classless as she appears, is still “forbidden fruit” in the eyes of the black men who held their heads down in shame and fear. Ellison uses social realism this part of the story to give life to the hierarchy of white men, women and black men during that era.
In conclusion, the story of “Battle Royal” embodies the race, class and gender issues between white America and the blacks who lived there and who spent most of their lives searching for their true identities. It is arguable that expressions of social realism is evident strictly in art form but Ellison’s thoughtful use of dialogue, imagery and perception paint a vivid image of racial America during the 1930s and 40s.
Indeed, the narrator comes from a long line of black men who’ve felt the difficult struggles while trying to live alongside the white people. The protagonist speaks of his grandparents, who felt after the civil war, they were free, but on his deathbed, however, the grandfather spoke to the narrator’s father, telling the protagonist’s father that he himself felt like a traitor. He advised the narrator’s father to subvert the whites. The narrator recalls a speech he had given in high school—one that spoke of ways to advance as a black man in America. With great success, the protagonist is invited to deliver this speech to his community’s white citizens. Upon arriving, the narrator is told to take part in what is called a battle royal; believing its part of the entertainment, the narrator agrees to take part. The white men then blindfold the youths and order them to begin fighting each other. The narrator lasts until the last round, when he suffers a loss. After the men have removed the blindfolds, they lead the black men to a rug covered with coins and bills. The boys dive for the money, but discover that an electric current runs through the rug. Having endured the battle royal, and when it comes time for the narrator to give his speech, the white men all laugh and ignore him. When the narrator accidently says “social equali...
Emory Douglas was born and raised in Grand Rapids, Michigan, until 1951 when he and his mother relocated to the San Francisco Bay Area. At the time San Francisco was the hub of African American organizations that arranged events aimed at overthrowing the social injustices within the Bay Area’s black communities. As a minor immersed within the community Douglas became captivated by Charles Wilbert White, an African American social realist artist whom created various monochrome sketches and paintings, “transforming American scenes into iconic modernist narratives.” Not long after, Douglas was incarcerated at the Youth Training School in Ontario, California where he spent countless hours working in the penitentiary’s printery. It was not until the mid-1960’s when Douglas registered in the City College of San Francisco, majoring in commercial art and graphic design. Soon after, Douglas went to a Black Panthers rally, where he encountered Bobby Seale and Huey Newton; during ...
	The narrator in Ellison’s short story suffers much. He is considered to be one of the brighter youths in his black community. The young man is given the opportunity to give a speech to some of the more prestigious white individuals. The harsh treatment that he is dealt in order to perform his task is quite symbolic. It represents the many hardships that the African American people endured while they fought to be treated equally in the United States. He expects to give his speech in a positive and normal environment. What faces him is something that he never would have imagined. The harsh conditions that the boys competing in the battle royal must face are phenomenal. At first the boys are ushered into a room where a nude woman is dancing. The white men yell at the boys for looking and not looking at the woman. It is as if they are showing them all of the good things being white can bring, and then saying that they aren’t good enough for it since they were black. Next the boys must compete in the battle royal. Blindly the boys savagely beat one another. This is symbolic of the ...
George Schuyler’s article “The Negro Art Hokum” argues that the notion of African-American culture as separate from national American culture is nonsense. To Schuyler, all seemingly distinct elements of African-American culture and artistic endeavors from such are influenced by the dominant white American culture, and therefore, only American. The merit of Schuyler’s argument stems from the fact that it is practically impossible for one culture to exist within the confines of another without absorbing certain characteristics. The problem with Schuyler’s argument that Langston Hughes notes in his response article, “The Negro Artist and the Racial Mountain,” is that it assumes complete assimilation of African-Americans by a singular national culture. Fundamental to Hughes’ rebuttal is the allowance of a unique African-American culture extant of the standards of a singular American cultural identity. For Hughes, this unique culture lies within the working-class, out of sight of the American national culture. This culture, while neither completely African nor American, maintains the vibrant and unique roots of the African-American experience. Schuyler advocates cultural assimilation, while Hughes promotes cultural pluralism, in which minority cultures maintain their distinctive qualities in the face of a dominant national identity.
The main character is completely alienated from the world around him. He is a black man living in a white world, a man who was born in the South but is now living in the North, and his only form of companionship is his dying wife, Laura, whom he is desperate to save. He is unable to work since he has no birth certificate—no official identity. Without a job he is unable to make his mark in the world, and if his wife dies, not only would he lose his lover but also any evidence that he ever existed. As the story progresses he loses his own awareness of his identity—“somehow he had forgotten his own name.” The author emphasizes the main character’s mistreatment in life by white society during a vivid recollection of an event in his childhood when he was chased by a train filled with “white people laughing as he ran screaming,” a hallucination which was triggered by his exploration of the “old scars” on his body. This connection between alienation and oppression highlight Ellison’s central idea.
Everyday, racism is perceived as one of the most negative aspects of society. When people think of racism, they obviously see hatred, evil , and ignorance. It has been a part of world culture since recorded history and , no doubt , before that. When one thinks of racism in the United States, invariably , though not only , the struggle of the African-American is singled out. That is the main issue Ellison so powerfully addresses in his short story "Battle Royal". In it the author allows us to see the world through the eyes of a young black boy who is struggling to succeed in a predominantly white society. The thing that is absolutely essential to our understanding of the story
At first, the boys are taken to a room where a nude woman is dancing. When the boys turn their heads away, they are yelled at for not looking. The tone of the rebuke implies that the blacks were not entitled to most of the ‘good’ things being white could bring them and that they weren’t really good enough for them. The boys then compete in the Battle Royal. This classic example of symbolism shows the fight African Americans have been putting up against an unfair system over time and how it was necessary to persevere and have courage even when hope diminished. The boys fiercely beat one another. This may perhaps also represent in some small part the extent to which a united community’s harmony may be disrupted and damaged...
Ellison begins "Battle Royal" with a brief introduction to the story's theme with a passage from the Invisible Man's thoughts: "All my life I had been looking for something, and everywhere I turned someone tried to tell me what it was . . . I was looking for myself and asking everyone 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. But first I had to discover that I am an invisible man!" (Ellison, 556). In this passage, Ellison reveals the identity crisis faced by not only the Invisible Man, but by the entire African American race as well. He builds on this theme as he follows the I.M. through his life experiences. ...
The 1940s represent a decade of turmoil for the United States in general. Perhaps no group of people struggled more during that time period, however, than African Americans. With racial segregation prevalent, particularly in the South, opportunity was lacking for African-Americans. However, Ralph Ellison suggests in “Battle Royal” that due to the lack of racial unity among black men as well as a certain amount of naiveté, black men prevented themselves from succeeding more so than their white oppressors.
To understand the narrator of the story, one must first explore Ralph Ellison. Ellison grew up during the mid 1900’s in a poverty-stricken household (“Ralph Ellison”). Ellison attended an all black school in which he discovered the beauty of the written word (“Ralph Ellison”). As an African American in a predominantly white country, Ellison began to take an interest in the “black experience” (“Ralph Ellison”). His writings express a pride in the African American race. His work, The Invisible Man, won much critical acclaim from various sources. Ellison’s novel was considered the “most distinguished novel published by an American during the previous twenty years” according to a Book Week poll (“Ralph Ellison”). One may conclude that the Invisible Man is, in a way, the quintessence Ralph Ellison. The Invisible Man has difficulty fitting into a world that does not want to see him for who he is. M...
Margolies, Edward. “History as Blues: Ralph Ellison’s Invisible Man.” Native Sons: A Critical Study of Twentieth-Century Negro American Authors. J.B. Lippincott Company, 1968. 127-148. Rpt. in Contemporary Literary Criticism. Ed. Daniel G. Marowski and Roger Matuz. Vol. 54. Detroit: Gale, 1989. 115-119. Print.
In Ralph Ellison’s novel The Invisible man, the unknown narrator states “All my life I had been looking for something and everywhere I turned someone tried to tell me what it was…I was looking for myself and asking everyone except myself the question which I, and only I, could answer…my expectations to achieve a realization everyone else appears to have been born with: That I am nobody but myself. But first I had to discover that I am an invisible man!” (13). throughout the novel, the search for identity becomes a major aspect for the narrator’s journey to identify who he is in this world. The speaker considers himself to be an “invisible man” but he defines his condition of being invisible due to his race (Kelly). Identity and race becomes an integral part of the novel. The obsession with identity links the narrator with the society he lives in, where race defines the characters in the novel. Society has distinguished the characters in Ellison’s novel between the African and Caucasian and the narrator journey forces him to abandon the identity in which he thought he had to be reborn to gain a new one. Ellison’s depiction of the power struggle between African and Caucasians reveals that identity is constructed to not only by the narrator himself but also the people that attempt to influence. The modernized idea of being “white washed” is evident in the narrator and therefore establishes that identity can be reaffirmed through rebirth, renaming, or changing one’s appearance to gain a new persona despite their race. The novel becomes a biological search for the self due through the American Negroes’ experience (Lillard 833). Through this experience the unknown narrator proves that identity is a necessary part of his life but race c...
Racism has been a problem in society for decades and even though people have taken stands for equality, racism is still present. People who felt on the outside during their life tried in any way to be heard since their own thoughts were valuable when taking steps closer to equality. Speeches, art, music, and literature were all valuable sources when African Americans spoke their minds. The Harlem Renaissance and personal experiences, being main inspirations, motivated Hughes to take new and creative approaches such as folk and jazz poetry. Langston Hughes was a voice that got across the unfair treatment and limited opportunities that many African Americans experienced throughout their lifetime.
The story “Battle Royal” is placed in an era when there was many issues in America. The issues of racism and sexism are the few that are show in this story. This story gives a real life account of the discrimination that was happening during this time through the eyes of the narrator. The story shows the true character of the people in the story and their intentions. The narrator is also battling internal and external battles throughout the story. There are uses of symbolism in the story that show the issues of the era. The battles going on throughout the story can be understood through the grandfather’s death bed words, the leading white citizens, the symbolism of the dancer, and the cruelty of the boxing match.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.