because of this, in all American literature before can blacks be Uncle Cabin “nowhere else Tom’s portrayed so humanly, variously, and (McFarland 95). sympathetically” #2: of critical support cover Music (jazz), People, and Experiences. This paper’s three paragraphs Abounding throughout life, literature and music, especially jazz, flowed as a life Ellison’s blood out of life and into the pages of Music had a profound impact on Invisible Man. Ellison’s life and is central to the novel to the development of the Invisible Man and other Ellison’s characters. For example, the multifaceted Rinehart, the “the gambler…the briber…[and] lover” (Ellison, 498), received his name from a by Invisible Man popular blues song “often sung old friend from Oklahoma, blues Rinehart, a Ellison’s singer Jimmy Rushing: ‘Rinehart, / You’re most 97). Furthermore, like the jazz musicians that Ellison AAW indifferent guy’” (O’Meally, had witnessed, the Invisible Man a skillful and devious master of discerns how Rinehart “is improvisation against in an insane urban backdrop Craft (O’Meally, 90). T.S. Eliot’s “The a similar response from Ellison, claiming that Eliot, like the jazz musician had Wasteland” elicit to know his craft well enough to improvise on it (Busby 8), exactly like Rinehart. is considered a and rightly so since jazz and blues references Invisible Man “blues novel” are so prevalent in the 84). After coming to New York, Ellison took Craft story (O’Meally, advantage of the growing and and frequently soaked in the new “rich open cultural center” heritage at jazz was part of a were clubs; “‘jazz total culture,’ said Ellison…and jazzmen heroes” (28). the Invisible Man recounts his story with blues language and rhythms A “blues hero,” through and sense of the book with a reference of “style, irony, absurdity” (85). Beginning and to Be so Black and (Ellison, “Louis Armstrong playing singing ‘What Did I Do Blue’”
because of this, “nowhere else in all American literature before Uncle Tom’s Cabin can blacks be portrayed so humanly, variously, and sympathetically” (McFarland 95). #2: This paper’s three paragraphs of critical support cover Music (jazz), People, and Experiences. Abounding throughout Ellison’s life, literature and music, especially jazz, flowed as a life blood out of Ellison’s life and into the pages of Invisible Man. Music had a profound impact on Ellison’s life and is central to the novel to the development of the Invisible Man and other characters. For example, the multifaceted Rinehart, “the gambler…the briber…[and] the lover” (Ellison, Invisible Man 498), received his name from a popular blues song “often sung by Ellison’s old friend from Oklahoma, blues singer Jimmy Rushing: ‘Rinehart, Rinehart, / You’re a most indifferent guy’” (O’Meally, AAW 97). Furthermore, like the jazz musicians that Ellison had witnessed, the Invisible Man discerns how Rinehart “is a skillful and devious master of improvisation against in an insane urban backdrop (O’Meally, Craft 90). T.S. Eliot’s “The Wasteland” elicit a similar response from Ellison, claiming that Eliot, like the jazz musician had to know his craft well enough to improvise on it (Busby 8), exactly like Rinehart. Invisible Man is considered a “blues novel” and rightly so since jazz and blues references are so prevalent in the story (O’Meally, Craft 84). After coming to New York, Ellison took advantage of the growing “rich and open cultural center” and frequently soaked in the new heritage at jazz clubs; “‘jazz was part of a total culture,’ said Ellison…and jazzmen were heroes” (28). A “blues hero,” the Invisible Man recounts his story with blues language and rhythms through “style, irony, and sense of absurdity” (85). Beginning the book with a reference of “Louis Armstrong playing and singing ‘What Did I Do to Be so Black and Blue’” (Ellison,