Shadow and ACT

by Ralph Ellison

Book Overview

With the same intellectual incisiveness and supple, stylish prose he brought to his classic novel Invisible Man , Ralph Ellison examines his antecedents and in so doing illuminates the literature, music, and culture of both black and white America. His range is virtuosic, encompassing Mark Twain and Richard Wright, Mahalia Jackson and Charlie Parker, The Birth of a Nation and the Dante-esque landscape of Harlem--"the scene and symbol of the Negro's...

• Format: Paperback
• Language: English
• ISBN: 0679760008
• ISBN13: 9780679760009
• Release Date: March 1995
• Publisher: Knopf Doubleday Publishing Group
• Length: 352 Pages
• Weight: 0.64 lbs.
• Dimensions: 0.8" x 5.2" x 8.0"

Customer Reviews

memoirs from a unique brotha

not merely a statement on being a black man in america, but on being a man period. ellison is not a militant negro nor is he a white man's negro. he is a free spirit who keeps his mind open to art , music, and life. i loved all the essays. he had cosmopolitan background growing up in oklahoma city, the product of middle-class parents. he read all types of literature, not just one kind and became a writer, simply by accident. his true love was his music. the middle third of this book proves this is the essays he wrote about jazz and opera, especially his loving tributes to milton's playhouse and charlie parker. he was a true renaissance man, who never lost the common touch. conquering any challenge that came his way...

First Class Act: Shadow of a Giant Mistaken for Invisible

Ralph Ellison, the musician and the author of the extrememly well-conceieved and paced novel "Invisible Man" (a rare instance wherein the plotting falls perfectly in sync with the decsriptive; falling, as with the eloquence and precision of the inernal mechanics into the ornate casing of a timepiece; a statement as much as a parody concering perceptions), here provides many surprises, all attesting to the immensity of his talents and array of his interests: There are articles on Jazz, BeBop, and some of best first-hand renderings upon the scene as it had developed at a period between literal non-accepatnce to a greater receptability; Eliot, as in the author's pechant and interest for the motifs, messages and stylistic of "The Wasteland"; Faulkner and the South; Historic American literary recurrances involving language, rythmic and individual, and some very valuable and erudite selections whose range -both autobiographic and literary- are as indispensable as they are of true merit and eloquence. This edition (and it is a shame there had not been more!), legitimizes the talents and perspectives of a gifted author whose legacy -although saddly never fully realized- shall always stand above any field of the discordant (as in the Wasteland), ringing more true than any pause between a jazz riff's sometimes-disquietingstrains.