He Speaks for Whom?: Inscription and Reinscription of Women in Invisible Man and The Salt Eaters

Abstract

1 What happens to second sex in a novel as powerful as Ellison's Invisible Man where the trope of invisibility functions as a critique of racist American society? When the text itself perpetuates the invisibility it seeks to undo, it seems inevitable it will invite response and revision. In Toni Cade Bambara's The Salt Eaters we can discern an argument, not with Ellison's manifest text of invisibility and blackness of blackness, but with the subtext of gender erasure. African American feminist critics have, especially in the last fifteen or twenty years, articulated the problematic of double invisibility, the double jeopardy results from being both black and female. They have sought to add gender to DuBois's well known analysis of the sense of double -- consciousness with which many African Americans live (3). Bell Hooks claims no other group in America has so had their identity socialized out of existence as have black (7). It is not simply race, gender and class compound oppression arithmetically, to cite Valerie Smith (who borrows from Barbara Smith), but issues of class and alter one's experience of gender, just as gender alters one's experience of class and race (Loopholes 225). Much work in black feminist theory and criticism has taken as its subject the construction and/or erasure of African American women, and especially how the combined categories of race, class, and gender intensify and illuminate in important ways both reading and writing, believing that the meaning of blackness in this country shapes profoundly the experience of gender, just as the conditions of womanhood affect ineluctably the experience of race (Smith, Black Feminist Theory 47). Many novels written by black women since the publication of Ralph Ellison's Invisible Man have (among other things) filled in gaps or given voice to the silences have kept black women invisible. Toni Cade Bambara's The Salt Eaters is one such novel. Published in 1980, twenty-eight years after Ellison's Invisible Man, after the turbulent sixties and some gains had been made by the Civil Rights Movement, The Salt Eaters moves beyond its own created world, engaging other texts like Invisible Man in a dialogic relationship. Henry Louis Gates explains the phenomenon thus: Literary works are in dialogue not because of some mystical collective unconscious determined by the biology of or gender, but because writers read other writers and ground their representations of experience in models of language provided largely by other writers to whom they feel akin. (7) Gates is speaking here of the construction of a tradition of black women writers, but this phenomenon/strategy is similar even when the writers do not, perhaps, feel such kinship. Invisible Man itself is peopled with the discourse of Anglo-American male writers from Jefferson and Whitman to Faulkner and Hemingway, providing a twentieth-century Western gloss in the use of Freudian, Marxist, and existentialist notions of self (Byerman 11). Ellison brings the language, imagery, and symbols of these writers and works into his text, and by placing them in an entirely new context, he changes the joke and slips the yoke, or rather reverses, revises, or augments the writing and thinking of these men in ways Russian Formalists would have called defamiliarization. Viktor Shklovsky's 1917 essay, as Technique, explains: After we see an object several times, we begin to recognize it. The object is in front of us and we know about it, but we do not see it -- hence we cannot say anything significant about it. Art removes objects from the automatism of perception in several ways. (13) If the object in question happens to be another work of art, a literary text, for example -- a Whitman poem or the Declaration of Independence -- the estrangement or defamiliarization occurs when work is pulled into an unfamiliar context, such as a novel about the impossibility of freedom and body electric for a man who is socially and culturally invisible. …