I read, basically over the course of July, Ralph Ellison’s Invisible Man. It’s 568 pages in the Vintage Book paperback I’ve owned, I don’t know why, for years: maybe I saw it in a book store one day not long after noticing that it’s #19 on the Modern Library list of hundred best 20th-century novels in English.
Anyway, 568 pages in 30 days, so 19 per day. Could have made faster progress. Once, in a coffee shop, a first Tinder date was in progress at the next table, and the strained, cringey conversation overwhelmed my interest in the literary masterpiece. It might also have helped if I’d known from the start that a sex scene unfolds beginning around page 500.
Sex scenes in “serious novels” can be problematic, as evidenced by the fact that not even John Updike consistently dazzles in this subgenre. The things people do with their bodies tend to connect them to the so-called lower animals and thus may undercut the aura of elevation the author has conjured. There is too the problem of which words to use. The ones in anatomy texts seem inappropriately clinical for describing the experience of the participants, but the unclinical ones have almost attained the status of cliches, so worked over are they in common parlance. The censor could actually be the author’s friend, since the construction of an opaque curtain requires less linguistic resourcefulness than is needed to narrate events happening on the other side of it.
In the first 500 pages of Invisible Man a narrator who bears a close resemblance to Ralph Ellison—Black, smart, from the South—has a succession of deflating and often absurd experiences: rich liberal white do-gooders, the administration of his Black college (Ellison attended Tuskegee), his bosses in the Communist Party after he moves to Harlem, others . . . they all disappoint.
It’s the Communist Party that gets most of the attention in the novel’s second half. The narrator is at first a rising star, but then he begins to comprehend that he’s the object of jealousies and, probably, back-room machinations that are hidden from him. His rise stalls out as his portraits of his colleagues, smug spouters of Party jargon, grow progressively more superb.
The principals in the sex scene are the narrator and the wife of one of the higher-ups in the Party. Only she’s there for the sex; he hopes she’ll be chatty and help him understand what the bosses are keeping from him. There isn’t much sign of Ellison worrying, circa 1950, about the perspective of a censor:
“Come on, beat me daddy—you—you big black bruiser. What’s taking you so long?” she said. “Hurry up, knock me down! Don’t you want me?”
I was annoyed enough to slap her. She lay aggressively receptive, flushed, her navel no goblet but a pit in an earth-quaking land, flexing taut and expansive.
I take it that she had an innie and part of the sex play involved him drinking liquor from it. You barely need to read between the lines to see that she has expectations arising from the race of her partner. Of course the word taut is deployed. I laughed through the pages-long scene and thought at first it was Ellison’s inability to overcome the aforementioned challenges that made it seem ridiculous. Only slowly did it occur to me that no one was laughing harder than Ellison. The narrator’s scheme is for a long while stymied by the steady flow of demands and complaints emanating from his loquacious partner but eventually:
“Sure,” I said, picking up some silken piece of clothing. “You brought out the best in me. I overpowered you, but what could I do?”
“And wasn’t I a good nymphomaniac?” she said, watching me closely. “Really and truly?”
“You have no idea,” I said. “George had better keep an eye on you.”
She twisted herself from side to side with irritation. “Oh, nuts! That ole Georgie porgie wouldn’t know a nymphomaniac if she got right into bed with him!”
“You’re wonderful,” I said. “Tell me about George. Tell me about that great master mind of social change.”
She steadied her gaze, frowning. “Who, Georgie?” she said, looking at me out of one bleary eye. “Georgie’s blind’sa mole in a hole’n doesn’t know a thing about it. ‘D you ever hear of such a thing, fifteen years! Say, what’re you laughing at, boo’ful?”
Himself. Her. The general situation. He slips her dress over her head, pulls it down over her hips, and laughs more when she tries to arrange their next meeting.