Industry is driven by the machines that produce the merchandise. Without these machines. making what is necessary for an industry to boom and turn becomes progressively hard ; more adult male power is needed. more clip is consumed. For these machines to work decently. all the pieces ; the cogs. the cogwheels. the wheels. the levers and so on within them must be working good together. In the Invisible Man. Ralph Ellison applies this thought in a sociological manner. Tucked off underneath the surface of the comfortable face of the state lie the machines. but the machines within the machines are the people who struggle to maintain them traveling every twenty-four hours. The people who are belowground are the 1s who drive these machines. who work themselves ragged to do certain all the cogwheels stay in gesture. While the white concern adult male may have all these machines. it is the Afro-american worker that keeps them traveling. This worker is relied on and without him the procedure falls to pieces.
This impression is possibly most deeply addressed in chapter 10 of the novel. Within this chapter. the storyteller finds himself a occupation at a pigment mill. This mill specializes in bring forthing white pigment which they have dubbed. “Optic White. ” The storyteller finds his undertaking to be blending a certain chemical into each batch of pigment. On page 195 we find his supervisor. Kimbro. explicating the procedure. “ ‘The thought is to open each pail and set in 10 beads of this stuff’ . he said. ‘Then you stir it ‘til it disappears ……… . . ” The storyteller is confused by these instructions. The alumnus that he is told to take the chemical beads from contains a liquid that is “dead black. ” Somehow this black substance makes the white pigment a better quality. When the storyteller tests out this first few batches. the white pigment radiances brilliantly and looks really white so. There is no indicant that a inkiness has been mixed in ; whatever the substance’s occupation within the pigment is has been done and has been done invisibly. underneath where people can’t see. This full procedure alludes to how Ellison portrays the socio-economic state of affairs of African-Americans during this clip period. The terminal merchandise is pure whiteness. un-tarnished and reflecting bright. Whoever buys this pigment won’t of all time know and apparently doesn’t need to cognize what went into its creative activity. and that is the point. Equally long as the difficult work and character of the African American is kept belowground. everyone can stay blissfully incognizant of the battles confronting these people and see merely what they need.
The point is driven place even further when the storyteller chooses the incorrect chemical to blend into the pigment. He runs out of his first batch and goes to make full his alumnus up once more. but picks the incorrect chemical to make full it with. The trial batches for the new pigment that he creates have a defect. some darkness shows through. On page 199 we read. “What on Earth had happened? The pigment was non as white and calendered as before ; it had a grey touch. ” His supervisor grows ferocious when he finds the narrator’s error. Darkness is non supposed to demo through. the batch is ruined. Without the right black. the white isn’t as white. Again. this alludes to the fact that the Afro-american members of society are non supposed to be seen “on the surface. ” Their portion to play in the state is an out-of-the-way 1. Their labour is lief welcomed. but the minute that people can see how something is being made. what it takes to make a functioning society. the job rises. In a universe where the right manner is the white manner. there is merely no room for recognition of the machines within the machines.
The fiasco of the failed commixture occupation leads the storyteller to be transferred to new work in the mill. He is told to describe to Lucius Brockway. The manner to make his supervisor is described by the storyteller on page 202. “It was a deep cellar. Three degrees underground I pushed upon a heavy metal door marked ‘Danger’ and descended into a noisy. dimly illuminated room. ” The linguistic communication of the transition speaks to the subjugation the storyteller experiences. Again. the thought of being belowground arises. The storyteller has to drop down non merely one degree. but three. As if it wasn’t adequate to be buried deep within the bowels of the mill. the storyteller besides finds a heavy door marked danger. a clear indicant that whatever lies behind it needs to be handled finely. demands to be dealt with carefully. Even when through this door. the storyteller must fall once more. The room he enters isn’t a bright topographic point either ; instead. it’s dark. dimly lit. The feeling of a shady room where anything could be hidden is conveyed. In this room the storyteller comes across his new supervisor. Lucius Brockway. another Afro-american adult male whose occupation it is to maintain the machines that literally are the bosom of the mill running. Ellison continues to drive place the message of the chapter with these allusions.
After talking with Brockway for a spot. the storyteller is disbelieving of him. He doesn’t understand how this adult male could be an applied scientist ; to the storyteller. he lacks the air of instruction that should attach to such a place. However. the storyteller rationalizes the state of affairs by remembering a custodian back place who worked at the H2O plant. Though missing in an instruction himself. this adult male held the exclusive duty of maintaining the Water Works running. But were they genuinely missing in instruction. or were these work forces trying to simply dissimulate into the universe they lived in. Like the storytellers professors at school who wore chauffeur chapeaus when driving their autos in different towns to avoid problem. these work forces may merely be showing a character that will work swimmingly in society. By dissembling their cognition with a down-spoken demeanour. they do non endanger the status-quo. They do the work without doing moving ridges. they do the work resistance.
Brockway shows the storyteller how to look into the force per unit area gages of the machines and explains the importance behind the act. If the force per unit area builds up to a degree to high. the machines will be ruined. It is their occupation. at that place in the resistance. to do certain the machines that drive the mills production are kept in running order. Brockway besides shows the storyteller the machine that grinds and thaws down the natural stuff of the pigment. This is a profound minute in the novel. one where Ellison’s message sounds aloud. The narrator’s surprise at the fact that the pigment initial creative activity begins deep in the bowels of the mill is diffused by Brockway’s account. On page 210 he says. “ ‘Naw. they merely mixes in the colour. do it look reasonably. Right down here is where the existent pigment is made. Without what I do they couldn’t do nil. they be doing bricks without straw. ’” Ellison. through the voice of Lucius Brockway. is once more conveying up the belowground nature of African American’s work during this clip. The skeleton of the state. the anchor of the economic system. the base for the nation’s production is kept concealed off ; it remains belowground where its face can’t be seen. where it’s voice can’t make moving ridges.
Ellison carries this thought farther by presenting the fact that immature. educated. white professionals have worked in this country of the mill. Brockway relays the narrative of the clip when he was ill. excessively sick to work and a “proper” applied scientist filled in. Interestingly plenty. the quality of the pigment diminishes when this happens. With Brockway gone. “Paint was shed blooding and pursing. wouldn’t screen or nothing……anyway. everything was traveling bad. ” ( pg. 211 ) . When the anchor is removed. the full procedure prostrations. The quality goes off and Optic White Paint is no longer the right white. Without the inkiness assorted in. the white can non be as white. Ellison is doing a strong statement that without African-Americans to contrast themselves with. the white members of this society will non be “as white. ” Without the other to specify themselves against. they will lose a portion of what makes their individuality what it is.
The face of American society is a white one in this clip. If something doesn’t tantrum in with that it is masked. it is covered up. To merely make away with those who don’t fit the cast wouldn’t be smart. these people can still lend. but under a white screen. Ellison addresses this on page 213. one time once more utilizing the voice of Lucius Brockway to acquire the point across. We read. “’……Our white is so white that you can paint a chunka coal and you’d have to check it unfastened with a sleigh cock to turn out it wasn’t white clear through. ” If the mask that society wants African Americans to have on is effectual. their ain individuality will stay unknown to people’s eyes. Merely the whiteness that has been painted on will demo. any inkiness that is there is inhumed deep. As the storyteller says further down the page. “If you’re white. you’re right. ”
The storyteller plays an dry function in this chapter. Though the reader can see and understand the points that Ellison is raising. we see the storyteller traveling about unaware. His head has been trained to non detect these things. or. when he notices them. non to oppugn them. Brockway’s choler at him after he meets with the brotherhood workers is flooring to the storyteller. but he tries to apologize the state of affairs as he has been taught. Rather than giving weight to the things Brockway says. instead than oppugning the cogency of his paranoia over his occupation security and his highly defensive attitude over the issue of the brotherhood. the storyteller falls back on how he has been trained to cover with this type of individual.
On page 220 and 221 we read. “You were trained to accept the folly of such old work forces as this. even when you thought them buffoons and saps ; you were trained to feign that you respected them and acknowledged in them the same quality of authorization and power in your universe as the Whites before whom they bowed and scraped and feared and loved and imitated… . . ” In his head. the storyteller holds himself above Brockway. He sounds as though he thinks he is better than him and non capable to the fortunes of which Brockway is apart of. The sarcasm lies in the fact that he is entirely capable and actively subjected to the exact same circumstance in which Brockway lives. merely he can’t see it. Everything that he has been taught. the ways that he has been trained to move. all serve the intent of maintaining him belowground. of hushing his voice that could do moving ridges.
The battle that follows this transition is itself followed by another conversation. Brockway explains his choler and the storyteller listens. Brockway creates the feeling that fall ining up with the brotherhood is being unpatriotic. that it is traveling against the manus that feeds you as it were. On page 224 we read. “Here the white adult male done give ‘em jobs… . . He don give ‘em good occupations excessively. and they so thankless that they goes and joins up with that bitching brotherhood. ” The brotherhood is in topographic point to do certain the rights of the worker are upheld. If these black work forces were hired due to their makings. so certainly they should be treated with equal rights. so why be angry about them fall ining the brotherhood to contend for these rights? Because in Brockway’s head. their occupation is a favour ; something the white adult male handed to them to assist them out. Joining the brotherhood would be ptyalizing in the face of that favour. Though Brockway sees through some of the semblance that society is whirling. he can’t see through this concluding drape. He considers himself non equal. a lesser adult male so a white adult male and hence non favor to the same rights. Sing other work forces of his race withstanding this thought infuriates him because it is stating him that the values he has based his life on may non be sound after all.
“They got all this machinery. but that ain’t everything ; we the machines inside the machine. ” The workers whose labour is hidden. the people whose parts are used but non noted. that is the function of the African American in Ralph Ellison’s Invisible Man. The points highlighted in the preceding pages are reiterated once more and once more throughout the full novel: the storytellers place in the Brotherhood. the Brotherhood’s usage of Ras the Exhorter ( Destroyer ) . and several others. But they speak the loudest in the pigment mill. The metaphor of white pigment and Brockway’s profound statements throughout the chapter are a thesis statement for Ellison’s work.