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    Ralph Ellison’s Invisible Man and Seeing Race in the City’s Structure

    We typically do not use literature for city planning texts, but Ralph Ellison’s Invisible Man (1952) deserves careful consideration.


    by Danny Arnold, MCRP '16

    We typically do not use literature for city planning texts, but Ralph Ellison’s Invisible Man (1952) deserves careful consideration. Ellison weaves a narrative through New York City’s urban spatial structure to map how race is physically built into the city’s neighborhood composition, street networks, and utilities. Using the binary of invisible versus visible, Ellison defines invisibility as the African-American experience of being isolated explicitly and implicitly to pre-determined neighborhoods, economic opportunities, and basic utility services. Utilities, particularly electricity and lighting, shape the Invisible Man’s being within the city. I highlight Ellison’s argument alongside “Monopolated Light & Power,” a paper sculpture I built to visualize the interplay of visible versus invisible; being versus non-being; and access to city life versus segregation.


    “Without light I am not only invisible, but formless as well; and to be unaware of one’s form is to live a death. I myself, after existing some twenty years, did not become alive until I discovered my invisibility. This is why I fight my battle with Monopolated Light & Power. The deeper reason, I mean: It allows me to feel my vital aliveness. I also fight them for taking so much of my money before I learned to protect myself. In my hole in the basement there are exactly 1,369 lights. I’ve wired the entire ceiling, every inch of it. And not with fluorescent bulbs, but with the older, more-expensive-to-operate kind, the filament type. An act of sabotage, you know.”[1]

    After a long series of hopes and opportunities being stripped forcibly away, the Invisible Man finds himself forced into a hidden Harlem basement. Here, he exercises complete control his space. Above ground, the city structure refuses his visibility, the recognition of his own being.

    Read the rest of this story@ ∆NGLES

    Danny Arnold graduated from DCRP in 2016 and works as a transportation planner in Raleigh. Along with transportation, his interests include integrating art and planning and participating in spaces in which visual art, literature, and planning practice can inform each other. His paper sculptures explore various imaginations of urban spatial structure, memory, and environmental sustainability through using discarded materials.


    ∆NGLES is brought to you by the Carolina Planning Journal based out of the Department of City and Regional Planning at UNC Chapel Hill. The blog publishes outstanding academic, critical, and creative work by students, practitioners, and academics with the mission of providing a platform for conversation in the planning field.

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