Examines the religious dimensions of Ralph Ellison’s concept of race Ralph Ellison’s 1952 novel Invisible Man provides an unforgettable metaphor for what it means to be disregarded in society. While the term “invisibility” has become shorthand for all forms of marginalization, Ellison was primarily concerned with racial identity. M. Cooper Harriss argues that religion, too, remains relatively invisible within discussions of race and seeks to correct this through a close study of Ralph Ellison’s work. Harriss examines the religious and theological dimensions of Ralph Ellison’s concept of race through his evocative metaphor for the experience of blackness in America, and with an eye to uncovering previously unrecognized religious dynamics in Ellison’s life and work. Blending religious studies and theology, race theory, and fresh readings of African-American culture, Harriss draws on Ellison to create the concept of an “invisible theology,” and uses this concept as a basis for discussing religion and racial identity in contemporary American life. Ralph Ellison’s Invisible Theology is the first book to focus on Ellison as a religious figure, and on the religious dynamics of his work. Harriss brings to light Ellison’s close friendship with theologian and literary critic Nathan A. Scott, Jr., and places Ellison in context with such legendary religious figures as Reinhold and Richard Niebuhr, Paul Tillich and Martin Luther King, Jr. He argues that historical legacies of invisible theology help us make sense of more recent issues like drone warfare and Clint Eastwood’s empty chair. Rich and innovative, Ralph Ellison’s Invisible Theology will revolutionize the way we understand Ellison, the intellectual legacies of race, and the study of religion.

Examines the religious dimensions of Ralph Ellison’s concept of race Ralph Ellison’s 1952 novel Invisible Man provides an unforgettable metaphor for what it means to be disregarded in society. While the term “invisibility” has become shorthand for all forms of marginalization, Ellison was primarily concerned with racial identity. M. Cooper Harriss argues that religion, too, remains relatively invisible within discussions of race and seeks to correct this through a close study of Ralph Ellison’s work. Harriss examines the religious and theological dimensions of Ralph Ellison’s concept of race through his evocative metaphor for the experience of blackness in America, and with an eye to uncovering previously unrecognized religious dynamics in Ellison’s life and work. Blending religious studies and theology, race theory, and fresh readings of African-American culture, Harriss draws on Ellison to create the concept of an “invisible theology,” and uses this concept as a basis for discussing religion and racial identity in contemporary American life. Ralph Ellison’s Invisible Theology is the first book to focus on Ellison as a religious figure, and on the religious dynamics of his work. Harriss brings to light Ellison’s close friendship with theologian and literary critic Nathan A. Scott, Jr., and places Ellison in context with such legendary religious figures as Reinhold and Richard Niebuhr, Paul Tillich and Martin Luther King, Jr. He argues that historical legacies of invisible theology help us make sense of more recent issues like drone warfare and Clint Eastwood’s empty chair. Rich and innovative, Ralph Ellison’s Invisible Theology will revolutionize the way we understand Ellison, the intellectual legacies of race, and the study of religion.

This anthology draws bold comparisons between secularist strategies to contain, privatize, and discipline religion and the treatment of racialized subjects by the American state. Specializing in history, literature, anthropology, theology, religious studies, and political theory, contributors expose secularism's prohibitive practices in all facets of American society and suggest opportunities for change.

Learning from Black voices means listening to more than snippets. It means attending to Black stories. Reading Black Books helps Christians hear and learn from enduring Black voices and stories as captured in classic African American literature. Pastor and teacher Claude Atcho offers a theological approach to 10 seminal texts of 20th-century African American literature. Each chapter takes up a theological category for inquiry through a close literary reading and theological reflection on a primary literary text, from Ralph Ellison's Invisible Man and Richard Wright's Native Son to Zora Neale Hurston's Moses, Man of the Mountain and James Baldwin's Go Tell It on the Mountain. The book includes end-of-chapter discussion questions. Reading Black Books helps readers of all backgrounds learn from the contours of Christian faith formed and forged by Black stories, and it spurs continued conversations about racial justice in the church. It demonstrates that reading about Black experience as shown in the literature of great African American writers can guide us toward sharper theological thinking and more faithful living.

An in-depth analysis of the composition of Invisible Man and Ralph Ellisons move away from the radical left during his writing of the novel between 1945 and 1952.

To cut dead means to refuse to acknowledge another with the intent to punish. Gregory Ellison says that this is the plight of African American young men. They are stigmatized with limited opportunity for education and disproportionate incarceration. At the same time, they are often resistant to help from social institutions including the church. They are mute and invisible to society but also in their inward being. Their voice and physical selves are not acknowledged, leaving them ripe for hopelessness and volatility. So if the need is so great yet the desire for help wanes, where is the remedy? Healing can begin by reframing the problem. While to cut dead is destructive, it also refers to pruning and repotting a disfigured plant—giving it new possibilities for life. In this provocative book, Ellison shows how caregivers can sow seeds of life, and nurture with guidance, admonition, training, and support in order to help create a community of reliable others, serving as an extended family.

A hard-hitting look at the regulation of sexual difference and its role in circumscribing African American culture The sociology of race relations in America typically describes an intersection of poverty, race, and economic discrimination. But what is missing from the picture—sexual difference—can be as instructive as what is present. In this ambitious work, Roderick A. Ferguson reveals how the discourses of sexuality are used to articulate theories of racial difference in the field of sociology. He shows how canonical sociology—Gunnar Myrdal, Ernest Burgess, Robert Park, Daniel Patrick Moynihan, and William Julius Wilson—has measured African Americans’s unsuitability for a liberal capitalist order in terms of their adherence to the norms of a heterosexual and patriarchal nuclear family model. In short, to the extent that African Americans’s culture and behavior deviated from those norms, they would not achieve economic and racial equality. Aberrations in Black tells the story of canonical sociology’s regulation of sexual difference as part of its general regulation of African American culture. Ferguson places this story within other stories—the narrative of capital’s emergence and development, the histories of Marxism and revolutionary nationalism, and the novels that depict the gendered and sexual idiosyncrasies of African American culture—works by Richard Wright, Ralph Ellison, James Baldwin, Audre Lorde, and Toni Morrison. In turn, this book tries to present another story—one in which people who presumably manifest the dysfunctions of capitalism are reconsidered as indictments of the norms of state, capital, and social science. Ferguson includes the first-ever discussion of a new archival discovery—a never-published chapter of Invisible Man that deals with a gay character in a way that complicates and illuminates Ellison’s project. Unique in the way it situates critiques of race, gender, and sexuality within analyses of cultural, economic, and epistemological formations, Ferguson’s work introduces a new mode of discourse—which Ferguson calls queer of color analysis—that helps to lay bare the mutual distortions of racial, economic, and sexual portrayals within sociology.

Leigh succeeds in providing his readers with a general survey of twentieth-century novels that retrieve the thematic and formal elements of premodern apocalyptic literature.

A compelling intellectual and literary history of midcentury America In a midcentury American cultural episode forgotten today, intellectuals of all schools shared a belief that human nature was under threat. The immediate result was a glut of dense, abstract books on the "nature of man." But the dawning "age of the crisis of man," as Mark Greif calls it, was far more than a historical curiosity. In this ambitious intellectual and literary history, Greif recovers this lost line of thought to show how it influenced society, politics, and culture before, during, and long after World War II. During the 1930s and 1940s, fears of the barbarization of humanity energized New York intellectuals, Chicago protoconservatives, European Jewish émigrés, and native-born bohemians to seek "re-enlightenment," a new philosophical account of human nature and history. After the war this effort diffused, leading to a rebirth of modern human rights and a new power for the literary arts. Critics' predictions of a "death of the novel" challenged writers to invest bloodless questions of human nature with flesh and detail. Hemingway, Faulkner, and Richard Wright wrote flawed novels of abstract man. Succeeding them, Ralph Ellison, Saul Bellow, Flannery O'Connor, and Thomas Pynchon constituted a new guard who tested philosophical questions against social realities—race, religious faith, and the rise of technology—that kept difference and diversity alive. By the 1960s, the idea of "universal man" gave way to moral antihumanism, as new sensibilities and social movements transformed what had come before. Greif's reframing of a foundational debate takes us beyond old antagonisms into a new future, and gives a prehistory to the fractures of our own era.

Tells the story of the founding of American Christianity against the backdrop of devastating disease, and of the Indigenous survivors who kept the nascent faith alive Many scholars have come to think of the European Christian mission to the Americas as an inevitable success. But in its early period it was very much on the brink of failure. In 1576, Indigenous Mexican communities suffered a catastrophic epidemic that took almost two million lives and simultaneously left the colonial church in ruins. In the crisis and its immediate aftermath, Spanish missionaries and surviving pueblos de indios held radically different visions for the future of Christianity in the Americas. The Church of the Dead offers a counter-history of American Christian origins. It centers the power of Indigenous Mexicans, showing how their Catholic faith remained intact even in the face of the faltering religious fervor of Spanish missionaries. While the Europeans grappled with their failure to stem the tide of death, succumbing to despair, Indigenous survivors worked to reconstruct the church. They reasserted ancestral territories as sovereign, with Indigenous Catholic states rivaling the jurisdiction of the diocese and the power of friars and bishops. Christianity in the Americas today is thus not the creation of missionaries, but rather of Indigenous Catholic survivors of the colonial mortandad, the founding condition of American Christianity. Weaving together archival study, visual culture, church history, theology, and the history of medicine, Jennifer Scheper Hughes provides us with a fascinating reexamination of North American religious history that is at once groundbreaking and lyrical.