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Invisible Man was heavily influenced by the work of a number of twentieth-century French writers known as the existentialists. Existentialism, whose foremost proponents included Albert Camus and Jean-Paul Sartre, explored the question of individuality and the nature of meaning in a seemingly meaningless universe. Ellison adapted the existentialists universal themes to the black experience of oppression and prejudice in America.

I use Ralph Ellisons Invisible Man to consider the requirements of existentialism to be relevant to racialized experience. Black existentialism is distinguished from white existentialism by its focus on anti-black racism. However, black existentialism is similar to white existentialism in its moral requirement that agents take responsibility so as to be in good faith. Ralph Ellisons invisible man displays good faith at the end of the novel by assuming responsibility for his particular situation. The idiosyncratic development of the novel can be interpreted as an example of the ways in which existentialist values ought to be instantiated through unique individual experience. However, blackness, or any racial identity, is not itself an existential structure because it is not universal. Rather, existentialist requirements for good faith can be applied to racialized situations by both whites and blacks.

I looked at Ras on his horse and at their handful of guns and recognized the absurdity of the whole night and of the simple yet confoundingly complex arrangement of hope and desire, fear and hate, that had brought me here still running, and knowing now who I was and where I was and knowing too that I had no longer to run for or from the Jacks and the Emersons and the Bledsoes and Nortons, but only from their confusion, impatience, and refusal to recognize the beautiful absurdity of their American identity and mine…. And I knew that it was better to live out ones own absurdity than to die for that of others, whether for Rass or Jacks.

The narrator experiences this moment of epiphany during his confrontation with Ras in Chapter Twenty-Five. This scene represents a key moment in the narrators existential breakthrough, as he realizes that his own identity is the source of meaning in his life and that acting to fulfill the expectations of others can only prove destructive. Rass threatening to kill the narrator makes the narrator see the world as meaningless and absurd and the complexity of American life as equally absurd. (Ellison borrows the word absurd directly from the work of the French existentialists, who characterized the universe as such and claimed that the only meaning to be found in existence is that with which the individual invests his own life.) The only motivation to which the narrator can cling is an affirmation that his own absurdity is more important to him than Jacks or Rass. The action of hurling Rass spear back at him demonstrates the narrators refusal to be subject any longer to others visions and demandshe finally commits himself fully to an attempt to assert his true identity.

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