In “Twentieth-Century Fiction and the Black Mask of Humanity”, Ellison argues elucidates the African-American experience in contrast to the solely “American” experience. “When the white American, holding up most twenth-th century fiction, says, ‘This is American reality,’ the Negro tends to answer ‘Perhaps, but you’ve left out this, and this, and this’…”
To do the American experience justice, Ellison wrote “A Party Down at the Square.” It describes the lynching of a black man, burning at the stake. What’s most incredible, is the justice of the “accidental” events that surround the burning. There is a terrible storm that wrecks havoc on the the town’s infrastructure for three days, a plane crashes in the near distance, causing electrical wires to whip about dangerously, striking a woman and killing her instantly, and finally, the airline line “is investing to find who set the fire that almost wrecked their plane.” In all this, Ellison is saying that when you lose a man (of any color), you lose much more than a man.
The most striking element of this short story is Ellison’s prolific use of the word ‘nigger’. It’s painful to read, used over and over , dozens of times, often once per sentence. Not only does it conjure the pain of the word, and the history of oppression, but sadly enough it does the opposite: it numbs us to the word and by the end of the story it doesn’t hold as much strength; it becomes somewhat normal to describe the black man as such (as horrible as that may be); this technique is effective to call attention to some of the hatred we have normalized.
The overabundance, I believe, is specifically to hedge the use of pronouns. Very seldom is the man given “he” or “his” but rather described in parts: “the nigger’s voice”, “the nigger’s hands”, and “the nigger’s feet”; he was mostly described for the color of his skin; the narrator demeaned his experience: “Every time I eat barbecue I’ll remember that nigger,” which emphasized the cruelty and barbarity of the “party.”
The only voice the African-American ever spoke was “Will somebody please cut my throat like a Christian?” He once more proved his humanity and his will; he entreated his fellow men to end his life swiftly and mercifully (the inhumane irony doesn’t escape me). One ignorant Jed replies: “Sorry, but ain’t no christians around….we’re just one hundred percent Americans.”
Ellison, influenced by T.S. Elliot idea of a corrupted and decomposing sense of morality, may be commenting on the lack of spirituality and the increasing secularism of American identity. Rather than be united against a common evil or towards a common good, they divide themselves into black/white, man/woman, rich/poor and so forth. In this brief dialogue, Ellison seems to remind Americans the lack of faith and values they once had upheld.
In the end however, despite a belief in the higher power, the higher power believes in them anyway. It seems that some greater justice is served (to the willful ignorance of the townsmen) when all the consequent chaos emerges (environmental turmoil, death of a white woman, legal battles etc). One ultimately hushed white cropper stated “it didn’t do no good to kill the niggers ‘cause things don’t get no better”. Instead of subduing African-Americans, the lynchings incite anger and revenge and leads to increased amount of escape attempts.
While Ellison didn’t present his “Negro characters [to] possess the full, complex ambiguity of the human” as he criticized other authors, but he did present a new American reality. He used poetic justice to represent the grueling experiences of “slavery, full citizen ship, stigma of color, and enforced alienation.” He demonstrates that to hurt one of our countrymen is to hurt all countrymen.