by Peter Bruck
This i s th e clima x o f th e protagonist' s developmen t towards
ego-identity, but i t represent s als o the turnin g point o f th e story .
The protagonis t seem s t o hav e achieve d a ne w identity , bu t fo r
several reasons , appearance s ar e deceptive . Firs t o f all , h e i s
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ashamed o f hi s race . (cf . p . 276) Fo r hi m i t i s impossible t o be-
come on e wit h hi s own folk : i t i s far fro m providin g a necessary
identification model . An d a n obstacl e t o racia l integration i s also
a majo r obstacl e t o ego-identity , fo r i t i s impossible fo r an y ma n
to find a particular identity withou t relation to a common identity.
Second th e protagonist' s isolatio n from hi s own folk is transferred
to hi s persona l sphere : ".. . he' d hav e t o pres s the butto n eve n if
nobody understood , eve n thoug h Laur a di d no t understand. "
(p. 277 ) Thu s h e i s no t onl y deprive d o f grou p solidarity , h e is
moreover isolate d fro m th e onl y huma n bein g h e loves : " I go t
nobody bu t YOU." (p. 277) His isolation is complete: he is caught
in solipsism . Soone r o r later, suc h a situation becomes , as can b e
seen fro m Richar d Wright' s "Th e Ma n Who Lived Underground, "
utterly unbearabl e fo r man , fo r everybod y i s dependent o n con -
tact with other human beings.49
The problem of racial and personal identity and the relationship
between the m i s als o deal t wit h b y Elliso n i n hi s stor y "Flyin g
Home." It s protagonis t Tod d trie s t o wi n th e recognitio n o f th e
whites b y becomin g a pilot i n th e U.S . Air Force . Strivin g ambi-
tiously fo r integration into white society, is an erroneous pattern of
behaviour i n Ellison' s eyes . I n th e end, Todd , afte r changin g his
attitude as a consequence of experiencing black solidarity, achieves
racial identity, 50 for , accordin g t o Ellison , onl y afte r acceptin g
his folk legac y wil l he discove r hi s identity a s an American . Thu s
being accepted b y th e blacks , is at leas t a relative triumph : "An d
it was as though he had bee n lifte d ou t o f hi s isolation, bac k int o
the worl d o f men . A ne w curren t o f communicatio n flowe d be -
tween th e ma n an d boy [old Jefferson an d his son, i.e. other black
characters in th e story ] an d himself." 51 Th e importance of Negro
tradition i s also emphasized b y Elliso n i n a n interview: "I have to
affirm m y forefather s an d I must affir m m y parents or be reduced
in my own mind to a white man's inadequate — even if unprejudiced
— conceptio n o f huma n complexity." 52 An d elsewher e h e states:
"There's n o doub t tha t w e were slaves , both o f m y grandparent s
on bot h side s were slaves ... But, nevertheless, part of the music of
the language , par t o f th e folklor e whic h informe d ou r consciou s
American literatur e cam e throug h th e interactio n o f the slave and
the whit e man."53 Thu s Ellison certainly does not identify himsel f
with th e developmen t whic h th e characte r of the story created by
him has taken at this stage.
119
It might be expected, then, that the protagonist's exaltation will
be short-lived . Hi s legitimat e endeavour s t o asser t himsel f a s a
human bein g are doome d t o failure , hi s hopes wil l be unfulfilled .
He ha s th e impressio n tha t hi s whol e lif e i s determine d b y th e
bingo wheel ; i n hi s view , i t become s hi s fat e whic h reminds th e
reader o f th e metaphor of the "wheels of fortune" and of Fortun e
as an arbitrar y an d capriciou s Goddess. In the course of the story,
it become s increasingl y obviou s tha t i t i s impossibl e fo r th e
protagonist t o contro l th e whee l endlessly: whil e th e her o think s
to contro l th e wheel , it actuall y control s him . He becomes a tool
at th e ver y moment he thinks to possess power. In reality power is
connected wit h powerlessness ; his hope is based o n self-delusion ,
triumph i s followe d b y defeat , elatio n give s wa y t o depression .
According t o Marcu s Klein th e protagonist' s stumblin g searc h fo r
the sourc e o f power is determined by hubris.54 I t is hubris for him
to thin k tha t h e holds God i n hi s hand. Befor e ma n ca n aspire to
divinity h e mus t first realiz e an d accep t th e ful l responsibilitie s
and limitation s o f bein g human . Moreove r Klei n states : "Hi s
apprehension o f th e sourc e o f creatio n ca n only be a brief ecstasy
after whic h he is resettled in confusion." 55
As a matter o f fact, the protagonist has no longer a firm grip on
reality. He imagines events rather tha n watche s the m i n reality so
that th e borderlin e between clearly visible and audible impressions
and fantas y product s i s blurred : "H e fel t a s thoug h th e rus h of
blood t o his head woul d burs t ou t i n basebal l seam s of smal l red
droplets, like a head beaten by police clubs. Bending over he saw a
trickle of blood splashing the toe of his shoe." (p. 277) This passage
not only anticipates the outcome of the story when the protagonist
is beate n t o unconsciousness , i t als o indicate s tha t h e i s nea r a
psychological breakdown 56 o r eve n o n th e verg e o f insanity .
Further evidenc e o f hi s menta l disorde r i s provide d b y a night -
marish visio n o f th e protagonis t which , slightly varied , occurs fo r
the secon d tim e i n th e story , (p . 272 an d p . 277) A s he cling s to
the button , th e protagonis t feel s persecute d b y th e wheel s o f a
train whic h finally see m to crush him; his state of mind is formally
indicated i n th e elliptica l sentenc e structures , (p . 277) If it is true
that drea m situation s whic h sometime s haun t men , bea r a close
affinity t o rea l situation s o r eve n originat e i n reality , i t ma y b e
concluded tha t th e protagonist , a s thi s nightmar e occur s befor e
and after scoring bingo, again is a victim of anxiety.
120
Depressing as this picture of a disintegrating personality may be,
it i s not withou t som e grotesque traits . Eve n more: th e pervasiv e
power o f th e grotesqu e i n th e final scene ca n b e felt everywhere .
The behaviou r o f th e protagonis t wh o has completely lost control
of th e situation , i s an endles s source o f pleasur e for the audience.
Their reaction i s no longer hostile. Being unable to understand th e
scene, the y mak e fu n o f th e hero , singing , applauding , clappin g
their hands alternately, trying to enjoy the show as much as possible,
(p. 277f) I n thi s scene, there is that kin d of mixture of tragic and
comic elements which, according to Ellison, is typical of the blues:
"The blue s speak t o u s simultaneously o f the tragic and the comic
aspects o f th e human condition and they express a profound sens e
of lif e share d b y man y Negr o American s precisel y becaus e thei r
lives hav e combine d thes e modes." 57 A s i t i s certainl y well -
balanced,58 i t i s not onl y a source o f suspens e fo r the reader, but
it also adds to the literary merit of the story.
The protagonist, however, is still fighting, clinging to the button,
for i t i s "his life." (p . 279) I n th e movi e theatr e staff s eye s he is
degraded t o a trouble-makin g nigger . Whe n tw o me n approac h
him, h e start s running : "H e slippe d them , an d discovere d b y
running in a circle befor e th e whee l he coul d kee p th e cor d fro m
tightening." (p . 278 ) Thus his movement , lik e tha t o f th e whit e
projection beam , i s fixed and, like tha t o f th e bing o wheel , bot h
fixed an d circular : i t doe s not lea d anywhere . As he has no alter-
native o f acting , no othe r possibilit y o f flight , h e cannot run any-
where else : h e i s trappe d i n a circle . Hi s movemen t aroun d th e
wheel is literally and metaphorically aimless . Besides, the structure
of th e stor y a s a whole ma y als o be calle d circular , fo r th e stor y
does no t g o anywher e either : i n th e end , th e protagonis t finds
himself i n th e sam e kind o f vicious circle as before. Moreover, the
most importan t metaphor , th e whee l image is placed in the centre
of th e story. And the hero's two nightmarish visions, decisive clues
for hi s inne r state , ar e place d a t a n equa l distanc e fro m it : a s
grotesque variant s the y anticipat e an d tak e u p agai n th e whee l
image. Thu s th e repetitio n o f th e sam e motif ca n be interprete d
functionally an d justifie d i n forma l respect .
Disillusionment i s bot h brie f an d painful . Th e protagonis t i s
brutally knocke d down . Although this outcome might be supposed
to b e typica l o f a protest story , Ellison's wa y o f writin g does not
confirm thi s view . Th e reade r is spared an y shockin g details; the
121
author merel y concentrate s himsel f o n describin g th e effect s o f
brutality o n th e protagonist . Thi s procedure not only correspond s
to th e narrator' s limite d point of view, it is also sufficient t o make
clear tha t bot h hi s willingnes s t o hel p an d hi s attemp t a t self -
discovery have been futile .
The aimlessnes s an d senselessnes s o f th e protagonist' s wa y o f
acting, th e cycli c structure o f th e stor y i s enhanced b y a literary
device whos e ful l effec t i s only revealed by considering the context
of thi s piece o f short fiction a s a whole: irony. A first example of
irony i s furnishe d b y th e titl e o f th e story : Ellison' s protagonist ,
of course , i s th e winne r o f th e bing o game, he is even kin g for a
short perio d o f time , bu t h e quickl y become s a king dethroned ,
powerless and pitiable. Just before feelin g "the dull pain exploding
in his skull," (p . 279) the protagonist realizes that the wheel stops
at doubl e zero , and h e is "very, very happy," (p. 279) thinking he
has been successful. Bu t for the reader there i s the ironic revelation
that doubl e zer o i s twic e nothing . Th e protagonis t i s convince d
that h e wil l "receiv e wha t al l winner s received. " (p . 279 ) Thi s
must agai n b e interpreted as irony, for the quotation is an allusion
to Ernes t Hemingway' s collection o f shor t storie s "Winne r Tak e
Nothing," b y whic h th e autho r describe d people's disillusionment
after wartim e experiences. 59 Thi s idea was once again taken up by
Ellison i n a differen t context . Arguin g tha t th e achievemen t o f
colourlessness b y th e Negr o woul d constitut e a loss for the world,
he stated : " 'Winner tak e nothing ' tha t i s th e grea t trut h o f ou r
country or of any country."60
The conclusio n an d th e titl e are not the only examples of irony
in th e story . Element s o f th e plo t a s wel l tak e a n ironi c tinge .
First, th e locatio n o f th e stor y ma y b e sai d t o b e no t withou t
ironical overtones : th e movi e hous e invite s the audience to escape
temporarily int o a n imaginar y dreamworld . Thoug h i t ha s n o
attraction fo r th e protagonis t an y longer , h e i s provoke d t o
produce an d t o nurtur e illusion s about himself . Second, when the
protagonist i s on th e stage , the maste r o f ceremonie s call s him to
be "on e of the chosen people." (p. 273) This is an ironical allusion
to th e biblica l sayin g recorde d b y St . Matthew tha t "man y ar e
called, but few are chosen."61 Eve n apparently insignificant detail s
may b e seen in an ironic light: the protagonist intends to press the
button ver y briefly , a s h e know s fro m experienc e th e whee l i s
most likel y t o sto p the n a t doubl e zero . Ironically h e presses th e
122
button because it gives him power apparently, as long as possible, al-
most against his will and against the white man's admonition: "Don't
take to o long, boy." (p. 275)62 Thi s does not annihilate his chances
in the game, for the wheel does rest at double zero. Though he is the
winner, h e i s brutall y knocke d down . Anothe r instanc e o f wha t
may b e calle d doubl e irony , i s the hero' s feelin g o f rebirt h which
in realit y twic e mean s death : i t mean s physical deat h fo r Laura ,
and i f h e himself survives , he wil l be reduced t o a state of perma-
nent self-denial ; hi s deat h wil l be psychical. Marcus Klein goes as
far a s maintainin g tha t th e bing o whee l whic h dominate s th e
protagonist, "ironically is a kind of suicide for him."63 Thus it may
be conclude d tha t Ellison' s remark , "W e Negroe s ar e th e mos t
ironic observer s o f th e America n scene," 64 ca n b e trace d i n hi s
literary work .
To sum up : Th e protagonis t i s not recognize d a s an individual.
It wa s impossibl e fo r hi m t o achiev e individual autonomy. 65 H e
failed i n attainin g an d preservin g positiv e self-images , th e con -
sequences o f whic h Stuar t T . Hauser describe s a s identit y diffu -
sion.66 Eventuall y th e protagonis t wil l even b e fixe d upo n thos e
identifications an d role s that hav e been presente d t o hi m a s most
undesirable: h e i s boun d t o identif y himsel f wit h th e oppresso r
which onl y occur s afte r al l othe r form s o f ego-defense s hav e
failed.67 Th e protagonist has thus not only become invisible to the
whites, bu t invisibl e a s an individual t o hi s own eye s as well: hi s
identity is negative.68
To conclude: "King of the Bingo Game" as well as "Flying Home"
are variations o n th e them e o f th e quest for identity. But whereas
Todd i n "Flyin g Home " achieves a relative triumph, the unnamed
protagonist's desperat e searc h i n "Kin g o f th e Bing o Game " i s
characterized by a total defeat. The theme itself is thus commented
upon b y Ellison : "I t i s the America n theme . Th e natur e o f ou r
society is such that we are prevented from knowin g who we are."69
It i s no wonder , then , tha t Elliso n wa s to treat it again more full y
in Invisible Man. In thi s sens e both stories contain the seeds of the
later novel , but thi s doe s not necessaril y mea n the y ar e parts of a
larger unit. It should be clear that the motifs in "King of the Bingo
Game" ar e no t onl y inextricabl y intertwined , bu t sometime s
ar e
also deliberatel y ambiguou s a s the y tak e a n ironi c significanc e
when viewe d i n th e contex t o f th e whol e story . "Kin g o f th e
123
Bingo Game" i s no t marre d b y an y inconsistencies, nothing super -
imposed detract s fro m th e valu e o f th e story . I t represent s a
coherent wor k whic h ma y b e said t o exis t in its own right .
NOTES
1. Cf . Hartmu t K. Selke, A Study of Ralph Ellison's Published Work Viewed
in the Context of the Theme of Identity in Negro American Literature (Kiel,
Diss., 1975), p. 69.
2. Cf . Frit z Gysin, The Grotesque in American Negro Fiction (Bern, Mün-
chen, 1975), p. 328.
3. Cf . Selke,op. cit., p. 84.
4. Cf . Jame s A . Emanue l an d Theodor e L . Gross , edd., "Ralph Elliso n
(1914 - ), " in Dark Symphony: Negro Literature in America (New York,
1968), p. 249.
5. Cf . Jacqueline Covo, The Blinking Eye: Ralph W. Ellison and his American,
French, German and Italian Critics, 1952-1971 (Metuchen, 1974).
6. Cf . Leonar d J . Deutsch , "Ellison' s Earl y Fiction, " Negro American
Literature Forum, 7 (1973) , 53-59 . Cf . als o Edit h Schor, The Early Fic-
tion of Ralph Ellison: The Genesis of Invisible Man (Columbia University ,
Ph.D., 1973).
7. "A n Interview with Ralph Ellison," Tamarack Review, 32 (1964), 6.
8. Ibid., p. 4.
9. Cf . Ralp h Ellison , "That Sam e Pain, that Same Pleasure: An Interview,"
repr. in Shadow and Act (Ne w York,5 1966), p. 28. (Signet Q 3022)
10. Gysin, op. cit., p . 165.
11. Edwar d Margolies , Native Sons: A Critical Study of Twentieth-Century
Negro American Authors (Philadelphia and New York, 1969), p. 129.
12. Emanue l and Gross, op. cit., p. 249.
13. "Th e World and the Jug," in Shadow and Act, loc. cit., p. 141.
14. Margolies , op. cit., p. 129.
15. Cf . R . Ellison , "Tha t Sam e Pain , tha t Sam e Pleasure : A n Interview, "
repr. in Shadow and Act, loc. cit. , p. 33f. Cf. also Gysin, op. cit., p. 166.
16. Cf . Emanuel and Gross, op. cit., p. 250.
17. Rober t H . Moore, ed., "O n Initiatio n Rite s an d Power : Ralp h Elliso n
Speaks at West Point," Contemporary Literature, 15 (1974), 185.
18. "Th e Worl d an d th e Jug, " in Shadow and Act, loc.cit., p. 124. Ellison