¶ … opposite of a superpower, invisibility refers to the condition of not mattering, not qualifying, or not counting in the eyes of the dominant culture. Invisibility is the quality imposed upon by the oppressor and experienced by the oppressed. Those who do not conform to a white patriarchal standard are rendered invisible, and they may float through life never fitting into a social circle and never gaining access to the means whereby they can change their status. Invisible is what Miss Lily Bart experiences as she subverts gender norms in Edith Wharton's The House of Mirth. Invisibility is certainly what the narrator of Ralph Ellison's Invisible Man experiences as he navigates his way through early 20th century America. The disenfranchised are rendered invisible when they are positioned at intersections of race, class, gender, and power.
For the invisible man in Ellison's book, invisibility is ironic because a black man is very much a visible sight in a white-dominant, racist society. His anonymity -- his namelessness -- is an emblem of the narrator's invisible, the badge he wears to prove that blackness blends into the background and renders one powerless. Blackness and invisibility are also symbols of what Callahan calls the "great formlessness of Negro life wherein all values are in flux," (24). Miss Lily Bart, on the other hand, possesses white privilege but that privilege is rendered impotent in a patriarchal society. Yet just as invisibility is ironic for what would otherwise be a very visible outsider -- a black man -- Lily Bart's invisibility is also ironic given the precise function of invisibility in The House of Mirth. Invisibility can be a tool of the oppressor, who willingly embraces invisibility in order to play the part of the puppeteer. For example, Merish locates invisibility not with women, which would be the most logical place to look, but with men instead, noting that in The House of Mirth, women's bodies are used "to display men's wealth and men's wears," and are therefore the visible counterpart to men's implicit and invisible power (249). Men in Wharton's novel "hover in the background," instead, only appearing in relation to their utility or their money (249). Men's power and status is wrapped up in the power of their invisibility, as they are the puppeteers pulling the strings in the lives of women; Ellison would likely point out also that white men proffers the privilege of pulling the strings of power over people of color, too. Whereas the people in positions of power can choose whether or not to don their cloaks of invisibility, though, people like Miss Lily Bart and the narrator of Invisible Man have no choice; society has stripped them of the power to choose.
The invisibility that comes from existing at the intersections of race, class, gender, and power is qualitatively and functionally different from the invisibility that exists for those who dictate the boundaries of race, class, gender, and power. As they become the heroes of their own respective narratives, the invisible man and Miss Lily Bart both reclaim their power by rebranding their invisibility. While they cannot attain the types of power that are legitimate from the perspective of patriarchal norms and race-based social stratification, the invisible man and Lily Bart can reclaim their power by affirming their identities as invisible people.
For example, Lily Bart lies. Starting off by noting the linguistic similarity between the act of fibbing (lying) with the horizontal position of the human body (which uses the same word, lying), Goldner draws attention to the feminization of lying as it is depicted in The House of Mirth. A lie can be defined as hiding the truth, which essentially connotes the making the truth invisible. Wharton makes sure that the only lying characters are female, because females can get away with lying in the same way a light-skinned black man can get away with being black. Both the invisible man and Lily Bart pass for being upstart members of the society, when they are genuinely subversively heroic figures. Goldner also points out that women's sexuality is traditionally invisible, and is made more so by Wharton as the act of lying is conjoined with the sexual connotation of lying in a bed waiting to be penetrated by a man. Women's sexuality and sexual potency is invisible, but it is in that essential invisibility that she can reclaim her power over the man. A lie possesses subversive power too, as the teller of a lie has control over perceived reality. Yet that power is deviant in nature; once she is exposed, she is labeled for a liar. Lying perfectly parallels the experience and perception of invisibility.
Invisibility can be a direct...
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