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Friday, March 15, 2013

Fully Composed Chaos

The little man in Ralph Ellisons The Little cosmos at Chehaw Station is as constantly evolving and adapting as the American society that Ellison is addressing. The little man starts off as this freakish force of criticism ¬ sometimes hes there, sometimes hes here (30). Because the availability of enjoyledge is no longer socially limited to higher circles the chances are that any(prenominal) American audience will conceal at least(prenominal) one individual whose knowledge and taste will complement, or surpass [an creative persons] own (29). Artists must always coiffure at the highest level because its not known where or when this little man is going to pop up
In ordination to perform at the highest level, an artist must also know and cater to the audience. However, the American audience is incredibly complex and diverse. Ellison explains that the artist is free to choose, but cannot limit his audience (31). Limited commission can isolate or alienate. This is extremely difficult to do because the American audience is not something that can be slow identified. But knowing that the American identity is not a singular, but a melting pot of multiple audiences, allows an artist to be ready to adapt. The little man forces an artist to be flexible.
One of the greatest qualities of American culture is diversity.

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There isnt just one ultimate, all encompassing parti, but an undying collection of ideas. This magnificent quality also creates a staggering problem understanding one part of the culture doesnt result in understanding the whole. The parts are not only incredibly diverse, but constantly evolving, mixing to stick toher, and creation refined. Ellison claims that the results and the diverse interacting elements that surround us, traditional and vernacular, not only run away accepted formulations, but take on a computer address that is something other than their various parts (42).
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