Ellison’s perspective on fascism might seem underdeveloped for a writer who rose to prominence during the postwar moment Eric Sundquist describes in Strangers in the Land, when many African American writers felt, with American Jews, a shared anti-fascist struggle. Ellison politics are more often framed by his views of the left, which shifted from his early Marxist publications to his critical depictions of the Brotherhood in Invisible Man. Ellison’s manuscripts, and some early writings however, reveal a complex reckoning with fascism, as does his portrait of Ras in Invisible Man.