My woefully monochromatic high school and college education exposed me to nothing that James Baldwin had written – not even to his name. I can remember a friend in college once mentioning him and me pretending that I knew who he was.
But several years ago I started reading James Baldwin with my students....Read More »
In six early book reviews, Baldwin pans what he sees as second-rate novels. I read these pieces mostly with an eye to seeing trends in Baldwin’s views on the questions those novels dealt with more than as reviews per se (especially since I haven’t read the novels). I’ll pull out a quotation or...Read More »
Go Tell It on the Mountain is easy to underestimate, especially if you place it into the too-easy critical category of “semiautobiographical first novel.” The first time I read it, a few years ago, I made just that mistake. I spent the whole time tracking the “John” character for what it...Read More »
Notes of a Native Son (1955) collects some previously published essays and includes some originally penned for the collection. I have read the eponymous essay (“Notes of a Native Son”) with my classes for the last several years, and it’s always a powerful reading experience. It’s Baldwin at his most...Read More »
…it goes without saying that injustice is a commonplace. But this did not mean that one could be complacent, for the second idea was of equal power: that one must never, in one’s own life, accept these injustices as commonplace but must fight them with all one’s strength. This fight begins,...Read More »
The last part of Notes of a Native Son is made up of several travel essays Baldwin wrote in Europe – “Encounter on the Seine: Black Meets Brown,” an essay about how African Americans see Africans (and vice-versa) in Paris; “A Question of Identity,” mostly about white Americans coming to understand...Read More »
I was really surprised when I figured out that David, the protagonist of Baldwin’s second novel, Giovanni’s Room, was white. The novel never says so directly, but he is described a handful of times as “blonde.” In fact, as far as I could tell, all of the principal characters are white,...Read More »
The greatest takeaway for me from Nobody Knows Your Name is “Fifth Avanue, Uptown: A Letter from Harlem.” In this essay Baldwin explores the phenomenology of police violence – again, if you don’t care what I have to say, at least read these words of Baldwin’s for yourself [next...Read More »
Another Country is James Baldwin’s third novel, and is is quite a bit longer than Baldwin’s first two, maybe even longer than both of them combined. It’s interesting to me that it basically covers a lot of the same ground that his essays of the time do, but does so in the language of...Read More »
The words of “My Dungeon Shook” ring in my ears almost every single day. Somehow the centerpiece of that ringing is a simple imperative sentence about 3/4 of the way through the final, two-page paragraph:
You, don’t be afraid.
That paragraph, itself, lays out almost every needed inch of the conceptual and emotional terrain...Read More »
“The American situation is very peculiar and it may be without precedent in the world. No curtain under heaven is heavier than that curtain of guilt and lies behind which white Americans hide” (James Baldwin, “White Man’s Guilt”)
One of my earliest James Baldwin reading experiences was “Sonny’s Blues,” a short story that forms the...Read More »
[I put the James Baldwin reading project on hold for a while, but it’s back.]
In one of my classes, we just finished an almost quarter-long exploration of Kendrick Lamar’s To Pimp a Butterfly. One of the coolest things about studying this album with my students is that, for whatever reason, kids...Read More »
Though Baldwin wrote about his own life a lot, Baldwin’s 1968 novel Tell Me How Long the Train’s Been Gone seems like the closest he came to writing a full-length autobiography. It’s written in the first person and as his biographer David Leeming notes, a lot of the micro- and macro-level...Read More »
It is not true that people become liars without knowing it. A liar always knows he is lying, and that is why liars travel in packs: in order to be reassured that the judgment day will never come for them (James Baldwin, No Name In the Street, 1972).
This is the best...Read More »