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James Baldwin (1) (1924–1987)

Author of Giovanni's Room

For other authors named James Baldwin, see the disambiguation page.

123+ Works 42,333 Members 776 Reviews 174 Favorited

About the Author

James Baldwin was born on August 2, 1924, in New York. Baldwin's father was a pastor who subjected his children to poverty, abuse, and religious fanaticism. As a result, many of Baldwin's recurring themes, such as alienation and rejection, are attributable to his upbringing. Living the life of a show more starving artist, Baldwin went through numerous jobs, including dishwasher, office boy, factory worker, and waiter. In 1948, he moved to France, where much work originated. Baldwin published Go Tell It on the Mountain in 1953. A largely autobiographical work, it tells of the religious awakening of a fourteen-year-old. In addition to his childhood experiences, his experiences as a black man and a homosexual provided inspiration for such works as Giovanni's Room, Nobody Knows My Name, and Another Country. Baldwin holds a distinguished place in American history as one of the foremost writers of both black and gay literature. He was an active participant in the Civil Rights movement. Baldwin succumbed to cancer on December 1, 1987. (Bowker Author Biography) show less
Image credit: James Baldwin, New York, New York, 1975

Works by James Baldwin

Giovanni's Room (1956) 7,648 copies, 178 reviews
Go Tell It on the Mountain (1953) 6,912 copies, 134 reviews
The Fire Next Time (1963) 6,128 copies, 165 reviews
Another Country (1962) 3,484 copies, 52 reviews
If Beale Street Could Talk (1974) 3,070 copies, 68 reviews
Notes of a Native Son (1955) 2,492 copies, 34 reviews
Going to Meet the Man: Stories (1965) 1,159 copies, 19 reviews
Nobody Knows My Name: More Notes of a Native Son (1954) 1,073 copies, 16 reviews
Tell Me How Long the Train's Been Gone (1968) 946 copies, 8 reviews
Just Above My Head (1979) 800 copies, 9 reviews
Blues for Mister Charlie: A Play (1964) 652 copies, 5 reviews
No Name in the Street (1972) 563 copies, 6 reviews
I Am Not Your Negro (film transcript) (2017) 542 copies, 10 reviews
The Evidence of Things Not Seen (1986) 475 copies, 3 reviews
The Devil Finds Work: An Essay (1976) 429 copies, 8 reviews
Sonny's Blues and Other Stories (1988) 295 copies, 7 reviews
The Amen Corner: A Play (1954) 263 copies, 5 reviews
Dark Days (2018) 243 copies, 2 reviews
A Rap on Race (1971) 216 copies
I Am Not Your Negro [2016 film] (2016) — Writer — 175 copies, 4 reviews
Jimmy's Blues and Other Poems (2014) 161 copies, 4 reviews
Nothing Personal: An Essay (1964) 128 copies, 2 reviews
Nobody Knows My Name {essay} (1963) 124 copies
Vintage Baldwin (2004) 97 copies
Nothing Personal {1964 original} (1964) — Author — 54 copies, 1 review
A Dialogue (1973) 49 copies, 1 review
Black Anti-Semitism and Jewish Racism (1969) — Contributor — 47 copies
Nothing Personal {2017 reprint} (2017) — Author — 45 copies
Everybody's Protest Novel: Essays (2024) 16 copies, 1 review
Meurtres à Atlanta (1985) 10 copies
Retour dans l'oeil du cyclone: essais (2015) 7 copies, 1 review
Sonny's Blues {story} (1957) 6 copies
Blues für Mr. Charlie / Amen Corner. (1985) — Author — 6 copies
Go Tell it on the Mountain by James Baldwin (2009) — Author — 4 copies
The Outing {story} (2014) 4 copies
Gesammelte Erzählungen (1976) 3 copies
Mein Kerker bebte (1899) 3 copies
Dost mektupları (2007) 2 copies
Baldwin James 2 copies
Baldwin's Nigger — Host — 1 copy
James Baldwin on Malcolm X 1 copy, 1 review
Musta blues (1965) 1 copy

Associated Works

The Norton Anthology of Short Fiction (1978) — Author, some editions — 1,586 copies, 4 reviews
The Art of the Personal Essay (1994) — Contributor — 1,519 copies, 11 reviews
The Story and Its Writer: An Introduction to Short Fiction (1976) — Contributor — 1,214 copies, 3 reviews
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Contributor, some editions — 1,013 copies, 7 reviews
The Best American Essays of the Century (2000) — Contributor — 871 copies, 6 reviews
The Oxford Book of American Short Stories (1992) — Contributor — 837 copies, 3 reviews
If They Come in the Morning: Voices of Resistance (1971) — Contributor — 550 copies, 1 review
Points of View: An Anthology of Short Stories, Revised & Updated Edition (1995) — Contributor — 443 copies, 7 reviews
The Faber Book of Gay Short Fiction (1992) — Contributor — 429 copies
The Granta Book of the American Short Story (1992) — Contributor — 392 copies, 1 review
The Art of the Tale: An International Anthology of Short Stories (1986) — Contributor — 381 copies, 3 reviews
100 Years of the Best American Short Stories (2015) — Contributor — 365 copies, 5 reviews
The Portable Sixties Reader (2002) — Contributor — 364 copies, 2 reviews
Black Voices: An Anthology of Afro-American Literature (Mentor) (1968) — Contributor — 358 copies, 1 review
Americans in Paris: A Literary Anthology (2004) — Contributor — 328 copies, 3 reviews
American Movie Critics: From the Silents Until Now (2006) — Contributor — 312 copies, 1 review
Growing Up Gay/Growing Up Lesbian: A Literary Anthology (1993) — Contributor — 309 copies
Writing New York: A Literary Anthology (1998) — Contributor — 300 copies, 4 reviews
The Treasury of American Short Stories (1981) — Contributor — 294 copies, 1 review
The Art of the Short Story (2005) — Contributor — 285 copies, 5 reviews
The Norton Anthology of African American Literature {2nd edition} (2003) — Contributor, some editions — 282 copies, 2 reviews
Daddy Was a Number Runner (1970) — Foreword, some editions — 217 copies, 3 reviews
Modern American Memoirs (1995) — Contributor — 203 copies, 3 reviews
The Best Short Stories by Black Writers, 1899-1967: The Classic Anthology (1967) — Contributor — 200 copies, 1 review
New York Stories [Everyman's Library Pocket Classics] (2011) — Contributor, some editions — 198 copies, 5 reviews
In Another Part of the Forest: An Anthology of Gay Short Fiction (1994) — Contributor — 191 copies, 2 reviews
Gay and Lesbian Poetry in Our Time (Stonewall Inn Editions) (1988) — Contributor — 189 copies, 1 review
American Religious Poems: An Anthology (2006) — Contributor — 185 copies, 2 reviews
Let Nobody Turn Us Around: An African American Anthology (1999) — Contributor — 174 copies, 1 review
The Columbia Anthology of Gay Literature (1998) — Contributor — 171 copies
Man Alone: Alienation in Modern Society (1962) — Contributor — 150 copies
The Norton Book of Personal Essays (1997) — Contributor — 150 copies, 1 review
An American Album: One Hundred and Fifty Years of Harper's Magazine (2000) — Contributor — 145 copies, 1 review
The Norton Anthology of American Literature, Volume 2: 1865 to Present (1979) — Contributor, some editions — 136 copies
Black on White: Black Writers on What It Means to Be White (1998) — Contributor — 129 copies, 2 reviews
The Gates of Paradise (1993) — Contributor — 127 copies, 2 reviews
Eight Modern Essayists (Second Edition) (1965) — Contributor — 126 copies, 1 review
Nepantla: An Anthology Dedicated to Queer Poets of Color (2018) — Contributor — 124 copies, 2 reviews
The Matter of Black Lives: Writing from The New Yorker (2021) — Contributor — 117 copies
War No More: Three Centuries of American Antiwar and Peace Writing (2016) — Contributor — 109 copies, 2 reviews
Brotherman: The Odyssey of Black Men in America (1995) — Contributor — 104 copies
Freedom in This Village: Twenty-Five Years of Black Gay Men's Writing (2005) — Contributor — 91 copies, 2 reviews
Listening for God Volume 4 (2003) 84 copies
Rotten English: A Literary Anthology (2007) — Contributor — 83 copies, 1 review
200 Years of Great American Short Stories (1975) — Contributor — 78 copies, 1 review
The Heath Anthology of American Literature, Concise Edition (2003) — Contributor — 73 copies, 1 review
American Negro Short Stories (1966) — Contributor — 70 copies
Memory of Kin: Stories About Family by Black Writers (1990) — Contributor — 69 copies
If Beale Street Could Talk [2018 film] (2018) — Original novel — 65 copies, 2 reviews
The Grim Reader: Writings on Death, Dying, and Living On (1997) — Contributor — 65 copies
Great American Short Stories (1977) — Contributor — 65 copies
Fifty Best American Short Stories 1915-1965 (1965) — Contributor — 39 copies, 1 review
Partisan Review (1998) — Contributor, some editions — 38 copies
The Best American Short Stories 1968 (1968) — Contributor — 37 copies
The Penguin Book of Twentieth-Century Protest (1998) — Contributor — 37 copies
France in Mind (2003) — Contributor — 36 copies, 1 review
I Hear a Symphony: African Americans Celebrate Love (1994) — Contributor — 35 copies
A Way Out of No Way: Writing about Growing Up Black in America (1996) — Contributor — 34 copies, 2 reviews
A Lonely Rage: The Autobiography of Bobby Seale (1978) — Foreword — 33 copies
Harlem U.S.A. (1964) — Contributor — 32 copies
Best American Plays : Sixth Series : 1963-1967 (1971) — Contributor — 30 copies
Hot and Cool: Jazz Short Stories (1990) — Contributor — 29 copies
One World of Literature (1992) — Contributor — 27 copies
Mark Bradford: Tomorrow Is Another Day (2017) — Contributor — 24 copies, 1 review
Classic Essays in English (1961) — Contributor — 23 copies
Studies in Fiction (1965) — Contributor — 23 copies, 1 review
Encounters: Essays for Exploration and Inquiry (1999) — Contributor — 19 copies
Harlem: Voices from the Soul of Black America (1993) — Contributor — 15 copies
Antaeus No. 62, Spring 1989 (1989) — Contributor — 14 copies
New World Writing: Second Mentor Selection (1952) — Contributor — 13 copies
The Best American Short Stories 1961 (1961) — Contributor — 11 copies
100 years of emancipation (1963) — Contributor — 10 copies
The Best American Short Stories 1958 (1958) — Contributor — 8 copies
Themes in American Literature (1972) — Contributor — 5 copies
The Activism of Art: A Decentered Anthology (2024) — Contributor — 5 copies, 1 review
The Damned (1954) — Contributor — 4 copies, 1 review
Let Us Be Men (1969) — Contributor — 3 copies
Eight Modern Essayists (Sixth Edition) (2007) — Contributor — 3 copies
Short Fiction: Shape and Substance (1971) — Contributor — 3 copies
Introduction to Fiction (1974) — Contributor — 1 copy
Eight Modern Essayists (First Edition) — Contributor — 1 copy

Tagged

20th century (484) African American (1,040) African American literature (260) African Americans (198) African-American Literature (177) American (354) American literature (725) civil rights (201) classic (197) classics (374) essays (997) fiction (2,852) gay (250) history (198) James Baldwin (208) LGBT (174) literature (608) memoir (280) New York (165) non-fiction (911) novel (631) Paris (187) race (603) race relations (164) racism (537) read (346) religion (182) short stories (175) to-read (3,080) USA (383)

Common Knowledge

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Discussions

August 2024: James Baldwin in Monthly Author Reads (August 2024)
Where to start with James Baldwin? in Book talk (February 2022)
James Baldwin in Legacy Libraries (March 2016)
If Beale Street Could Talk by James Baldwin in Geeks who love the Classics (August 2015)

Reviews

837 reviews
Baldwin's seminal treatise on the state of racism in the United States in the 1960s both sears and soars. The slim masterpiece is made up of a letter from Baldwin to his nephew and an essay about his young religious life and a later experience with Nation of Islam. Reading it was a fevered task, gliding on his perfectly timed and weighed prose.

On the latter, the scales fell from Baldwin's eyes quite early about the nature of American Christianity, and the lack of Christ-like behavior among show more its practitioners. And there are few places to go, beyond Malcolm X's biography to learn about the beliefs as well as the rise of the Nation of Islam. Baldwin does it in a much more concise and quickening way than Malcolm.

I picked this one up because Eddie Glaude, Jr. quotes from and discusses it in [Democracy in Black], and I wanted to read the source. What's surprising to me is that Baldwin's conclusion is to fall for more love and understanding between the races. He calls for a more clear eyed evaluation of racist systems, and calls for people to oppose them, but he always comes back to love. It's the most and, yet, the least radical thing for which he could ask. Sadly, too many of those to whom he would call for love would never consider it because of an ingrained bigotry.

5 bones!!!!!
Highly recommended.
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This tightly written sensual novel touches on many issues that probably would have caused many readers in 1956: the year it was published, to look again at the world around them, perhaps a world that was hidden to them, but which David our hero has to face in his pursuit of love. Themes of homo/bisexuality, expatriate Americans, claustrophobia and a release of emotions, shame and guilt, and the dirt and filth that haunts our character's every step, jostle one another in the mind of our hero. show more From the very beginning of the novel when David is thinking about a train journey he must take to Paris, the reader is enveloped in masterful prose that hardly falters throughout this short novel. The descriptions of Paris in the 1950's are lively and serve to contrast with David's unshakeable Americanisms

David tells his story in the first person in an extended flashback. We know from the start that he is a deeply unhappy man, his friend and lover Giovanni is on death row in Paris awaiting execution, his girlfriend has deserted him and he is preparing to leave France perhaps for good, very much a defeated man. Some months previously Hella his girlfriend has taken herself off to Spain to clear her head after David's marriage proposal and he has spent his evenings frittering his money away in various bars. One eventful night he taps up Jaques to lend him some money and Jaques takes him to a gay bar where he meets the barman Giovanni and there is a love at first sight moment. They drink all night and along with the manager Guillaume catch a taxi for breakfast at Les Halles (Paris's huge wholesale market place). More drinks follow and an exhausted David goes back to Giovanni's small one roomed flat where he spends most of his days while Giovanni goes out to work. David becomes restless, he has trouble in getting money from home and Hella is about to return to Paris to meet an increasingly anxious David.

The telling of David's first meeting with Giovanni and the subsequent morning drinking champagne and brandy at Les Halles is a tour de force. Characters in the gay bar and later those at Les Halles are a realistic background that heightens Giovanni's seduction of David. Our hero finds himself in a world without moorings, he is all at sea, but clings onto Giovanni almost in desperation, his excitement is palpable and is followed by a day of passion in Giovanni's bed. David's experience's in the gay bar are both sleazy and exciting at the same time, he is disturbed by the clientele, he feels in danger and when he gets to Les Halles he is upset by the wasted people that gather round Jaques, Guillaume and Giovanni.

David is in love with Giovanni, but the small room is claustrophobic, he can't wait to walk the streets of Paris and then is confused by the young men and women that he sees walking by. When Hella returns they have nights of heterosexual passion, but when he thinks of the lover he has left behind he starts to feel the sourness of Hella's skin, he sees her as dirty and even sordid, but he had also felt that with Giovanni when he looks back on his days in bed with him. Giovanni had resorted to taking bricks out of the wall of their room perhaps in an effort to make it bigger and David embarked on a massive cleaning operation, but it all served no purpose.

David becomes increasingly ambivalent to Paris. He sees Jaques as belonging to this strange city but says 'it does not belong to me.' He feels like a refugee, but he continues to be fascinated by the frenchness all around him. He listens to the language spoken in the bars:

"there seemed to be more chatter - in that curiously measured and vehement language, which sometimes reminds me of stiffening egg white and sometimes of stringed instruments, but always of the underside and aftermath of passion."

The underside of passion is deeply disturbing for David and when he deserts both Giovanni and then Hella he cannot stay in France and live with the shame; he will make his escape back home to America, but as a deeply disturbed individual.

It is interesting to think about the character of David after all, it is him telling his story in the first person and so the first question: is he a reliable witness? There is no reason to think otherwise with the amount of anguish he suffers and with the snapshots of his background that he reveals; is he unlucky to lose Giovanni and Hella, two characters who are in love with him? It is more likely that it is they who are the unlucky ones as are other characters that come into contact with David. At the end of the day it is David himself that makes his own problems, but in extenuation; he is a white middle class American trying to understand his feeling in a culture and a city alien to him, he has to deal with his sexuality and the ambivalence of falling in love, and many of us know how difficult that can be.

There are many sides to this novel that bowls the reader along with some wonderful prose. James Baldwin lived in Paris and recreates the atmosphere of that city which I particularly enjoyed. OK so we know the ending almost from the start of the novel, but it is all about the getting there and I enjoyed every step of the journey: 5 stars.
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James Baldwin's justly respected essays, paired in the 1963 book [The Fire Next Time], are solid foundations for all of the antiracist literature published in the almost 60 years since. To put them briefly, the first is written to Baldwin's nephew "on the 100th Anniversary of the Emancipation" and offers him advice on growing up Black in a white world. Ta-Nehisi Coates drew inspiration from it in writing a letter to his own son, a letter published in 2015 as [Between the World and Me].

The show more longer second essay was the important one for me. It's Baldwin's account of his growth and maturing, dwelling on, first, his embrace and eventual rejection of Christianity and, second, his consideration and rejection of Elijah Mohammed's Nation of Islam. The following passages are among the many I underlined as I read that second essay.

I was forced, reluctantly, to realize that the Bible itself had been written by men, and translated by men out of languages I could not read, and I was already, without quite admitting it to myself, terribly involved with the effort of putting words on paper.: Of course, I had the rebuttal ready; These men had all been operating under divine inspiration. Had they? All of them?

I realized that the Bible had been written by white men. I knew that, according to many Christians, I was a descendant of Ham, who had been cursed, and that I was therefore predestined to be a slave. This had nothing to do with anything I was, or contained, or could become; my fate had been sealed forever, from the beginning of time. And it seemed, indeed, when one looked out over Christen­dom, that this was what Christendom effectively believed.

…[T]he real architect of the Christian church was not the disreputable, sun-baked Hebrew who gave it his name but the mercilessly fanatical and self-righteous St. Paul.

…[A] civilization is not destroyed by wicked people; it is not necessary that people be wicked but only that they be spine­less.

…[T]he most dangerous creation of any society is that man who has nothing to lose. You do not need ten such men—one will do.

Yet I could have hoped that the Muslim move­ment had been able to inculcate in the demoralized Negro population a truer and more individual sense of its own worth, so that Negroes in the Northern ghettos could begin, in concrete terms, and at what­ever price, to change their situation. But in order to change a situation one has first to see it for what it is: in the present case, to accept the fact, whatever one does with it thereafter, that the Negro has been formed by this nation, for better or for worse, and does not belong to any other—not to Africa, and certainly not to Islam. The paradox—and a fearful paradox it is—is that the American Negro can have no future anywhere, on any continent, as long as he is unwilling to accept his past. To accept one's past—one's history—is not the same thing as drowning in it; it is learning how to use it. [Emphasis mine]

The American Negro is a unique creation; he has no counterpart anywhere, and no predecessors. The Muslims react to this fact by referring to the Negro as "the so-called American Negro" and substituting for the names inherited from slavery the letter "X." It is a fact that every American Negro bears a name that originally be­longed to the white man whose chattel he was. I am called Baldwin because I was either sold by my African tribe or kidnapped out of it into the hands of a white Christian named Baldwin, who forced me to kneel at the foot of the cross. I am, then, both. visibly and legally the descendant of slaves in a white, Protestant country, and this is what it means to be an American Negro, this is who he is— a kidnapped pagan, who was sold like animal and treated like one, who was once defined by the American_Constitution as "three-fifths" of a man, and who, according to the Dred Scott decision, had no rights that a white man was bound to respect. And today, a hundred years after his technical emancipation, he remains—with the possible exception of the American Indian—the most despised creature in his country.

This has everything to do, of course, with the nature of that dream and with the fact that we Americans, of whatever color, do not dare ex­amine it and are far from having made it a reality. There are too many things we do not wish to know about ourselves. People are not, for example, terribly anxious to be equal (equal, after all, to what and to whom?) but they love the idea of being superior.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques,
flags, nations, in order to deny the fact of death, which is the only fact we have.

Why, for example—especially knowing the family as I do—I should want to marry your sister is a great mystery to me. But your sister and I have every right to marry if we wish to, and no one has the right to stop us. If she cannot raise me to her level, perhaps I can raise her to mine.

There is absolutely no reason to suppose that white people are better equipped to frame the laws by which I am to be governed than I am. It is entirely unacceptable that I should have no voice in the political affairs of my own country, for I am not a ward of America; I am one of the first Americans to arrive on these shores.

This past, the Negro's past, of rope, fire, torture, castration, infanticide, rape; death and humiliation; fear by day and night, fear as deep as the marrow of the bone; doubt that he was worthy of life, since everyone around him denied it; sorrow for his women, for his kinfolk, for his children, who needed his protection, and whom he could not protect; rage, hatred, and murder, hatred for white men so deep that it often turned against him and his own, and made all love, all trust, all joy impossible—this past, this endless struggle to achieve and reveal and confirm a human identity, human authority, yet contains, for all its horror, something very beautiful.

The American Negro has the great advantage of having never believed that collection of myths to which white Americans cling: that their ancestors were all freedom-loving heroes, that they were born in the greatest country the world has ever seen, or that Americans are invincible in battle and wise in peace, that Americans have always dealt honorably with Mexicans and Indians and all other neighbors or inferiors, that American men are the world's most direct and virile, that American women are pure. Negroes know far more about white Americans than that; it can almost be said, in fact, that they know about white Americans what parents—or, anyway, mothers—know about their children, and that they very often regard white Americans that way…[O]ne felt that if one had had that white man's worldly advantages, one would never have become as bewildered and as joyless and as thoughtlessly cruel as he.
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James Baldwin’s The Fire Next Time collects his essays “My Dungeon Shook: Letter to My Nephew on the One Hundredth Anniversary of the Emancipation” and “Down at the Cross: Letter from a Region in My Mind.” Each examines the nature of race and the Black American experience in the early 1960s, while also exploring issues such as legacy and religion. He notes how one’s birthplace can determine one’s future (p. 7, 21) and how white America remains willfully ignorant (p. 9, 85) in a show more way that forecasted current socio-political studies. Critically, Baldwin accuses his country and countrymen, “that they have destroyed and are destroying hundreds of thousands of lives and do not know it and do not want to know it” (p. 5). While Baldwin may have meant this to discuss the Black American experience when he wrote it, it also encapsulates the entire history of the American empire both in its conquest of North America at the expense of indigenous nations as well as its spreading of its hegemonic influence through cultural exports, foreign spending, and military actions. In terms of religion, Baldwin notes how “those virtues preached but not practiced by the white world were merely another means of holding” Black Americans and others in subjection (p. 23). Further, he notes how only America creates legally hyphenated existences in order to define those who belong and those who do not (p. 25). He returns again and again to the nature of apathy. Baldwin writes, “The subtle and deadly change of heart that might occur in you would be involved with the realization that a civilization is not destroyed by wicked people; it is not necessary that people be wicked but only that they be spineless” (p. 55). Though Baldwin wrote in the mid-twentieth century, his work remains as prescient as ever. show less

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Hilton Als Introduction
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