James Baldwin (1) (1924–1987)
Author of Giovanni's Room
For other authors named James Baldwin, see the disambiguation page.
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
James Baldwin: Collected Essays, Notes of a Native Son, Nobody Knows My Name, The Fire Next Time, No Name in the Street, The Devil Finds Work, Other Essays (1998) 1,285 copies, 7 reviews
James Baldwin: Early Novels and Stories: Go Tell It on the Mountain / Giovanni’s Room / Another Country / Going to Meet the Man (1998) 698 copies, 6 reviews
James Baldwin: The Last Interview: and other Conversations (The Last Interview Series) (2014) 208 copies, 5 reviews
One Day When I Was Lost: A Scenario Based on Alex Haley's The Autobiography of Malcolm X (1973) 149 copies
The Fire Next Time: My Dungeon Shook; Down at the Cross (Penguin Modern Classics) (1990) 89 copies, 5 reviews
Native Sons: A Friendship that Created One of the Greatest Works of the 20th Century: Notes of a Native Son (2004) 52 copies
Proclamem nas montanhas 10 copies
Revolutionary Hope: A Conversation Between James Baldwin and Audre Lorde — Author — 8 copies
De mooiste verhalen van James Baldwin, John Berger, Jorge Luis Borges, Jane Bowles, Joseph Brodsky, Charles Bukowski, Wi (1990) 6 copies
James Baldwin 3-Book Box Set: Giovanni's Room, If Beale Street Could Talk, and Go Tell It on the Mountain (2024) 5 copies
The Fire Next Time; Nobody Knows My Name ; No Name In The Street; The Devil Finds Work (2024) 5 copies
Letter to my Nephew 4 copies
James Baldwin, Complete Works (Illustrated): (Seven books included with illustrations) (2016) 3 copies
Baldwin for Our Times: Writings from James Baldwin for an Age of Sorrow and Struggle (2016) 3 copies
Previous Condition {story} 3 copies
Kein Name bleibt ihm weit und breit: »James Baldwins brillanter Essay erklärt die Kämpfe der Gegenwart.« Süddeutsche Zeitung (2024) 3 copies
Baldwin James 2 copies
Va veni focul 1 copy
Baldwin's Nigger — Host — 1 copy
The Rockpile {story} 1 copy
próxima vez el fuego, La 1 copy
Reading From Giovanni's Room 1 copy
The Man Child {story} 1 copy
Malcolm X {filmscript} 1 copy
Joseph, Dearest Joseph Mine 1 copy
The James Baldwin Anthology 1 copy
Associated Works
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
All I Did Was Ask: Conversations with Writers, Actors, Musicians, and Artists (2004) — Contributor — 602 copies, 13 reviews
Points of View: An Anthology of Short Stories, Revised & Updated Edition (1995) — Contributor — 443 copies, 7 reviews
You've Got to Read This: Contemporary American Writers Introduce Stories that Held Them in Awe (1994) — Contributor — 413 copies, 3 reviews
The Art of the Tale: An International Anthology of Short Stories (1986) — Contributor — 381 copies, 3 reviews
Black Voices: An Anthology of Afro-American Literature (Mentor) (1968) — Contributor — 358 copies, 1 review
The Norton Anthology of African American Literature {2nd edition} (2003) — Contributor, some editions — 282 copies, 2 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
First Fiction: An Anthology of the First Published Stories by Famous Writers (1994) — Contributor — 196 copies, 1 review
The Actor's Book of Contemporary Stage Monologues: More Than 150 Monologues from More Than 70 Playwrights (1987) — Contributor — 193 copies
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
Let Nobody Turn Us Around: An African American Anthology (1999) — Contributor — 174 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
Black Like Us: A Century of Lesbian, Gay, and Bisexual African American Fiction (2002) — Contributor — 127 copies, 1 review
Children of the Night: The Best Short Stories by Black Writers, 1967 to the Present (1995) — Contributor — 126 copies
Nepantla: An Anthology Dedicated to Queer Poets of Color (2018) — Contributor — 124 copies, 2 reviews
The Glorious American Essay: One Hundred Essays from Colonial Times to the Present (2020) — Contributor — 117 copies
Calling the Wind: Twentieth Century African-American Short Stories (1992) — Contributor — 116 copies
War No More: Three Centuries of American Antiwar and Peace Writing (2016) — Contributor — 109 copies, 2 reviews
Writing New York: A Literary Anthology (Expanded 10th-Anniversary Edition) (2008) — Contributor — 101 copies, 1 review
Black Ink: Literary Legends on the Peril, Power, and Pleasure of Reading and Writing (2018) — Contributor — 95 copies
Freedom in This Village: Twenty-Five Years of Black Gay Men's Writing (2005) — Contributor — 91 copies, 2 reviews
Go the Way Your Blood Beats: An Anthology of Lesbian and Gay Fiction by African-American Writers (1996) — Contributor — 91 copies
Bearing Witness: Selections from African-American Autobiography in the Twentieth Century (1991) — Contributor — 74 copies
The Heath Anthology of American Literature, Concise Edition (2003) — Contributor — 73 copies, 1 review
The Real Ebonics Debate : Power, Language, and the Education of African-American Children (1998) — Contributor — 72 copies, 1 review
Poemhood: Our Black Revival: History, Folklore & the Black Experience: A Young Adult Poetry Anthology (2024) — Contributor — 58 copies, 2 reviews
Published and Perished: Memoria, Eulogies, and Remembrances of American Writers (2002) — Contributor — 41 copies, 1 review
A Way Out of No Way: Writing about Growing Up Black in America (1996) — Contributor — 34 copies, 2 reviews
Fifty Years of the American Short Story from the O. Henry Awards 1919-1970 (1970) — Contributor — 17 copies, 1 review
Democracy in Print: The best of the Progressive Magazine, 1909-2009 (2009) — Contributor — 14 copies
Fifty Years of the American Short Story from the O. Henry Awards 1919-1970, Volume 1 (1970) — Contributor — 3 copies
32 Współczesne Opowiadania Amerykańskie - Tom II — Contributor — 1 copy
African American History Collection, CD 2. The Negro in American Culture — Contributor — 1 copy
Eight Modern Essayists (First Edition) — Contributor — 1 copy
Tagged
Common Knowledge
- Canonical name
- Baldwin, James
- Legal name
- Baldwin, James Arthur
- Birthdate
- 1924-08-02
- Date of death
- 1987-11-30
- Gender
- male
- Education
- DeWitt Clinton High School, New York, New York, USA
The New School for Social Research - Occupations
- writer
public intellectual
minister - Organizations
- National Institute of Arts and Letters
- Awards and honors
- American Academy of Arts and Letters Academy Award (1956)
Rainbow Honor Walk (2014)
National LGBTQ Wall of Honor (2019)
George Polk Memorial Award (1963)
Légion d'Honneur (Commandeur, 1986)
Guggenheim Fellowship (1954) (show all 12)
Eugene F. Saxton Memorial Trust Award (1945)
Foreign Drama Critics Award (1964)
Rosenwald Foundation Fellowship (1948)
National Conference of Christians and Jews Brotherhood Award (1962)
Partisan Review Fellowship (1956)
Ford Foundation Fellowship (1958) - Relationships
- Wright, Richard (friend)
Malcolm X (friend)
Avedon, Richard (HS magazine collaborator)
Stein, Sol (friend) - Cause of death
- cancer (stomach)
- Nationality
- USA
- Birthplace
- Harlem, New York, USA
- Places of residence
- New York, New York, USA
Paris, France
Istanbul, Turkey
Saint-Paul de Vence, France - Place of death
- Saint-Paul de Vence, France
- Burial location
- Ferncliff Cemetery and Mausoleum, Hartsdale, New York, USA
- Map Location
- VS
Members
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
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. show less
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. show less
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. show less
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. show less
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.
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.
show less
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.
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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