Readers and critics alike, for the past sixty years, generally agree that Baldwin is a
major African-American writer. What they do not agree on is why. Because of his artistic
and intellectual complexity, Baldwin’s work resists easy categorization and Baldwin
scholarship, consequently, spans the critical horizon. This essay provides an overview of
the three major periods of Baldwin scholarship. 1963–73 is a period that begins with the
publication of The Fire Next Time and sees Baldwin grace the cover of Time magazine. This
period ends with Time declaring Baldwin too passé to publish an interview with him and
with critics questioning his relevance. The second period, 1974–87, finds critics
attempting to rehabilitate Baldwin’s reputation and work, especially as scholars begin to
codify the African-American literary canon in anthologies and American universities.
Finally, scholarship in the period after Baldwin’s death takes the opportunity to
challenge common assumptions and silences surrounding Baldwin’s work. Armed with the
methodologies of cultural studies and the critical insights of queer theory, critics set
the stage for the current Baldwin renaissance.
it held the audience spellbound. (Denby 1986: 109)
Graham knew very well how to present and perform a sic-sensuous, a
presentation of an aesthetic not always considered beautiful experienced
between two sensing bodies.
Slightly more light-hearted but no less criticalreceptions of Graham
are quoted in Copeland’s book on Merce Cunningham, Graham dancer
turned into revolutionary in his own right. In reference to titles in characters in her Dark Meadow, such as One who Seeks, He who Summons,
The One who Speaks, Copeland terms Graham herself: ‘she whose head