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James Baldwin

Voyages in Search of Love

David Leeming

From the time of his early adolescence until his death, traveling was one of, if not the, driving force of James Baldwin’s life. He traveled to escape, he travelled to discover, and he traveled because traveling was a way of knowing himself, of realizing his vocation.

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James Baldwin

Biographical Dispatches on a Freedom Writer

Phillip Luke Sinitiere

This essay presents the idea of James Baldwin as a freedom writer, the organizing idea of my biography in progress. As a freedom writer, Baldwin was a revolutionary intellectual, an essayist and novelist committed unfailingly to the realization of racial justice, interracial political equality, and economic democracy. While the book is still in process, this short essay narrates autobiographically how I came to meet and know Baldwin’s work, explains in critical fashion my work in relation to existing biographies, and reflects interpretively my thoughts-in- progress on this fascinating and captivating figure of immense historical and social consequence.

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Lynn Orilla Scott

James Baldwin criticism from 2001 through 2010 is marked by an increased appreciation for Baldwin’s entire oeuvre including his writing after the mid 1960s. The question of his artistic decline remains debated, but more scholars find a greater consistency and power in Baldwin’s later work than previous scholars had found. A group of dedicated Baldwin scholars emerged during this period and have continued to host regular international conferences. The application of new and diverse critical lenses—including cultural studies, political theory, religious studies, and black queer theory—contributed to more complex readings of Baldwin’s texts. Historical and legal approaches re-assessed Baldwin’s relationship to the Civil Rights and Black Power movements and new material emerged on Baldwin’s decade in Turkey. Some historical perspective gave many critics a more nuanced approach to the old “art” vs. “politics” debate as it surfaced in Baldwin’s initial reception, many now finding Baldwin’s “angry” work to be more “relevant” than “out of touch” as it was thought of during his lifetime. In the first decade of the new millennium, three books of new primary source material, a new biography, four books of literary criticism, three edited collections of critical essays, two special issues of journals and numerous book chapters and articles were published, marking a significant increase not only in the quantity, but the quality of Baldwin criticism.

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Lindsey R. Swindall

Clearly there is a unique hunger for Baldwin’s wisdom in this historical moment, as illustrated by Raoul Peck’s film, reprints of several Baldwin books, exhibits, and other events. This essay describes the genesis of two five-part public discussions on the works of James Baldwin that were co-facilitated by African-American Studies scholar Dr. Lindsey R. Swindall and actor Grant Cooper at two schools in New York City in the 2016–17 academic year. These discussion series led to numerous Baldwin discussion events being scheduled for the winter and spring of 2018. The surprising popularity of these programs prompted Swindall to wonder: Why do people want to discuss Baldwin now? The first of two parts, this essay speculates that many people in the digital age long for a conversational space like the one Baldwin created at the “welcome table” in his last home in France. The second essay—which is forthcoming—will confirm whether discussion events held in 2018 harmonize with the welcome table thesis.

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Ernest L. Gibson

James Baldwin might be imagined as reaching his greatest level of popularity within this current decade. With the growth of social media activist movements like Black Lives Matter, which captures and catalyzes off a Baldwinian rage, and the publishing of works directly evoking Baldwin, his voice appears more pronounced between the years of 2013 and 2015. Scholars in Baldwin studies, along with strangers who were turned into witnesses of his literary oeuvre, have contributed to this renewed interest in Baldwin, or at least have been able to sharpen the significance of the phenomenon. Publications and performances highlight Baldwin’s work and how it prefigured developments in critical race and queer theories, while also demonstrating Baldwin’s critique as both prophetic and “disturbingly” contemporary. Emerging largely from Baldwin’s timelessness in social and political discourse, and from the need to conjure a figure to demystify the absurd American landscape, these interventions in Baldwin studies follow distinct trends. This essay examines the 2013–15 trends from four vantages: an examination of a return, with revision, to popular work by Baldwin; identifying Baldwin’s work as a contributor to theoretical and critical methodology; Baldwin and intertextuality or intervocality; and a new frontier in Baldwin studies.

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Jay Garcia

The intellectual connection between James Baldwin and Lionel Trilling, and the resonances across their criticism, are more substantial than scholarly and biographical treatments have disclosed. For Trilling, Baldwin’s writings were notable for their deviation from most humanistic inquiry, which he considered insufficiently alert to the harms and depredations of culture. Baldwin’s work became for Trilling a promising indication that American criticism could be remade along the lines of a tragic conception of culture deriving from Freud. This essay concentrates on a relevant but neglected dynamic in American letters—the mid-twentieth-century tension between Freudian thought and American humanistic inquiry evident in fields like American Studies—to explain the intellectual coordinates within which Trilling developed an affinity for Baldwin’s work. The essay concludes by suggesting that the twilight of Freud’s tragic conception of culture, which figured centrally in the modernist critical environment in which Baldwin and Trilling encountered one another, contributed to an estrangement whereby the two came to be seen as unrelated and different kinds of critics, despite the consonance of their critical idioms during the 1940s and 1950s.

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John Keene

This piece presents a brief overview of the “James Baldwin: Transatlantic Commuter” conference, which was held at the Université Paul-Valéry, Montpellier, in Montpellier, France, from 5–7 June 2014.

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Herb Boyd

As this essay notes, James Baldwin, his words and metaphors, pervade public space at countless numbers of intersections. Lines from his plays, novels, and essays have always been an easy and handy reference for writers and artists seeking ways to ground their intentions with deeper meaning and magic. Even in a minority opinion on 22 June 2016 written by Supreme Court Justice Sonia Sotomayor, she cited several authors, including Baldwin, to underscore her point on the Court’s abrogation of the Fourth Amendment.

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Reading and Theorizing James Baldwin

A Bibliographic Essay

Conseula Francis

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.

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D.Quentin Miller

The acceleration of interest in Baldwin’s work and impact since 2010 shows no signs of diminishing. This resurgence has much to do with Baldwin—the richness and passionate intensity of his vision—and also something to do with the dedicated scholars who have pursued a variety of publication platforms to generate further interest in his work. The reach of Baldwin studies has grown outside the academy as well: Black Lives Matter demonstrations routinely feature quotations from Baldwin; Twitter includes a “Son of Baldwin” site; and Raoul Peck’s 2016 documentary, I Am Not Your Negro, has received considerable critical and popular interest. The years 2010–13 were a key period in moving past the tired old formula—that praised his early career and denigrated the works he wrote after 1963—into the new formula—positing Baldwin as a misunderstood visionary, a wide-reaching artist, and a social critic whose value we are only now beginning to appreciate. I would highlight four additional prominent trends that emerged between 2010 and 2013: a consideration of Baldwin in the contexts of film, drama, and music; understandings of Baldwin globally; Baldwin’s criticism of American institutions; and analyses of Baldwin’s work in conversation with other authors.