Literature and Theatre

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Collaborating with James Baldwin on a Screenplay of Giovanni’s Room
Michael Raeburn

The author discusses his personal relationship with James Baldwin, recounting their collaboration on a film script for an adaptation of Giovanni’s Room.

James Baldwin Review
Ordinary Intimacies in Emerson, Du Bois, and Baldwin
Prentiss Clark

This essay reads James Baldwin in conversation with two unexpected interlocutors from the American nineteenth and twentieth centuries: Ralph Waldo Emerson and W. E. B. Du Bois. What draws these historically distant and intellectually different thinkers together, their differences making their convergences all the more resonant and provocative, is a shared mode of attention they bring to the social crises of their eras. It is a mode of attention foregrounding how the often unobserved particulars and emotional registers of human life vitally shape civic existence; more specifically, a mode of attention provoking us to see how “a larger, juster, and fuller future,” in Du Bois’s words, is a matter of the ordinary intimacies and estrangements in which we exist, human connections in all their expressions and suppressions. Emerson names them “facts [. . .] harder to read.” They are “the finer manifestations,” in Du Bois’s terms, “of social life, which history can but mention and which statistics can not count”; “All these things,” Baldwin says, “[. . .] which no chart can tell us.” In effect, from the 1830s to the 1980s these thinkers bear witness to what politics, legislation, and even all our knowledges can address only partially, and to the potentially transformative compensations we might realize in the way we conduct our daily lives. The immediate relevance and urgency this essay finds in their work exists not in proposed political actions, programs for reform, or systematic theories of social justice but in the way their words revitalize the ethical question “How shall I live?” Accumulative and suggestive rather than systematically comparative or polemical, this essay attempts to engage with Emerson, Du Bois, and Baldwin intimately, to proceed in the spirit of their commitment to questioning received disciplines, languages, and ways of inhabiting the world.

James Baldwin Review
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Encounters in America
Dagmawi Woubshet

This essay draws on James Baldwin’s ideas on race, immigration, and American identity to examine the experience of contemporary African immigrants in the United States. More Africans have come to the U.S. since 1965 than through the Middle Passage, and only now is their experience gaining the full creative and critical attention it merits. Since becoming American entails adopting the racial norms and sentiments of the U.S., I explore how African immigrants contend with the process of racialization that is part and parcel of the American experience. Drawing on Baldwin’s idea of blackness as an ethical category, I also consider the limits of the concept of Afropolitanism to characterize the new wave of African immigrants in the U.S.

James Baldwin Review
James Baldwin in Conversation with Fritz J. Raddatz (1978)
Gianna Zocco

This is the first English-language publication of an interview with James Baldwin conducted by the German writer, editor, and journalist Fritz J. Raddatz in 1978 at Baldwin’s house in St. Paul-de-Vence. In the same year, it was published in German in the weekly newspaper Die Zeit, as well as in a book of Raddatz’s conversations with international writers, and—in Italian translation—in the newspaper La Repubblica. The interview covers various topics characteristic of Baldwin’s interests at the time—among them his thoughts about Jimmy Carter’s presidency, his reasons for planning to return to the United States, his disillusionment after the series of murders of black civil rights activists in the 1960s and 1970s, and the role of love and sexuality in his literary writings. A special emphasis lies on the discussion of possible parallels between Nazi Germany and U.S. racism, with Baldwin most prominently likening the whole city of New York to a concentration camp. Due to copyright reasons, this reprint is based on an English translation of the edited version published in German. A one-hour tape recording of the original English conversation between Raddatz and Baldwin is accessible at the German literary archive in Marbach.

James Baldwin Review
Robert Z. Birdwell

Go Tell It on the Mountain sheds light on James Baldwin’s response to his Pentecostal religious inheritance. Baldwin writes protagonist John Grimes’s experience of “salvation” as an act of his own break with his past and the inauguration of a new vocation as authorial witness of his times. This break is premised on the experience of kairos, a form of time that was derived from Baldwin’s experience of Pentecostalism. Through John Grimes’s experience, Baldwin represents a break with the past that begins with the kairotic moment and progresses through the beginnings of self-love and the possibility of freedom enabled by this love. This essay contributes a new perspective on discussions of Baldwin’s representation of time and his relationship to Christianity.

James Baldwin Review
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James Baldwin and the Ethics of Trauma
Mikko Tuhkanen

This essay proposes that we turn to James Baldwin’s work to assess the cost of, and think alternatives to, the cultures of traumatization whose proliferation one witnesses in contemporary U.S. academia. Beginning with some recent examples, the essay briefly places these cultures into a genealogy of onto-ethics whose contemporary forms arose with the reconfiguration of diasporic histories in the idioms of psychoanalysis and deconstructive philosophy in 1990s trauma theory. Baldwin speaks to the contemporary moment as he considers the outcome of trauma’s perpetuation in an autobiographical scene from “Notes of a Native Son.” In this scene—which restages Bigger Thomas’s murderous compulsion in Native Son—he warns us against embracing one’s traumatization as a mode of negotiating the world. In foregoing what Sarah Schulman has recently called the “duty of repair,” such traumatized engagement prevents all search for the kind of “commonness” whose early articulation can be found in Aristotle’s query after “the common good” (to koinon agathon). With Baldwin, the present essay suggests the urgency of returning to the question of “the common good”: while mindful of past critiques, which have observed in this concept’s deployment a sleight-of-hand by which hegemonic positions universalize their interests, we should work to actualize the unfinished potential of Aristotle’s idea. Baldwin’s work on diasporic modernity provides an indispensable archive for this effort.

James Baldwin Review
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Self-examining White Privilege and the Myth of America
Keely Shinners

James Baldwin, in his landmark essay “My Dungeon Shook,” says that white Americans are “still trapped in a history which they do not understand; and until they understand it, they cannot be released from it.” This open letter explores this history on a personal level. Taking notes from Baldwin’s indictments of whiteness in Another Country and The Fire Next Time, this essay explores how white people, despite claims of deniability, become culpable, complicit, and ensnared in their racial privilege. By reading Baldwin’s work through a personal lens, it implores fellow white readers and scholars of Baldwin to begin examining the myths of America by first examining themselves.

James Baldwin Review
James Baldwin Review
James Baldwin’s American South
Jeff Fallis

James Baldwin has frequently been written about in terms of his relationship to geographical locations such as Harlem, Paris, St. Paul-de-Vence, Istanbul, and “the transatlantic,” but his longstanding connection to the American South, a region that served as a vexed and ambiguous spiritual battleground for him throughout his life and career, has been little discussed, even though Baldwin referred to himself as “in all but no technical legal fact, a Southerner.” This article argues that the South has been seriously underconsidered as a major factor in Baldwin’s psyche and career and that were it not for the challenge to witness the Southern Civil Rights movement made to Baldwin in the late 1950s, he might never have left Paris and become the writer and thinker into which he developed. It closely examines Baldwin’s fictional and nonfictional engagements with the American South during two distinct periods of his career, from his first visit to the region in 1957 through the watershed year of 1963, and from 1963 through the publication of Baldwin’s retrospective memoir No Name in the Street in 1972, and it charts Baldwin’s complex and often contradictory negotiations with the construction of identity in white and black Southerners and the South’s tendency to deny and censor its historical legacy of racial violence. A few years before his death, Baldwin wrote that “[t]he spirit of the South is the spirit of America,” and this essay investigates how the essential question he asked about the region—whether it’s a bellwether for America’s moral redemption or moral decline—remains a dangerous and open one.

James Baldwin Review
Open Access (free)
Space and the Speculative in James Baldwin’s “Sonny’s Blues”
Maleda Belilgne

In a 1961 interview with the journalist Studs Terkel, James Baldwin offered a riveting assessment of Bessie Smith’s “Backwater Blues.” “It’s a fantastic kind of understatement,” Baldwin tells Terkel. “It’s the way I want to write.” Baldwin hears something in Bessie, a sonic and discursive quality he aspires to and identifies as “fantastic.” This essay considers the speculative undertones of Bessie’s blues and Baldwin’s literary realism. I argue that Bessie’s doubled vocalization in “Backwater Blues” lyrically declares her immobility and circumscription, while tonally staging freedom and boundlessness. Baldwin is drawn to this dual orientation and enunciation, a vocalization that in its iteration of the real transcends the social, spatial, and imaginative limitations of that order. If we read “Sonny’s Blues” the way Baldwin hears Bessie, as a fantastic kind of understatement, we discern subtle sonic and spatial iterations of the irreal. Attending to microtonal sounds in “Sonny’s Blues”—screams, whistling, jukeboxes—I show that the speculative emerges in Baldwin’s story when the sonic overrides the racialized inscription of space.

James Baldwin Review