Posts tagged James Baldwin.

Home. The very word begins to have a despairing and diabolical ring. You must consider what happens to this citizen, after all he has endured, when he returns—home: search, in his shoes, for a job, for a place to live; ride, in his skin, on segregated buses; see, with his eyes, the signs saying “White” and “Colored,” and especially the signs that say “White Ladies” and “Colored *Women*”; look into the eyes of his wife; look into the eyes of his son; listen, with his ears, to political speeches, North and South; imagine yourself being told to “wait.” And all this is happening in the richest and freest country in the world, and in the middle of the twentieth century.

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.

James BaldwinThe Fire Next Time

…white people, who had robbed black people of their liberty and who profited by this theft every hour that they lived, had no moral ground on which to stand. They had the judges, the juries, the shotguns, the law—in a word, power.

James BladwinThe Fire Next Time

To accept one’s past—one’s history—is not the same thing as drowning in it; it is learning how to use it.

James Baldwin, The Fire Next Time

Gay Will Never Be The New Black: What James Baldwin Taught Me About My White Privilege

From Thought Catalog

I’d never even heard the name James Baldwin until my first semester at Union Theological Seminary. As a white, middle-class American, I was the product of a predominantly white, middle-class education that didn’t assign The Fire Next Time and Giovanni’s Room, two of Baldwin’s masterpieces, alongside 1984 and The Scarlet Letter. It wasn’t until I moved to New York and took a class on Baldwin’s life and writings that I was transformed by the black, same-gender-loving, 20th-century author’s honesty and candor.

Baldwin grew up on New York’s Fifth Avenue — not the Fifth Avenue of Saks and the Social Register but the Fifth Avenue of 1930s Harlem, where black Americans like Ellison’s invisible man were kept at a safe, 60-block distance from fearful, prejudiced whites. The child preacher turned writer experienced racism and homophobia firsthand and possessed an unflinching eye for the injustices of American life. Unlike many authors I have read before, Baldwin was filled with love, courage and an unrelenting imagination. It was precisely because of his abiding care for his country that Baldwin retained the right to critique her so harshly. He had faith that the United States could be better, not only for him but for all people.

I couldn’t help but be captivated by his audacity. He quickly became a sage for me and left behind a signet of courage on my conscience. “[Y]ou have to decide who you are,” he said in 1961, “and force the world to deal with you, not with its idea of you.”

As a white gay man committed to advocacy, I was naturally drawn to Baldwin and eager to hear what he had to say about LGBTQ equality in America. What I discovered, though, was not at all what I was expecting. Baldwin, more than anyone else, taught me that although I am gay, I am white, and that being white always involves persistent privilege that must be recognized and accounted for. Baldwin explains that white LGBTQ men and women feel slighted precisely because they know that had they been straight, they would have been heirs to incomparable privilege. In a 1984 interview with Richard Goldstein, then the editor of the Village Voice, Baldwin said, “I think white gay people feel cheated because they were born, in principle, in a society in which they were supposed to be safe. The anomaly of their sexuality puts them in danger, unexpectedly.” He went on to say:

Their reaction seems to me in direct proportion to their sense of feeling cheated of the advantages which accrue to white people in a white society. There’s an element, it has always seemed to me, of bewilderment and complaint. Now that may sound very harsh, but the gay world as such is no more prepared to accept black people than anywhere else in society.

Baldwin was not the only queer author to express this reality. Audre Lorde, a black lesbian feminist writer and a contemporary of Baldwin’s, says the same thing in her 1982 autobiography Zami: “[W]hen I, a Black woman, saw no reflection in any of the faces [in the lesbian clubs of New York] week after week, I knew perfectly well that being an outsider in the Bagatelle had everything to do with being Black.” Calling herself a sister-outsider in the gay community, Lorde reflects on the racist gay culture of 1970s and ’80s New York. “Non-conventional people can be dangerous,” she says, “even in the gay community.”

Mainstream gay culture privileges the white narrative, and it does so at the expense of its own legitimacy. As Baldwin understands and so eloquently states, the fight against homophobia and racism are undoubtedly entwined through their shared struggle for human dignity. However, conflating the two does discernible harm, both to those persons of color who are repeatedly forgotten in progressive social movements, and to white LGBTQ persons who tarnish their own humanity by forgetting the humanity of others.

As we celebrate Black History Month this February, and as we await the Supreme Court’s decision on marriage equality, we must remember that the struggle to restore dignity to people is not finished. The work to ensure that all people have access to fair and equitable employment, health care and proper medical attention and aren’t targets for violence by the police or their fellow community members must continue even after gays and lesbians are granted the right to marry the persons they love. This is not a new civil rights movement as some have said but a different one.

Baldwin’s legacy teaches me, as a white person and an LGBTQ activist, that gay will never be the new black, and that the fight for racial equality is far from over. TC Mark

Todd Clayton, Thought Catalog 

If the concept of God has any validity or any use, it can only be to make us larger, freer, and more loving. If God cannot do this, then it is time we got rid of him.

James BaldwinThe Fire Next Time

[Langston] Hughes, in his sermons, blues and prayers, has working for him the power and the beat of Negro speech and Negro music. Negro speech is vivid largely because it is private. It is a kind of emotional shorthand—or sleight-of-hand—by means of which Negroes express, not only their relationship to each other, but their judgment of the white world. And, as the white world takes over this vocabulary—without the faintest notion of what it really means—the vocabulary is forced to change. The same thing is true of Negro music, which has had to become more and more complex in order to continue to express any of the private or collective experience.

James Baldwin

“To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread. It will be a great day for America, incidentally, when we begin to eat bread again, instead of the blasphemous and tasteless foam rubber that we have substituted for it. 

And I am not being frivolous now, either. Something very sinister happens to the people of a country when they begin to distrust their own reactions as deeply as they do here, and become as joyless as they have become. It is this individual uncertainty on the part of white American men and women, this inability to renew themselves at the fountain of their own lives, that makes the discussion, let alone elucidation, of any conundrum—that is, any reality—so suprememly difficult. 

The person who distrusts himself has no touchstone for reality—for this touchstone can be only oneself. Such a person interposes between himself and reality nothing less than a labyrinth of attitudes. And these attitudes, furthermore, though the person is usually unaware of it (is unaware of so much!), are historical and public attitudes. They do not relate to the present any more than they relate to the person. Therefore, whatever white people do not know about Negroes reveals, precisely and inexorably, what they do not know about themselves.”

James BaldwinThe Fire Next Time

“All I remember is the pain, the unspeakable pain; it was as though I were yelling up to Heaven and Heaven would not hear me. And if Heaven would not hear me, if love could not descend from Heaven—to wash me, to make me clean—then utter disaster was my portion. Yes, it does indeed mean something—something unspeakable—to be born, in a white country, an Anglo-Teutonic, antisexual country, black. You very soon, without knowing it, give up all hope of communion. Black people, mainly, look down or look up but do not look at each other, not at you, and white people, mainly, look away. “

—James Baldwin, The Fire Next Time

“White people were, and are, astounded by the Holocaust in Germany. They did not know that they could act that way. But, I very much doubt whether black people were astounded – at least, in the same way. For my part, the fate of the Jews, and the world’s indifference to it, frightened me very much. I could not but feel, in those sorrowful years, that this human indifference, concerning which I knew so much already, would be my portion on the day that the United States decided to murder its Negroes systematically, instead of little by little and catch-as-catch-can.”

—James Baldwin “Letter from a Region in My Mind” in The Fire Next Time (1963)

James Baldwin's Last Interview; on Toni Morrison

  • Troupe: What do you think about Toni Morrison?
  • Baldwin: Toni's my ally and it's really probably too complex to get into. She's a black woman writer, which in the public domain makes it more difficult to talk about. . . . Her gift is in allegory. Tar Baby is an allegory. In fact all her novels are. But they're hard to talk about in public. That's where you get in trouble because her books and allegory are not always what it seems to be about. I was too occupied with my recent illness to deal with Beloved. But in general she's taken a myth, or she takes what seems to be a myth, and turns it into something else. I don't know how to put this—Beloved could be about the story of truth. She's taken a whole lot of things and turned them upside down. Some of them—you recognize the truth in it. I think that Toni's very painful to read.
  • Troupe: Painful?
  • Baldwin: Yes. Because it's always or most times a horrifying allegory; but you recognize that it works. But you don't really want to march through it. Sometimes people have a lot against Toni, but she's got the most believing story of everybody—this rather elegant matron, whose intentions really are serious and, according to some people, lethal.

“The victim who is able to articulate the situation of the victim has ceased to be a victim: he or she has become a threat.”

James Baldwin

“The primary distinction of the artist is that he must actively cultivate that state which most men, necessarily, must avoid; the state of being alone.” 

James Baldwin

1 year ago on 04/26/12 at 01:53pm

“The American idea of racial progress is measured by how fast I become white.”

James Baldwin,On Language, Race, and the Black Writer