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In this semi-biographical short story, the relationship between James Baldwin and Attorney General Robert F. Kennedy, and its culmination in their epic confrontation in New York City on 24 May 1963, is portrayed through the lens of an unidentified fictive narrator. In the midst of heightened racial tensions, Baldwin has been tasked with bringing together a delegation of prominent Black US personalities to meet with the Attorney General and share their views on the measures necessary to combat segregation and racism. The meeting has barely begun before the naivety of the administration’s view of the national situation becomes clear, and the atmosphere in the room grows increasingly strained. “The Fire Inside” has never before appeared in print. An earlier version of the story was broadcast by Swedish Radio on 29 November 2019.
James Baldwin Review editors Douglas Field and Justin A. Joyce interview author and Baldwin biographer James Campbell on the occasion of the reissue of his book Talking at the Gates (Polygon and University of California Press, 2021).
This essay explores Black queer feminist readings of the sexual politics of James Baldwin’s Another Country. Recent work at the intersection of queer of color critique and Black feminism allows us to newly appreciate Baldwin’s prescient theorization of the workings of racialized and gendered power within the erotic. Previous interpretations of Another Country have focused on what is perceived as a liberal idealization of white gay male intimacy. I argue that this approach requires a selective reading of the novel that occludes its more complex portrayal of a web of racially fraught, power-stricken, and often violent sexual relationships. When we de-prioritize white gay male eroticism and pursue analyses of a broader range of erotic scenes, a different vision of Baldwin’s sexual imaginary emerges. I argue that far from idealizing, Another Country presents sex within a racist, homophobic, and sexist world to be a messy terrain of pleasure, pain, and political urgency. An unsettling vision, to be sure, but one that, if we as readers are to seek more equitable erotic imaginaries, must be reckoned with.
Spurred on by Colson Whitehead’s Pulitzer Prize-winning novel The Nickel Boys (2019), which is set in Tallahassee, FL, during the 1950s and 1960s, this essay presents a close-up look at James Baldwin’s visit to Tallahassee in May 1960. Moving between Baldwin’s writings about the South, especially “They Can’t Turn Back,” published by Mademoiselle magazine in August 1960, and subsequent writing about the movement in Tallahassee, and checking off against Whitehead’s fictional treatment, we find a lattice of silences obscuring the names and contributions of Black women. Most importantly, we find that the historic case of the rape of Betty Jean Owens in May 1959, and the subsequent trial that summer, appears neither in Baldwin’s nor Whitehead’s writing about Tallahassee at the time. This essay establishes the missing names of Black women in the places marked and unmarked by Baldwin in his work at the time, and puts the case of Betty Jean Owens on the historical map where it belongs. In so doing, we figure issues of race, gender, sex, and violence for the ways they twist together, ways suppressed in historical (and even some contemporary) writing, ways crucial to our deepening consideration of Baldwin’s work and the history which he drew upon and to which he contributed so profoundly.
This article provides an introduction to this special section of James Baldwin Review 7 devoted to Baldwin and film. Jackson considers Baldwin’s distinct approach to film criticism by pairing him with James Agee, another writer who wrote fiction as well as nonfiction in several genres, and who produced a large body of film criticism, especially during the 1940s. While Agee, a white southerner born almost a generation before Baldwin, might seem an unlikely figure to place alongside Baldwin, the two shared a great deal in terms of temperament and vision, and their film writings reveal a great deal of consensus in their diagnoses of American pathologies. Another important context for Baldwin’s complex relationship to film is television, which became a dominant media form during the 1950s and exerted a great influence upon both the mainstream reception of the civil rights movement and Baldwin’s reception as a public intellectual from the early 1960s to the end of his life. Finally, the introduction briefly discusses the articles that constitute this special section.
William J. Maxwell, editor of James Baldwin: The FBI File (2017), interviews Bill V. Mullen on his 2019 biography, James Baldwin: Living in Fire, along the way touching on both Baldwin’s early internationalism and his relevance to the current wave of racial discord and interracial possibility in the United States.
Reading works on Baldwin from 2017 to 2019, the author tracks the significance of Baldwin within the Black Lives Matter movement and our growing need for police reform in conjunction with a revaluation of the lives of racial and ethnic minorities within the oppressive systemic biases of American social and political life.
Recalling the insurrectionary violence that descended upon the US Capitol on 6 January 2021, reflecting on the baser instincts left unchecked in America by an absence of common communication and a paradigmatic shift in our media apparatuses, Justin A. Joyce introduces the seventh volume of James Baldwin Review.
This review essay examines Eddie Glaude, Jr.’s new book Begin Again: James Baldwin’s America and Its Urgent Lessons for Our Own against several other recent works on Baldwin such as Bill Mullen’s James Baldwin: Living in Fire and Nicholas Buccola’s The Fire Is Upon Us.
This chapter outlines a model for re-reading European-authored travel texts of the nineteenth century (and potentially travel writing more generally) that aims to move beyond an approach to their aesthetics shaped by moments of arrival and meeting, and prospect views. It takes a mobilities studies approach and focuses on the example of the ‘pedestrian tour’ in Augustus Earle’s Narrative of Nine Months’ Residence in New Zealand, in 1827 (1832). The chapter asks what different understandings of history and coeval ‘life worlds’ might emerge when we pay attention to mundane, local, and embodied movements within texts such as Earle’s – movements of both the European traveller(s) in the text and of Indigenous peoples, in this case Māori. It pays particular attention to what happens when we read mobility within prose travel texts alongside – and to an extent against – the more dominant worldings evoked by the visual art of pre-colonial and early colonial periods.