Search results
This article considers James Baldwin’s last published novel, Just Above My Head (1979), as the culmination of his exploration of kinship, reflecting on the ways distance and loss characterize African-American familial relations. By analyzing Baldwin’s representation of Hall Montana’s relationship to, and mourning of, his younger brother Arthur, this article argues that JAMH revises the terms of the black family to imagine an alternative, errant kinship that is adoptive, migratory, and sustained through songs of joy and grief. My approach to the novel’s portrayal of kinship is indebted to Édouard Glissant’s Poetics of Relation (1990), in which he defines “errantry” as a fundamental characteristic of diaspora that resists the claustrophobic, filial violence and territorial dispossession that are slavery’s legacies. Baldwin represents errant kinship in JAMH through his inclusion of music and formal experimentation. Departing from previous scholarship that reads JAMH as emblematic of the author’s artistic decline, I interpret the novel’s numerous syntactic and figurative experiments as offering new formal insight into his portrait of brotherly love. Baldwin’s integration of two distinctive leitmotifs, blood and song, is therefore read as a formal gesture toward a more capacious and migratory kinship.