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).
Black Queer Feminism and the Sexual Politics of Another Country
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.
The Texture—Gendered, Sexual, Violent—of James
Baldwin’s Southern Silences
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.
A Conversation with Bill V. Mullen, the author of James Baldwin: Living in Fire
William J. Maxwell and Bill V. Mullen
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
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
Race, class, and poetry in a South American colony
Jason Rudy, Aaron Bartlett, Lindsey O'Neil, and Justin Thompson
Hundreds of white supremacist working-class Australians settled in Paraguay
at the end of the nineteenth century, establishing a community there called
Colonia Cosme. In the poetry and song of their newspaper, the Cosme Monthly,
these settler colonialists reflected on the racial and class dynamics of
their community, imagining affinities between their community, the defeated
American Confederacy, and the White Australia policy that would accompany
Australian Federation at the turn of the century. Blackface minstrelsy in
particular played an important role in the colony’s cultural life, helping
to establish a retrograde sense of belonging in a place largely inhospitable
to their efforts. This essay considers how the Australians in Paraguay used
genre and medium to fix racist identifications at the heart of their