Preaching Outside the Temple: On the Literary Witness of James Baldwin as the Word Made Public

Abstract

It was the late Bishop Ithiel Conrad Clemmons, former minister of the First Church of God in Christ of Brooklyn, New York, who said of the late famed novelist/essayist James Baldwin that “he was America’s inside eye on the Black Holiness and Pentecostal Churches”. Though Baldwin admitted that the culture and ethos of the African-American Pentecostal church were “highly significant and indelibly imprinted upon him”, according to Baldwin, his faith community’s “naiveté about life appalled him and drove him away”. While Baldwin left behind the church of his youth, never to return, for the remainder of his writing career, the “backslidden” minister’s literary musings continued to be informed (in both style and content) by the formative religious tradition that he left behind. Though several studies have been undertaken that examine Baldwin’s significance to various aspects of the study of African-American religion and culture, precious little has been written regarding Baldwin’s continuing engagement of the idiom of African-American preaching, the idiom which cultural critic Michael Eric Dyson has nominated as the “jewel in the crown of Black Sacred Rhetoric”. While many studies of Baldwin include the fact that Baldwin was a preacher’s son and that Baldwin himself preached for a time during his youth, the account is yet to be given of the ways in which Baldwin’s writings continued to employ the rhythms, grammar, tones, and textures of the Black sacred rhetorical tradition, especially from beyond the borders of the African-American church. This essay seeks to expose not only the ways in which Baldwin self-consciously continued to stand in the rhetorical trajectory of the African-American preaching tradition, but the attempt is also to reveal the ways in which the writer secularizes the idiom, providing the Black holiness preacher a hearing from beyond the church. Through a focus on Baldwin as a Black sacred rhetorician, sermonizing from beyond the church, this essay participates in the nearly 100-year-old conversation instigated by the early African-American literary and cultural critic James Weldon Johnson in God’s Trombones: Seven Negro Sermons in Verse (1927), regarding the neglected significance of the sermon and the preacher in African-American literature and Black expressive cultures. Baldwin’s sermonic is here examined as a highly distinctive mode of Black public theologizing.