This article traces the evolution of James Baldwin’s discourse on the Arab–Israeli conflict as connected to his own evolution as a Black thinker, activist, and author. It creates a nuanced trajectory of the transformation of Baldwin’s thought on the Arab–Israeli conflict and Black and Jewish relations in the U.S. This trajectory is created through the lens of Baldwin’s relationship with some of the major radical Black movements and organizations of the twentieth century: Malcolm X, Elijah Muhammad and the Nation of Islam, and, finally, the Black Power movement, especially the Black Panther Party. Using Baldwin as an example, the article displays the Arab–Israeli conflict as a terrain Black radicals used to articulate their visions of the nature of Black oppression in the U.S., strategies of resistance, the meaning of Black liberation, and articulations of Black identity. It argues that the study of Baldwin’s transformation from a supporter of the Zionist project of nation-building to an advocate of Palestinian rights and national aspirations reveals much about the ideological transformations of the larger Black liberation movement.
{"title":"“The Shape of the Wrath to Come”","authors":"Nadia Alahmed","doi":"10.7227/JBR.6.3","DOIUrl":"https://doi.org/10.7227/JBR.6.3","url":null,"abstract":"This article traces the evolution of James Baldwin’s discourse on the\u0000 Arab–Israeli conflict as connected to his own evolution as a Black\u0000 thinker, activist, and author. It creates a nuanced trajectory of the\u0000 transformation of Baldwin’s thought on the Arab–Israeli conflict\u0000 and Black and Jewish relations in the U.S. This trajectory is created through\u0000 the lens of Baldwin’s relationship with some of the major radical Black\u0000 movements and organizations of the twentieth century: Malcolm X, Elijah Muhammad\u0000 and the Nation of Islam, and, finally, the Black Power movement, especially the\u0000 Black Panther Party. Using Baldwin as an example, the article displays the\u0000 Arab–Israeli conflict as a terrain Black radicals used to articulate\u0000 their visions of the nature of Black oppression in the U.S., strategies of\u0000 resistance, the meaning of Black liberation, and articulations of Black\u0000 identity. It argues that the study of Baldwin’s transformation from a\u0000 supporter of the Zionist project of nation-building to an advocate of\u0000 Palestinian rights and national aspirations reveals much about the ideological\u0000 transformations of the larger Black liberation movement.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43671970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Artists, scholars, and popular media often describe James Baldwin as revolutionary, either for his written work or for his role in the civil rights movement. But what does it mean to be revolutionary? This article contends that thoughtlessly calling James Baldwin revolutionary obscures and erases the non-revolutionary strategies and approaches he employed in his contributions to the civil rights movement and to race relations as a whole. Frequent use of revolutionary as a synonym for “great” or “important” creates an association suggesting that all good things must be revolutionary, and that anything not revolutionary is insufficient, effectively erasing an entire spectrum of social and political engagement from view. Baldwin’s increasing relevance to our contemporary moment suggests that his non-revolutionary tactics are just as important as the revolutionary approaches employed by civil rights leaders such as Malcolm X or Martin Luther King, Jr.
{"title":"The Warrior and the Poet","authors":"Nicholas Binford","doi":"10.7227/JBR.6.7","DOIUrl":"https://doi.org/10.7227/JBR.6.7","url":null,"abstract":"Artists, scholars, and popular media often describe James Baldwin as\u0000 revolutionary, either for his written work or for his role in the civil rights\u0000 movement. But what does it mean to be revolutionary? This article contends that\u0000 thoughtlessly calling James Baldwin revolutionary obscures and erases the\u0000 non-revolutionary strategies and approaches he employed in his contributions to\u0000 the civil rights movement and to race relations as a whole. Frequent use of\u0000 revolutionary as a synonym for “great” or\u0000 “important” creates an association suggesting that all good things\u0000 must be revolutionary, and that anything not revolutionary is insufficient,\u0000 effectively erasing an entire spectrum of social and political engagement from\u0000 view. Baldwin’s increasing relevance to our contemporary moment suggests\u0000 that his non-revolutionary tactics are just as important as the revolutionary\u0000 approaches employed by civil rights leaders such as Malcolm X or Martin Luther\u0000 King, Jr.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":"6 1","pages":"106-121"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46418773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jovita dos Santos Pinto, N. Michel, Patricia Purtschert, Paola Bacchetta, V. Naef
James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.
{"title":"Baldwin’s Transatlantic Reverberations","authors":"Jovita dos Santos Pinto, N. Michel, Patricia Purtschert, Paola Bacchetta, V. Naef","doi":"10.7227/JBR.6.12","DOIUrl":"https://doi.org/10.7227/JBR.6.12","url":null,"abstract":"James Baldwin’s writing, his persona, as well as his public speeches,\u0000 interviews, and discussions are undergoing a renewed reception in the arts, in\u0000 queer and critical race studies, and in queer of color movements. Directed by\u0000 Raoul Peck, the film I Am Not Your Negro decisively contributed\u0000 to the rekindled circulation of Baldwin across the Atlantic. Since 2017,\u0000 screenings and commentaries on the highly acclaimed film have prompted\u0000 discussions about the persistent yet variously racialized temporospatial\u0000 formations of Europe and the U.S. Stemming from a roundtable that followed a\u0000 screening in Zurich in February 2018, this collective essay wanders between the\u0000 audio-visual and textual matter of the film and Baldwin’s essay\u0000 “Stranger in the Village,” which was also adapted into a\u0000 film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of\u0000 Leukerbad. Privileging Black feminist, postcolonial, and queer of color\u0000 perspectives, we identify three sites of Baldwin’s transatlantic\u0000 reverberations: situated knowledge, controlling images, and everyday sexual\u0000 racism. In conclusion, we reflect on the implications of racialized, sexualized\u0000 politics for today’s Black feminist, queer, and trans of color movements\u0000 located in continental Europe—especially in Switzerland and France.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":"6 1","pages":"176-198"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48738553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Filmmaker Karen Thorsen gave us James Baldwin: The Price of the Ticket, the award-winning documentary that is now considered a classic. First broadcast on PBS/American Masters in August, 1989—just days after what would have been Baldwin’s 65th birthday—the film premiered at the Sundance Film Festival in 1990. It was not the film Thorsen intended to make. Beginning in 1986, she and Baldwin had been collaborating on a very different film project: a “nonfiction feature” about the history, research, and writing of Baldwin’s next book, Remember This House. It was also going to be a film about progress: how far we had come, how far we still had to go, before we learned to trust our common humanity. The following memoir explores how and why their collaboration began. This recollection will be serialized in two parts, with the second installment appearing in James Baldwin Review’s seventh issue, due out in the fall of 2021.
电影制作人Karen Thorsen给我们带来了James Baldwin: The Price of The Ticket，这部获奖的纪录片现在被认为是一部经典。1989年8月，就在鲍德温65岁生日的几天后，这部电影在PBS/American Masters上首次播出，并于1990年在圣丹斯电影节上首映。这不是索尔森想拍的电影。从1986年开始，她和鲍德温一直在合作一个非常不同的电影项目:一部关于鲍德温下一本书《记住这所房子》的历史、研究和写作的“非虚构长片”。这也是一部关于进步的电影:在我们学会相信我们共同的人性之前，我们已经走了多远，我们还有多远要走。下面的回忆录探讨了他们的合作是如何开始的以及为什么开始的。这篇回忆将分为两部分连载，第二部分将出现在《詹姆斯·鲍德温评论》第七期，定于2021年秋季出版。
{"title":"The Disorder of Life","authors":"K. Thorsen","doi":"10.7227/JBR.6.9","DOIUrl":"https://doi.org/10.7227/JBR.6.9","url":null,"abstract":"Filmmaker Karen Thorsen gave us James Baldwin: The Price of the\u0000 Ticket, the award-winning documentary that is now considered a\u0000 classic. First broadcast on PBS/American Masters in August, 1989—just\u0000 days after what would have been Baldwin’s 65th birthday—the film\u0000 premiered at the Sundance Film Festival in 1990. It was not the film Thorsen\u0000 intended to make. Beginning in 1986, she and Baldwin had been collaborating on a\u0000 very different film project: a “nonfiction feature” about the\u0000 history, research, and writing of Baldwin’s next book, Remember\u0000 This House. It was also going to be a film about progress: how far\u0000 we had come, how far we still had to go, before we learned to trust our common\u0000 humanity. The following memoir explores how and why their collaboration began.\u0000 This recollection will be serialized in two parts, with the second installment\u0000 appearing in James Baldwin Review’s seventh issue, due\u0000 out in the fall of 2021.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47193577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is a review of a symposium entitled, “In a Speculative Light: The Arts of James Baldwin and Beauford Delaney,” held at the University of Tennessee on 19–21 February 2020.
{"title":"Symposium Review","authors":"D. Q. Miller","doi":"10.7227/JBR.6.11","DOIUrl":"https://doi.org/10.7227/JBR.6.11","url":null,"abstract":"This article is a review of a symposium entitled, “In a Speculative Light:\u0000 The Arts of James Baldwin and Beauford Delaney,” held at the University\u0000 of Tennessee on 19–21 February 2020.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46527797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article traces how the queer Black writer James Baldwin’s transnational palate and experiences influenced the ways he wrote about Black domestic spaces in the late twentieth century. In the 1960s and 1970s, while Black feminist cooks and writers like Edna Lewis, Jessica B. Harris, and Vertamae Smart-Grosvenor developed new theories of soul food in relation to the Black American community and broader American cuisine, Baldwin incorporated these philosophies and transnational tastes into his lifestyle and works. He traveled and worked around Europe, settling in places like Paris, Istanbul, and Saint-Paul de Vence for years at a time. In Saint-Paul de Vence, where he spent his last years, he set up his own welcome table, at which he hosted internationally renowned guests and shared his love of cuisine. Inevitably, Baldwin’s passion for cooking and hosting meals became a large, though scholarly neglected, component of his novels and essays. In his novels Another Country, which he finished in Istanbul and published in 1962, and Just Above My Head, which he finished in Saint-Paul de Vence and published in 1979, Baldwin’s depictions of food and Black kitchens take a queer turn. Instead of lingering on traditional Black family structures, these texts specifically present new formulations of intimate home life and reimagine relationships between food, kitchens, race, and sex in the late twentieth century.
{"title":"Baldwin’s Kitchen","authors":"Emily Na","doi":"10.7227/JBR.6.6","DOIUrl":"https://doi.org/10.7227/JBR.6.6","url":null,"abstract":"This article traces how the queer Black writer James Baldwin’s\u0000 transnational palate and experiences influenced the ways he wrote about Black\u0000 domestic spaces in the late twentieth century. In the 1960s and 1970s, while\u0000 Black feminist cooks and writers like Edna Lewis, Jessica B. Harris, and\u0000 Vertamae Smart-Grosvenor developed new theories of soul food in relation to the\u0000 Black American community and broader American cuisine, Baldwin incorporated\u0000 these philosophies and transnational tastes into his lifestyle and works. He\u0000 traveled and worked around Europe, settling in places like Paris, Istanbul, and\u0000 Saint-Paul de Vence for years at a time. In Saint-Paul de Vence, where he spent\u0000 his last years, he set up his own welcome table, at which he hosted\u0000 internationally renowned guests and shared his love of cuisine. Inevitably,\u0000 Baldwin’s passion for cooking and hosting meals became a large, though\u0000 scholarly neglected, component of his novels and essays. In his novels\u0000 Another Country, which he finished in Istanbul and\u0000 published in 1962, and Just Above My Head, which he finished in\u0000 Saint-Paul de Vence and published in 1979, Baldwin’s depictions of food\u0000 and Black kitchens take a queer turn. Instead of lingering on traditional Black\u0000 family structures, these texts specifically present new formulations of intimate\u0000 home life and reimagine relationships between food, kitchens, race, and sex in\u0000 the late twentieth century.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47817269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay analyzes how James Baldwin’s late novel If Beale Street Could Talk represents Black women’s care work in the face of social death as an example of how Black women act as surrogates for Black liberation giving birth to a new world and possibilities of freedom for Black (male) people. Within the politics of Black nationalism, Black women were affective workers playing a vital role in the (re)creation of heteronormative family structures that formed the basis of Black liberation cohered by a belief in the power of patriarchy to make way for communal freedom. This essay demonstrates how Beale Street’s imagining of freedom centers not on what Black women do to support themselves or each other, but on the needs of the community at large, with embodied sacrifice as a presumed condition of such liberation.
{"title":"Birthing a New World","authors":"Marquita Smith","doi":"10.7227/JBR.6.4","DOIUrl":"https://doi.org/10.7227/JBR.6.4","url":null,"abstract":"This essay analyzes how James Baldwin’s late novel If Beale Street\u0000 Could Talk represents Black women’s care work in the face of\u0000 social death as an example of how Black women act as surrogates for Black\u0000 liberation giving birth to a new world and possibilities of freedom for Black\u0000 (male) people. Within the politics of Black nationalism, Black women were\u0000 affective workers playing a vital role in the (re)creation of heteronormative\u0000 family structures that formed the basis of Black liberation cohered by a belief\u0000 in the power of patriarchy to make way for communal freedom. This essay\u0000 demonstrates how Beale Street’s imagining of freedom\u0000 centers not on what Black women do to support themselves or each other, but on\u0000 the needs of the community at large, with embodied sacrifice as a presumed\u0000 condition of such liberation.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":"6 1","pages":"49-63"},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45985455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay’s close interrogation of James Baldwin’s 1956 novel Giovanni’s Room allows us to see one aspect of how sexual shame functions: it shows how shame exposes anxiety not only about the feminizing force of homosexuality, but about how being the object of the gaze is feminizing—and therefore shameful. It also shows that the paradigm of the closet is not the metaphor of privacy and enclosure on one hand and openness and liberation on the other that it is commonly thought to be, but instead is a site of illusory control over whether one is available to be seen and therefore humiliated by being feminized. Further, the essay reveals the paradox of denial, where one must first know the thing that is at the same time being disavowed or denied. The narrative requirements of fictions such as Giovanni’s Room demonstrate this, as it requires that the narrator both know, in order to narrate, and not know something at the same time.
{"title":"Chagrin d’amour","authors":"Monica B. Pearl","doi":"10.7227/JBR.6.5","DOIUrl":"https://doi.org/10.7227/JBR.6.5","url":null,"abstract":"This essay’s close interrogation of James Baldwin’s 1956 novel\u0000 Giovanni’s Room allows us to see one aspect of how\u0000 sexual shame functions: it shows how shame exposes anxiety not only about the\u0000 feminizing force of homosexuality, but about how being the object of the gaze is\u0000 feminizing—and therefore shameful. It also shows that the paradigm of the\u0000 closet is not the metaphor of privacy and enclosure on one hand and openness and\u0000 liberation on the other that it is commonly thought to be, but instead is a site\u0000 of illusory control over whether one is available to be seen and therefore\u0000 humiliated by being feminized. Further, the essay reveals the paradox of denial,\u0000 where one must first know the thing that is at the same time being disavowed or\u0000 denied. The narrative requirements of fictions such as Giovanni’s\u0000 Room demonstrate this, as it requires that the narrator both know,\u0000 in order to narrate, and not know something at the same time.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44766929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Born in New York City only fifteen months apart, the Harlem-raised James Baldwin and the privileged William F. Buckley, Jr. could not have been more different, but they both rose to the height of American intellectual life during the civil rights movement. By the time they met in February 1965 to debate race and the American Dream at the Cambridge Union, Buckley—a founding father of the American conservative movement—was determined to sound the alarm about a man he considered an “eloquent menace.” For his part, Baldwin viewed Buckley as a deluded reactionary whose popularity revealed the sickness of the American soul. The stage was set for an epic confrontation that pitted Baldwin’s call for a moral revolution in race relations against Buckley’s unabashed elitism and implicit commitment to white supremacy. In this article I introduce readers to the story at the heart of my new book about Baldwin and Buckley, The Fire Is Upon Us.
{"title":"The Great Debate","authors":"Nicholas Buccola","doi":"10.7227/jbr.6.2","DOIUrl":"https://doi.org/10.7227/jbr.6.2","url":null,"abstract":"Born in New York City only fifteen months apart, the Harlem-raised James Baldwin\u0000 and the privileged William F. Buckley, Jr. could not have been more different,\u0000 but they both rose to the height of American intellectual life during the civil\u0000 rights movement. By the time they met in February 1965 to debate race and the\u0000 American Dream at the Cambridge Union, Buckley—a founding father of the\u0000 American conservative movement—was determined to sound the alarm about a\u0000 man he considered an “eloquent menace.” For his part, Baldwin\u0000 viewed Buckley as a deluded reactionary whose popularity revealed the sickness\u0000 of the American soul. The stage was set for an epic confrontation that pitted\u0000 Baldwin’s call for a moral revolution in race relations against\u0000 Buckley’s unabashed elitism and implicit commitment to white supremacy.\u0000 In this article I introduce readers to the story at the heart of my new book\u0000 about Baldwin and Buckley, The Fire Is Upon Us.","PeriodicalId":36467,"journal":{"name":"James Baldwin Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44297545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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