American Writer, Novelist, Essayist, Playwright, Poet, Activist and Social Critic
James Baldwin, fully James Arthur Baldwin
American Writer, Novelist, Essayist, Playwright, Poet, Activist and Social Critic
Time is always now. Everybody who has ever thought about his own life knows this. You don't make resolutions about something you are going to do next year. No! You decide to write a book: the book may be finished twenty years from now, but you've got to start it now.
We cannot discuss the state of our minorities until we first have a sense of what we are, who we are, what our goals are, and what we take life to be.
When a man asks himself what is meant by action he proves that he isn't a man of action. Action is a lack of balance. In order to act you must be somewhat insane. A reasonably sensible man is satisfied with thinking.
Words like "freedom," "justice," "democracy" are not common concepts; on the contrary, they are rare. People are not born knowing what these are. It takes enormous and, above all, individual effort to arrive at the respect for other people that these words imply.
You read something which you thought only happened to you, and you discover that it happened 100 years ago to Dostoyevsky. This is a very great liberation for the suffering, struggling person, who always thinks that he is alone. This is why art is important. Art would not be important if life were not important, and life is important.
That day in Chartres they had passed through town and watched women kneeling at the edge of the water, pounding clothes against a flat, wooden board. Yves had watched them for a long time. They had wandered up and down the old crooked streets, in the hot sun; Eric remembered a lizard darting across a wall; and everywhere the cathedral pursued them. It is impossible to be in that town and not be in the shadow of those great towers; impossible to find oneself on those plains and not be troubled by that cruel and elegant, dogmatic and pagan presence. The town was full of tourists, with their cameras, their three-quarter coats, bright flowered dresses and shirts, their children, college insignia, Panama hats, sharp, nasal cries, and automobiles crawling like monstrous gleaming bugs over the laming, cobblestoned streets. Tourist buses, from Holland, from Denmark, from Germany, stood in the square before the cathedral. Tow-haired boys and girls, earnest, carrying knapsacks, wearing khaki-colored shorts, with heavy buttocks and thighs, wandered dully through the town. American soldiers, some in uniform, some in civilian clothes, leaned over bridges, entered bistros in strident, uneasy, smiling packs, circled displays of colored post cards, and picked up meretricious mementos, of a sacred character. All of the beauty of the town, all the energy of the plains, and all the power and dignity of the people seemed to have been sucked out of them by the cathedral. It was as though the cathedral demanded, and received, a perpetual, living sacrifice. It towered over the town, more like an affliction than a blessing, and made everything seem, by comparison with itself, wretched and makeshift indeed. The houses in which the people lived did not suggest shelter, or safety. The great shadow which lay over them revealed them as mere doomed bits of wood and mineral, set down in the path of a hurricane which, presently, would blow them into eternity. And this shadow lay heavy on the people, too. They seemed stunted and misshapen; the only color in their faces suggested too much bad wine and too little sun; even the children seemed to have been hatched in a cellar. It was a town like some towns in the American South, frozen in its history as Lot's wife was trapped in salt, and doomed, therefore, as its history, that overwhelming, omnipresent gift of God, could not be questioned, to be the property of the gray, unquestioning mediocre.
The establishment of democracy on the American continent was scarcely as radical a break with the past as was the necessity, which Americans faced, of broadening this concept to include black men.
The person who distrusts himself has no touchstone for reality?for this touchstone can be only oneself.
The role of the artist is exactly the same as the role of the lover. If I love you, I have to make you conscious of the things you don?t see.
The young think that failure is the Siberian end of the line, banishment from all the living, and tend to do what I then did--which was to hide.
There were hardly any colored people in the town I grew up in ? how am I to know?? And she hated herself for her next question, but she could not hold it back: ?Don?t you think I deserve some credit, for trying to be human, for not being a part of all that, for ? walking out?
Time is just common, it's like water for a fish. Everybody's in this water, nobody gets out of it, or if he does the same thing happens to him that happens to the fish, he dies. And you know what happens in this water, time? The big fish eat the little fish. That's all. The big fish eat the little fish and the ocean doesn't care.
We cannot discuss the state of our minorities until we first have some sense of what we are, who we are, what our goals are, and what we take life to be. The question is not what we can do now for the hypothetical Mexican, the hypothetical Negro. The question is what we really want out of life, for ourselves, what we think is real.
When my fingers began, involuntarily, to loose their hold on Hella, I realized that I was dangling from a high place and that I had been clinging to her for my very life. With each moment, as my fingers slipped, I felt the roaring air beneath me and felt everything in me bitterly contracting, crawling furiously upward against that long fall.
Years ago, when he was around fourteen, he'd been all hipped on the idea of going to India. He read books about people sitting on rocks, naked, in all kinds of weather, but mostly bad, naturally, and walking barefoot through hot coals and arriving at wisdom. I used to say that it sounded to me as though they were getting away from wisdom as fast as they could. I think he sort of looked down on me for that.
You smiled at me the way you smiled at everyone, you told me what you told everyone?and you tell nothing but lies. What are you always hiding? And do you think I did not know when you made love to me, you were making love to no one? No one! Or everyone?but not me, certainly. I am nothing to you, nothing, and you bring me fever but no delight.
The American idea of sexuality appears to be rooted in the American idea of masculinity. Idea may not be the precise word, for the idea of one?s sexuality can only with great violence be divorced or distanced from the idea of the self. Yet something resembling this rupture has certainly occurred (and is occurring) in American life, and violence has been the American daily bread since we have heard of America. This violence, furthermore, is not merely literal and actual but appears to be admired and lusted after, and the key to the American imagination. All countries or groups make of their trials a legend or, as in the case of Europe, a dubious romance called ?history.? But no other country has ever made so successful and glamorous a romance out of genocide and slavery; therefore, perhaps, the word I am searching for is not idea, but ideal. The American IDEAL, then, of sexuality appears to be rooted in the American IDEAL of masculinity. This ideal has created cowboys and Indians, good guys and bad guys, punks and studs, tough guys and softies, butch and f****t, black and white. It is an ideal so paralytically infantile that is virtually forbidden?as an unpatriotic act?that the American boy evolve into the complexity of manhood.
The eyes of his friends told him that he was falling. His own heart told him so. But the air through which he rushed was his prison.
The place in which I'll fit will not exist until I make it.
The roles that we construct are constructed because we feel that they will help us to survive and also, of course, because they fulfill something in our personalities; and one does not, therefore, cease playing a role simply because one has begun to understand it. All roles are dangerous. The world tends to trap you in the role you play and it is always extremely hard to maintain a watchful, mocking distance between oneself as one appears to be and oneself as one actually is.
Their singing caused him to believe in the presence of the Lord; indeed, it was no longer a question of belief, because they made that presence real.
There were pauses in the music for the rushing, calling, halting piano. Everything would stop except the climbing of the soloist; he would reach a height and everything would join him, the violins first and then the horns; and then the deep blue bass and the flute and the bitter trampling drums; beating, beating and mounting together and stopping with a crash like daybreak. When I first heard the Messiah I was alone; my blood bubbled like fire and wine; I cried; like an infant crying for its mother?s milk; or a sinner running to meet Jesus.
Time will prove the connection between the level of the lives we lead and the extraordinary endeavor to avoid black men. It shows in our public life.
We do not trust educated people and rarely, alas, produce them, for we do not trust the independence of mind which alone makes a genuine education possible.
When one begins looking for influences one finds them by the score. I haven't thought much about my own, not enough anyway; I hazard that the King James Bible, the rhetoric of the store-front church, something ironic and violent and perpetually understated in Negro speech ? and something of Dickens' love for bravura ? have something to do with me today; but I wouldn't stake my life on it. Likewise, innumerable people have helped me in many ways; but finally, I suppose, the most difficult (and most rewarding) thing in my life has been the fact that I was born a Negro and was forced, therefore, to effect some kind of truce with this reality. (Truce, by the way, is the best one can hope for.)