Academics From The United States

"The betrayal of a belief is not the same thing as ceasing to believe. If this were not so there would be no moral standards in the world at all."

"People are trapped in history and history is trapped in them."

"Confronted with the impossibility of remaining faithful to one’s beliefs, and the equal impossibility of becoming free of them, one can be driven to the most inhuman excesses."

"I don't like people who like me because I'm a Negro; neither do I like people who find in the same accident grounds for contempt. I love America more than any other country in the world, and, exactly for this reason, I insist on the right to criticize her perpetually. I think all theories are suspect, that the finest principles may have to be modified, or may even be pulverized by the demands of life, and that one must find, therefore, one's own moral center and move through the world hoping that this center will guide one aright. I consider that I have many responsibilities, but none greater than this: to last, as Hemingway says, and get my work done. I want to be an honest man and a good writer."

"One writes out of one thing only — one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art."

"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.)"

"Any writer, I suppose, feels that the world into which he was born is nothing less than a conspiracy against the cultivation of his talent — which attitude certainly has a great deal to support it. On the other hand, it is only because the world looks on his talent with such a frightening indifference that the artist is compelled to make his talent important. So that any writer, looking back over even so short a span of time as I am here forced to assess, finds that the things which hurt him and the things which helped him cannot be divorced from each other; he could be helped in a certain way only because he was hurt in a certain way; and his help is simply to be enabled to move from one conundrum to the next — one is tempted to say that he moves from one disaster to the next."

"I began plotting novels at about the time I learned to read. The story of my childhood is the usual bleak fantasy, and we can dismiss it with the restrained observation that I certainly would not consider living it again."

"Sentimentality, the ostentatious parading of excessive and spurious emotion, is the mark of dishonesty, the inability to feel; the wet eyes of the sentimentalist betray his aversion to experience, his fear of life, his arid heart; and it is always, therefore, the signal of secret and violent inhumanity, the mask of cruelty."

"I imagine one of the reasons people cling to their hates so stubbornly is because they sense, once hate is gone, they will be forced to deal with pain."

"All over Harlem, Negro boys and girls are growing into stunted maturity, trying desperately to find a place to stand; and the wonder is not that so many are ruined but that so many survive."

"When the South has trouble with its Negroes — when the Negroes refuse to remain in their "place" — it blames "outside agitators" and "Northern interference." When the nation has trouble with the Northern Negro, it blames the Kremlin."

"The brutal truth is that the bulk of white people in American never had any interest in educating black people, except as this could serve white purposes. It is not the black child's language that is in question, it is not his language that is despised: It is his experience. A child cannot be taught by anyone who despises him, and a child cannot afford to be fooled. A child cannot be taught by anyone whose demand, essentially, is that the child repudiate his experience, and all that gives him sustenance, and enter a limbo in which he will no longer be black, and in which he knows that he can never become white. Black people have lost too many black children that way."

"It's no credit to this enormously rich country that there are more oppressive, less decent governments elsewhere. We claim superiority of our institutions. We ought to live up to our own standards, not use misery elsewhere as an endless source of self-gratification and justification. Of course, people tell me all the time in the West that they are trying, they are trying hard. Some have tears in their eyes and let me know how awful they feel about the way our poor live, our blacks, or those in dozens of other countries. People can cry much easier than they can change, a rule of psychology people like me picked up as kids on the street."

"The civilized have created the wretched, quite coldly and deliberately, and do not intend to change the status quo; are responsible for their slaughter and enslavement; rain down bombs on defenseless children whenever and wherever they decide that their "vital interests" are menaced, and think nothing of torturing a man to death: these people are not to be taken seriously when they speak of the "sanctity" of human life, or the "conscience" of the civilized world."

"You've got to tell the world how to treat you. If the world tells you how you are going to be treated, you are in trouble."

"When the Israelis pick up guns, or the Poles, or the Irish, or any white man in the world says “give me liberty, or give me death,” the entire white world applauds. When a black man says exactly the same thing, word for word, he is judged a criminal and treated like one and everything possible is done to make an example of this bad nigger so there won't be any more like him."

"It is true that two wrongs don't make a right, as we love to point out to the people we have wronged. But one wrong doesn't make a right, either. People who have been wronged will attempt to right the wrong; they would not be people if they didn't. They can rarely afford to be scrupulous about the means they will use. They will use such means as come to hand. Neither, in the main, will they distinguish one oppressor from another, nor see through to the root principle of their oppression."

"Leaving aside all the physical facts which one can quote, leaving aside rape or murder, leaving aside the bloody catalog of oppression, which we are in one way too familiar with already—what this does to the subjugated, the most private, the most serious thing this does to the subjugated, is to destroy his sense of reality. It destroys, for example, his father's authority over him. His father can no longer tell him anything, because the past has disappeared, and his father has no power in the world."

"You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else can tell, what it is like to be alive."

"One must say Yes to life, and embrace it wherever it is found — and it is found in terrible places. … For nothing is fixed, forever and forever, it is not fixed; the earth is always shifting, the light is always changing, the sea does not cease to grind down rock. Generations do not cease to be born, and we are responsible to them because we are the only witnesses they have. The sea rises, the light fails, lovers cling to each other and children cling to us. The moment we cease to hold each other, the moment we break faith with one another, the sea engulfs us and the light goes out."

"Despair is a sin. I believe that. It is easy to be bleak about the human race, but there are people who have proved to me that we can be better than we are."

"I, for example, do not bring down property values when I move in. You bring them down when you move out."

"Not everything that is faced can be changed; but nothing can be changed until it is faced."

"The primary distinction of the artist is that he must actively cultivate that state which most men, necessarily, must avoid: the state of being alone."

"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."

"The longer I live, the more deeply I learn that love — whether we call it friendship or family or romance — is the work of mirroring and magnifying each other’s light. Gentle work. Steadfast work. Life-saving work in those moments when life and shame and sorrow occlude our own light from our view, but there is still a clear-eyed loving person to beam it back. In our best moments, we are that person for another."

"Then James Baldwin stood at the rostrum, his huge eyes burning into the crowd: "The sheriff and his deputies ... these ignorant people... were created by the good white people on the hill-and in Washington-and they've created a monster they can't control.... It's not an act of God. It is deliberately done, deliberately created by the American Republic.""

"The complexity of it all is perhaps revealed in a brief exchange which took place at a SNCC meeting between James Baldwin and Ella Baker. Someone had asked Baldwin about the role of whites in the movement. He replied, "A white man is a white man only if he says he is-but you haven't got to be white." Then Ella Baker added, "The place of the Negro is not as a Negro, but as a human being." And Baldwin said, "That's right.""

"Many articles in the house caught my attention, most notably the many paintings and pieces of sculpture, among them the colorful paintings of the late African-American expatriate painter Beauford Delaney, who had been one of Jimmy's best friends. There were two other pieces that I believed said very much about the political commitment of the man. One, a black pen-and-ink drawing of Nelson Mandela against an orange background, accompanied by a poem, was framed and hung over the dining-room fireplace, the most prominent place in the house."

"In America and in the big beautiful world beyond, the gulf widens perversely, making a mockery of freedom, justice, democracy, and even mercy. James Baldwin said that we are not born knowing what these concepts mean, that they are neither common nor well defined. If we "individuals must make an enormous effort to arrive at the respect for other people that these words imply," as he wrote, then our communities must make a sustained and concentrated effort to create societies that reflect that same sense of respect and meaning."

"I enjoy teaching early Baldwin: I think students appreciate meeting a master at a moment when his style is still something of a hot mess. Also, Baldwin was so brave so young — it’s inspiring, to me as much as to my students."

"The Statue of Liberty is an extension of a tradition that seems to embody the contradictions in America's promise, and a reminder that its promises have not always been extended to us. As the narrator in James Baldwin's 1960 short story "This Morning, This Evening, So Soon" puts it, "I would never know what this statue meant to others, she had always been an ugly joke for me.""

"Langston (Hughes) had been the great poet-hero of Harlem for as long as anyone could remember, and Jimmy, who had set the Village alight with The Fire Next Time, was a wonderful, mischievous child-genius at Langston's side, with his great round eyes which for some reason always made him look slightly sad."

"When I used to get blue years ago James Baldwin would say the same thing to me each time, 'This is the world you have made for yourself Nina, now you have to live in it.' Jimmy was always a man to see things as they really are and his gaze would never flinch no matter how unpleasant the things he saw were."

"Baldwin's non-fiction is not only beautiful but genuinely experimental in comparison (for example) with much Joyce- or Nabokov-derived modern work."

"Artists like Nina Simone and James Baldwin, who were able to create work that really spoke about the conditions facing Black people and work that would remain universal contributions to culture—something that would continue to shape generations."

"internal bleeding is no sudden symptom. That uncannily prescient African American writer James Baldwin asked his country, a quarter century ago: "If you don't know my father, how can you know the people in the streets of Tehran?""

"By the time I left my marriage, after seventeen years and three children, I had become identified with the Women's Liberation movement. It was an astonishing time to be a woman of my age. In the 1950s, seeking a way to grasp the pain I seemed to be feeling most of the time, to set it in some larger context, I had read all kinds of things; but it was James Baldwin and Simone de Beauvoir who had described the world-though differently in terms that made the most sense to me. By the end of the sixties there were two political movements-one already meeting severe repression, one just emerging-which addressed those descriptions of the world. And there was, of course, a third movement, or a movement-within-a-movement: the early lesbian manifestoes, the new visibility and activism of lesbians everywhere."

"there was intense racism among Jews as well as white gentiles in the City University, part of the bitter history of Jews and Blacks which James Baldwin had described much earlier, in his 1948 essay "The Harlem Ghetto"; ³ part of the divide-and-conquer script still being rehearsed by those of us who have the least to gain from it."

"The emergence of the Civil Rights movement in the sixties I remember as lifting me out of a sense of personal frustration and hopelessness. Reading James Baldwin's early essays in the fifties had stirred me with a sense that apparently "given" situations like racism could be analyzed and described and that this could lead to action, to change. Racism had been so utter and implicit a fact of my childhood and adolescence, had felt so central among the silences, negations, cruelties, fears, superstitions of my early life, that somewhere among my feelings must have been the hope that if Black people could become free of the immense political and social burdens they were forced to bear, I, too, could become free of all the ghosts and shadows of my childhood, named and unnamed. When "the movement" began, it felt extremely personal to me. And it was often Jews who spoke up for the justice of the cause, Jewish students and civil rights lawyers who travelled South; it was two young Jews who were found murdered with a young Black man in Mississippi: Schwerner, Goodman, Chaney."

"I read only one book by a man in which I thought the sex was wonderfully described, one that I remember, and that is in Jimmy Baldwin's book If Beale Street Could Talk. The scene I'm remembering is a scene where a man takes a shower... There were two people in the sexual scene, and I'm always under the impression whenever I read a man describing sex that there's only one person there-one person's doing the activity, and somebody's receiving it. Only one. But in Jimmy's book, there were two people there, and you felt both of their presences. I don't know why that is that there seems to be only one person in most love-making scenes-maybe they see it that way."

"I am completely indebted to Jimmy Baldwin's prose. It liberated me as a writer. These poems overwhelm without competing with his prose, and I am grateful to have this collection."

"I was also influenced by James Baldwin because, although he wasn't a reporter per se, he wrote wonderful essays raising really important social questions in this accessible, literary, elegant style."

"In the 1940s James Baldwin, Robert Duncan, and Jo Sinclair published pioneering works affirming the homosexual’s humanity."

"SWAT teams, battering rams, and no-knock warrants (immortalized by Gil Scott Heron and written about by James Baldwin), all predate contemporary hyper-militarized police forces."

"A straight-from-the-shoulder writer, writing about the troubled problems of this troubled earth with an illuminating intensity."

"I’ve been inspired by the profound and timeless writings of James Baldwin, Frederick Douglass, Toni Morrison, and Nina Simone."

"In it [No Name in the Street] he shines, and outshines, as an essayist of high calibre—trenchant, precise, passionate, prickly, always intense."

"He gave up preaching four years later, but at heart, James Baldwin remains a Baptist preacher—note the titles of his books and the main quotations, all Biblical—prophesying hell and fire, relishing the idea of the day when all America will be "levelled": full of guilt at having become a commercial and literary success; anxious not to make his "private peace" with the establishment; and neurotic about not losing touch with the ordinary blacks. He is a tormented man, a state of mind he seems to enjoy. A true Baptist Christian indeed; not a Marxist revolutionary."