Baldwin Writing Quotes

You write in order to change the world ... if you alter, even by a millimeter, the way people look at reality, then you can change it.

When you're writing you're trying to find out something which you don't know.

Journal writing is a voyage to the interior.

The poet or the revolutionary is there to articulate the necessity, but until the people themselves apprehend it, nothing can happen ... Perhaps it can't be done without the poet, but it certainly can't be done without the people. The poet and the people get on generally very badly, and yet they need each other. The poet knows it sooner than the people do. The people usually know it after the poet is dead; but that's all right. The point is to get your work done, and your work is to change the world.

You write in order to change the world, knowing perfectly well that you probably can't, but also knowing that literature is indispensable to the world... The world changes according to the way people see it, and if you alter, even but a millimeter the way people look at reality, then you can change it.

Talent is insignificant. I know a lot of talented ruins. Beyond talent lie all the usual words: discipline, love, luck, but, most of all, endurance.

Fine architecture is man’s tribute to the land it has been built on. So are the untouched, pristine lands he preserves for posterity.

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.

You can not describe anything without betraying your point of view, your aspirations, your fears, your hopes. Everything.

When compared with what I have in mind for it, your property is blighted, dangerous, deteriorated, infectious, unhealthy, substandard, crime-infested, and irreparable. Once I have proven that, I will move in, and you will be moved away. You must leave so I can thrive.

Immediately after that fate-filled evening in May, the phone booth in its entirety had been confiscated by the Homicide Unit as embodying significant criminal evidence of murder. More accurately, though, the booth was like an envelope encapsulating the entire crime scene, including splattered skull fragments.

Every white person in this country-and I do not care what he or she says-knows one thing. They may not know, as they put, "what I want",but they know they would not like to be black here. If they know that, then they know everything they need to know, and whatever else they say is a lie.

Every writer has only one story to tell, and he has to find a way of telling it until the meaning becomes clearer and clearer, until the story becomes at once more narrow and larger, more and more precise, more and more reverberating.

People make you pay for the way you look, which is also the way you think you look, and what time writes is a record of that collision.

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 frightening indifference that the artist is compelled to make his talent important.

he was one of those poets who escaped the terrors of writing by writing all the time.

Now, one hears from a long time ago that "white is merely a state of mind." I add to that, white is a moral choice. It's up to you to be as white as you want to be and pay the price of that ticket. You cannot tell a black man by the color of skin, either. But this is a democracy.

My job as a writer is simple. Write a book I’m proud of, and present it as a gift to the world. Some will love it. Some will hate it. That’s the nature of art.

Whereas Jesus and his disciples were distrusted by the state largely because they respected the poor and shared everything, the fundamentalists of the present hour would appear not to know that the poor exist.

The moral authority in the Western world is gone. And it is gone forever. It is gone, not because of the criminal record--everybody's record is criminal. It is gone because you cannot do one thing and pretend you're doing another! None of us, who are sitting around in some of the true limbo out-of-space, which we call "now," waiting to be saved, civilized, or discovered, have the moral authority to say anything.

He wanted to go home and lock his door and sleep. He was tired of the troubles of real people. He wanted to get back to the people he was inventing, whose troubles he could bear.

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.

You don't know how much I needed to hear from you. I wanted to write you many a time but I dug how much I must have hurt you and so I didn't write. But now I feel like a man who's been trying to climb up out of some deep, really deep and funky hole and just saw the sun up there, outside. I got to get outside.

If you know from whence you came, there are absolutely no limitations on where you can go.

We make our lives bigger or smaller, more expansive or more limited, according to the interpretation of life that is our story.

The wonderful thing about writers like [James] Baldwin is the way we read them and come across passages that are so arresting we become breathless and have to raise our eyes from the page to keep from being spirited away.

Not a thousand years ago, it was illegal to teach a slave to read. Not a thousand years ago, the Supreme Court decided that separate could not be equal. And today, as we sit here, no one is learning anything in this country. You see a nation which is the leader of the rest of the world, that had to pay the price of that ticket, and the price of that ticket is we're sitting in the most illiterate nation in the world. THE MOST ILLITERATE NATION IN THE WORLD. A monument to illiteracy. And if you doubt me, all you have to do is spend a day in Washington. I am serious as a heart attack.

It is quite impossible to write a worth-while novel about a Jew or a Gentile or a Homosexual, for people refuse, unhappily, to function in so neat and one-dimensional a fashion.

But art and ideas come out of the passion and torment of experience: it is impossible to have a real relationship to the first if one’s aim is to be protected from the second.

Only the broken heart has the ghost of a chance to grieve, to forgive, to long, to transform." Christina Baldwin, author of Life's Companion, Journal Writing as a Spiritual Practice, 1990. Used with author's permission

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 in the world can tell, what it is like to be alive. All I’ve ever wanted to do is tell that, I’m not trying to solve anybody’s problems, not even my own. I’m just trying to outline what the problems are. I want to be stretched, shook up, to overreach myself, and to make you feel that way too.

I don’t know any writers who don’t drink.

When you’re writing, you’re trying to find out something which you don’t know. The whole language of writing for me is finding out what you don’t want to know, what you don’t want to find out. But something forces you to anyway.

But the conquest of the physical world is not man’s only duty. He is also enjoined to conquer the great wilderness of himself. The precise role of the artist, then, is to illuminate that darkness, blaze roads through that vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.

The crime of which you discover slowly you are guilty is not so much that you are aware, which is bad enough, but that other people see that you are and cannot bear to watch it, because it testifies to the fact that they are not.

For he was one of those poets who escaped the terrors of writing by writing all the time.

Writers do not write what they want, they write what they can. When I was 21 I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for The Simpsons who’d briefly joined a religious cult and then discovered Foucault. Such is life. And now, when I finish a long day of CNN-related fear and loathing mixed with eyeballing my own resolutely white screen, I do not crawl into bed with 500-page comic novels about “multicultural” London. I read Carver. Julio Cortázar. Amis’s essays. Baldwin. Lorrie Moore. Capote. Saramago. Larkin. Wodehouse. Anything, anything at all, that doesn’t sound like me.

We are in the middle of an immense metamorphosis here, a metamorphosis which will, it is devoutly to be hoped, rob us of our myths and give us our history, which will destroy our attitudes and give us back our personalities. The mass culture, in the meantime, can only reflect our chaos: and perhaps we had better remember that this chaos contains life—and a great transforming energy.

Violent men’s grievances are born out of a conviction of their personal righteousness and innocence: they are never the instigators; they are only righting what has been done to them. This shit-eating innocence is crucial to the fantasy of American masculinity, a bizarre collection of expectations and tropes “so paralytically infantile,” as James Baldwin writes in “Freaks and the American Ideal of Manhood,” “that it is virtually forbidden—as an unpatriotic act—that the American boy evolve into the complexity of manhood.

The writer trapped among a speechless people is in danger of becoming speechless himself. For then he has no mirror, no corroborations of his essential reality; and this means that he has no grasp of the reality of the people around him.

What the times demand, and in an unprecedented fashion, is that one be--not seem--outrageous, independent, anarchical. That one be thoroughly disciplined--as a means of being spontaneous. That one resist at whatever cost the fearful pressures placed on one to lie about one’s own experience. For in the same way that the writer scarcely ever had a more uneasy time, he has never been needed more.

You must understand that your pain is trivial except insofar as you can use it to connect with other people’s pain; and insofar as you can do that with your pain, you can be released from it, and then hopefully it works the other way around too; insofar as I can tell you what it is to suffer, perhaps I can help you to suffer less.

The ordinary stories of our ordinary lives have extraordinary gifts coded within them. . .

I must—to be honest—add that my ministry almost certainly helped me through my adolescence by giving me something larger than myself to be frightened about.

I do a lot of rewriting. It’s very painful.

People make you pay for the way you look, which is also the way you think you look, and what time writes in a human face is the record of that collision.

The beautiful unruliness of literature is what makes it so much fun to wander through: you read Jane Austen and you say, oh, that is IT. And then you turn around and read Sterne, and you say, Man, that is IT. And then you wander across a century or so, and you run into Kafka, or Calvino, or Cortazar, and you say, well that is IT. And then you stroll through what Updike called the grottos of Ulysses, and after that you consort with Baldwin or Welty or Spencer, or Morrison, or Bellow or Fitzgerald and then back to W. Shakespeare, Esq; the champ, and all the time you feel the excitement of being in the presence of IT. And when you yourself spend the good time writing, you are not different in kind than any of these people, you are part of that miracle of human invention. So get to work. Get on with IT, no matter how difficult IT is. Every single gesture, every single stumble, every single uninspired-feeling hour, is worth IT." Richard Bausch

To all those whom seek the iron words of the community: if your book is good, it will stand on its own. Be it a short story, a novel, a novella, a chapter book, a poetry book, a chapbook, a manga or a graphic novel...it will seek reviews by itself. You need to do nothing with it. Do nothing but write. Give up review seeking and focus on writing, for that is what becomes you in the end.

My novel's about Brooklyn." "The tree? Or the kids or the murderers or the junkies?" Vivaldo swallowed. "All of them." "That's quite an assignment. And if you don't mind my saying so, it sounds just a little bit old fashioned." He put his hand before his mouth and burped. "Brooklyn's been done. And done.

Negro actress once observed to me, that not only does the white world impose the most intolerable conditions on Negro life, they also presume to dictate the mode, manner, terms, and style of one’s reaction against these conditions.

We live in a country in which words are mostly used to cover the sleeper, not to wake him up; and therefore, it seems to me, the adulation so cruelly proffered our elders has nothing to do with their achievement—which, I repeat, was mighty—but has to do with our impulse to look back on what we now imagine to have been a happier time. It is an adulation which has panic at the root.

You’ve come full circle. Here you are again, with it all to do all over again, and you must decide all over again whether you want to be famous or whether you want to write. And the two things, in spite of all the evidence, have nothing whatever in common.

My birth certificate says: Female Negro Mother: Mary Anne Irby, 22, Negro Father: Jack Austin Woodson, 25, Negro In Birmingham, Alabama, Martin Luther King Jr. is planning a march on Washington, where John F. Kennedy is president. In Harlem, Malcolm X is standing on a soapbox talking about a revolution. Outside the window of University Hospital, snow is slowly falling. So much already covers this vast Ohio ground. In Montgomery, only seven years have passed since Rosa Parks refused to give up her seat on a city bus. I am born brown-skinned, black-haired and wide-eyed. I am born Negro here and Colored there and somewhere else, the Freedom Singers have linked arms, their protests rising into song: Deep in my heart, I do believe that we shall overcome someday. and somewhere else, James Baldwin is writing about injustice, each novel, each essay, changing the world. I do not yet know who I’ll be what I’ll say how I’ll say it . . . Not even three years have passed since a brown girl named Ruby Bridges walked into an all-white school. Armed guards surrounded her while hundreds of white people spat and called her names. She was six years old. I do not know if I’ll be strong like Ruby. I do not know what the world will look like when I am finally able to walk, speak, write . . . Another Buckeye! the nurse says to my mother. Already, I am being named for this place. Ohio. The Buckeye State. My fingers curl into fists, automatically This is the way, my mother said, of every baby’s hand. I do not know if these hands will become Malcolm’s—raised and fisted or Martin’s—open and asking or James’s—curled around a pen. I do not know if these hands will be Rosa’s or Ruby’s gently gloved and fiercely folded calmly in a lap, on a desk, around a book, ready to change the world . . .

He did not seem to know enough about the people in his novel. They did not seem to trust him. They were all named, more or less, all more or less destined, the pattern he wished them to describe was clear to him. But it did not seem clear to them. He could move them about but they themselves did not move. He put words in their mouths which they uttered sullenly, unconvinced. With the same agony, or greater, with which he attempted to seduce a woman, he was trying to seduce his people: he begged them to surrender up their privacy. And they refused - without, for all their ugly intransigence, showing the faintest desire to leave him. They were waiting for him to find the key, press the nerve, tell the truth.

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.

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. The

Whiteness is not a kinship or a culture. White people are no more closely related to one another, genetically, that we are to black people. American definitions of race allow for a white woman to give birth to black children, which should serve as a reminder that white people are not a family. What binds us is that we share a system of social advantages that can be traced back to the advent of slavery in the colonies that became the United States. 'There is, in fact, no white community,' as Baldwin writes. Whiteness is not who you are. Which is why it is entirely possible to despise whiteness without disliking yourself.

The tragedy of this country now is that most of the people who say they care about it do not care. What they care about is their safety and their profits. What they care about is not rocking the boat. What they care about is the continuation of white supremacy, so that white liberals who are with you in principle will move out when you move in.

Reading a Baldwin sentence can feel like recreating thought itself. One has to take hands off the rudder and trust the river of thought as it flows.

SOMEONE ONCE SAID TO ME that the people in general cannot bear very much reality. He meant by this that they prefer fantasy to a truthful re-creation of their experience.

People make you pay for the way you look, which is also the way you think you look, and what time writes in a human face is the record of that collision.

One writes out of one thing only — one’s own experience. Everything depends on how relentlessly one forces from the experience the last drop, sweet or bitter, it can possibly give.

Beyond talent lie all the usual words: discipline, love, luck, but, most of all, endurance.

I can't tell you how I felt when my father died. But I was able to write Song of Solomon and imagine, not him, and not his specific interior life, but the world that he inhabited and the private or interior life of the people in it. And I can't tell you how I felt reading to my grandmother while she was turning over and over in her bed (because she was dying, and she was not comfortable), but I could try to reconstruct the world that she lived in. And I have suspected, more often than not, that I know more than she did, that I know more than my grandfather and my great-grandmother did, but I also know that I'm no wiser than they were. And whenever I have tried earnestly to diminish their vision and prove to myself that I know more, and when I have tried to speculate on their interior life and match it up with my own, I have been overwhelmed every time by the richness of theirs compared to my own. Like Frederick Douglass talking about his grandmother, and James Baldwin talking about his father, and Simone de Beauvoir talking about her mother, these people are my access to me; they are my entrance into my own interior life. Which is why the images that float around them--the remains, so to speak, at hte archeological site--surface first, and they surface so vividly and so compellingly that I acknowledge them as my route to a reconstruction of a world, to an exploration of an interior life that was not written and to the revelation of a kind of truth.

Writers are extremely important people in a country, whether or not the country knows it. The multiple truths about a people are revealed by that people’s artists—that is what the artists are for.

How else, then, to explain my every effort to tell in a novel as best I could the stories of slave masters, black and white, and how slavery crushed their souls every morning they got up from their beds and thanked their god for their dominion over others. If I knew the importance of telling that, it was because Baldwin and his kind had planted the idea long ago. (I give him so much credit because he was in the minority of all the black writers I was reading who understood the importance of giving white people their due as full-fledged human beings. Even before I knew I would get into this writing thing, Baldwin told me this: You do not have to fully humanize your black characters by dehumanizing the white ones.)

The artistic objects by which they are surrounded cannot possibly fulfill their original function of disturbing the peace—which is still the only method by which the mind can be improved—they bear witness instead to the attainment of a certain level of economic stability and a certain thin measure of sophistication. But art and ideas come out of the passion and torment of experience: it is impossible to have a real relationship to the first if one’s aim is to be protected from the second.

But above all—and this cannot be stressed strongly enough—meaning was always utmost. Despite a highly evolved aesthetic sensibility, despite a punishingly high level of artistic standards, Baldwin’s goal was always to communicate, not to show off.

America has never wanted its Negroes to be men, and does not, generally, treat them as men. It treats them as mascots, pets, or things. Every Negro woman knows what her man faces when he goes out to work, and what poison he will probably bring back.

Once one has begun to suspect this much about the world — once one has begun to suspect, that is, that one is not, and never will be, innocent, for the reason that no one is — some of the self-protective veils between oneself and reality begin to fall away.

While Photoplay mused that “Strangely enough, women outrank men as continuity writers,” it wasn’t strange to them. Women had always found sanctuary in writing; it was accomplished in private and provided a creative vent when little was expected or accepted of a woman other than to be a good wife and mother. For Frances and her friends, a virtue was derived from oppression; with so little expected of them, they were free to accomplish much. They were drawn to a business that, for a time, not only allowed, but welcomed women. And Cleo Madison, Gene Gauntier, Lois Weber, Ruth Ann Baldwin, Dorothy Arzner, Margaret Booth, Blanche Sewall, Anne Bauchens, and hundreds of other women flocked to Hollywood, where they could flourish, not just as actresses or writers, but also as directors, producers, and editors. With few taking moviemaking seriously as a business, the doors were wide open to women.

(As your experience about writing accrues) you learn how little you know. It becomes much more difficult because the hardest thing in the world is simplicity. And the most fearful thing, too. It becomes more difficult because you have to strip yourself of all your disguises, some of which you didn't know you had.

The people who are running around throwing people in jail and ruining reputations and screaming about Communists wouldn’t know one if he fell from the ceiling. And wouldn’t care! What they are concerned about is propping up somehow the doctrine of white supremacy, so that they can seem to have given it up, but really still hold the power.

Nabokov, Heinrich von Kleist, Raymond Carver, Jane Bowles, James Baldwin, Alice Munro, Mavis Gallant—the list goes on and on. They are the teachers to whom I go, the authorities I consult, the models that still help to inspire me with the energy and courage it takes to sit down at a desk each day and resume the process of learning, anew, to write.

In any case, it's not enough to be a liberal...That is something that people have a great deal of difficulty with. But it is not enough to be a liberal, to have the right attitudes and even to give money to the right causes. You have to know more than that. You have to be prepared to risk more than that. I am telling you this because I have watched what happened to many of my liberal friends when the civil rights movement was in Alabama, let us say, in the Deep South, and they were very indignant. And then I watched what happened imperceptibly but fatally when the same movement moved north to Brooklyn, to Pittsburgh, Detroit, and New York. And their attitudes changed. I really have to put it to you that way, but that is what happened. Their attitudes changed because they began to feel more and more threatened, and a liberal facade or even a liberal attitude was not enough to deal with the speed with which the movement was moving and the complications of American life as revealed in the fact by the interracial tensions in every major city, and being liberal was no defense against that and no interpretation of that.

It kept coming back to joy-- how could I live a life filled with it? And always, the answer that came back to me was "Write." ... I am here because of the indigenous people of this country, because of the enslaved people who were here before me, the young people of the civil rights movements who fought hard to get me to this moment. My biggest responsibility is to recognize that I am part of the continuum, that I didn't just appear and start writing stuff down. I'm writing stuff down because Andre Lorde wrote stuff down, because James Baldwin wrote stuff down... and all the people who came before me -- set the stage for my work. I have to keep all of that in my heart as I move through the world, not only for the deep respect I have for them, but also for my own strength. So my advice to other young writers: Read widely. Study other writers. Be thoughtful, Then go out and do the work of changing the form, finding your own voice, and saying what you need to say. Be fearless. And care. The fact that young people continue to rise brings me such joy. They are where I look to find my hope. -- "Continue to Rise: A Conversation with Jacqueline Woodson

What the times demand, and in an unprecedented fashion, is that one be—not seem—outrageous, independent, anarchical. That one be thoroughly disciplined—as a means of being spontaneous. That one resist at whatever cost the fearful pressures placed on one to lie about one’s own experience. For in the same way that the writer scarcely ever had a more uneasy time, he has never been needed more.

It was never the intention of England or France or Portugal, or any of the colonial powers, to raise the colonial people to their level. No matter what they say now about highways and hospitals and penicillin, whatever was done in those colonies was not done for the natives. And the Belgians may not know this, but the natives do. What happened was very simple. You cannot walk into a country and stay there as long as the Europeans did and dig coal and iron and gold out of the earth and use it for yourself. Put all the natives in one place and have them working for you, and have a European sector where only Europeans live. By and by, it’s inevitable that someone will make a connection between the machines you have and the power you have. And from there, it’s just a matter of detail. Now the details can be bloody, or they can be less so; they will in any case be difficult. We in this country now—and it really is one minute to twelve—can really turn the tide because we have an advantage that Europe does not have, and we have an advantage that Africa does not have, if we could face it. Black and white people have lived together here for generations, and now for centuries. Now, on whether or not we face these facts everything depends. (1961)

A man grows up when he looks back, realizes what has happened to him, accepts it all, and begins to change himself. He cannot grow up until he reaches this moment and passes it. We are now at the end of our extraordinarily prolonged adolescence. A very great poet, an American, Miss Marianne Moore, wrote, many years ago, the following description of our terrors: "The weak overcomes its menace. The strong overcomes itself.

I don’t mean to compare myself to a couple of artists I unreservedly admire—Miles Davis and Ray Charles—but I would like to think that some of the people who liked my book responded to it in a way similar to the way they respond when Miles and Ray are blowing. These artists, in their very different ways, sing a kind of universal blues, they speak of something far beyond their charts, graphs, statistics, they are telling us something about what it is like to be alive. It is not self-pity which one hears in them, but compassion. And perhaps this is the place for me to say that I really do not, at the very bottom of my own mind, compare myself to other writers. I think I really helplessly model myself on jazz musicians and try to write the way they sound. I am not an intellectual, not in the dreary sense that word is used today, and do not want to be: I am aiming at what Henry James called “perception at the pitch of passion.

BOBBY KENNEDY recently made me the soul-stirring promise that one day—thirty years, if I’m lucky—I can be President too. It never entered this boy’s mind, I suppose—it has not entered the country’s mind yet—that perhaps I wouldn’t want to be. And in any case, what really exercises my mind is not this hypothetical day on which some other Negro “first” will become the first Negro President. What I am really curious about is just what kind of country he’ll be President of.

In my mind, the effort to become a great novelist simply involves attempting to tell as much of the truth as one can bear, and then a little more. It is an effort which, by its very nature—remembering that men write the books, that time passes and energy flags, and safety beckons—is obviously doomed to failure. “Success” is an American word which cannot conceivably, unless it is defined in an extremely severe, ironical, and painful way, have any place in the vocabulary of any artist.

Here’s the thing about James Baldwin’s prose: As noted earlier, from the start, he was audacious in his love for complex sentences; one might say even fearless in the way he deployed the English language. Faulkner, Virginia Woolf, Malcolm Lowry, among English-language writers, dared put so much demand on the language. To watch them create a sentence is often like watching a high-wire act. Death-defying sentences. Lush, romantic sentences. Sentences that dared to swallow the entire world.

Voyagers discover that the world can never be larger than the person that is in the world; but it is impossible to foresee this, it is impossible to be warned. It is only when time has begun spilling through his fingers like water or sand--carrying away with it, forever, dreams, possibilities, challenges, and hopes--that the young man realizes that he will not be young forever. If he wishes to paint a picture, raise a family, write a book, design a building, start a war--well, he does not have forever in which to do it.

Societies are never able to examine, to overhaul themselves: this effort must be made by that yeast which every society cunningly and unfailingly secretes. This ferment, this disturbance, is the responsibility, and the necessity, of writers. It is, alas, the truth that to be an American writer today means mounting an unending attack on all that Americans believe themselves to hold sacred. It means fighting an astute and agile guerrilla warfare with that American complacency which so inadequately masks the American panic.

Most people live in almost total darkness…people, millions of people whom you will never see, who don’t know you, never will know you, people who may try to kill you in the morning, live in a darkness which...if you have that funny terrible thing which every artist can recognize and no artist can define...you are responsible to those people to lighten, and it does not matter what happens to you. You are being used in the way a crab is useful, the way sand certainly has some function. It is impersonal. This force which you didn’t ask for, and this destiny which you must accept, is also your responsibility. And if you survive it, if you don’t cheat, if you don’t lie, it is not only, you know, your glory, your achievement, it is almost our only hope... Because only an artist can tell, and only artists have told since we have heard of man, what it is like for anyone who gets to this planet to survive it. What it is like to die, or to have somebody die; what it is like to be glad... The trouble is that although the artist can do it, the price that he has to pay himself and that you, the audience, must also pay, is a willingness to give up everything, to realize that although you spent twenty-seven years acquiring this house, this furniture, this position, although you spent forty years raising this child, these children, nothing, none of it belongs to you. You can only have it by letting it go. You can only take if you are prepared to give...It is a total risk of everything, of you and who you think you are, who you think you’d like to be, where you think you’d like to go...everything, and this forever, forever.

Let’s trace it, just for kicks, for a minute. And I’ll use myself. I won’t say “me,” but it’s my story. The first thing an artist finds out when he is very, very young (when I say “young” I mean before he is fifteen, that is to say, before, properly speaking, he or she can walk or talk, before he or she has had enough experience to begin to assess his or her experience)—and what occurs at that point in this hypothetical artist’s life is a kind of silence—the first thing he finds out is that for reasons he cannot explain to himself or to others, he does not belong anywhere.

The world of literature came knock-knock-knocking on James Baldwin’s door early: Reading and rereading Uncle Tom’s Cabin before he was ten. Discovering the novels of Charles Dickens at around the same time. The Schomburg Library on 135th Street, which he seemed to haunt when not baby-sitting his siblings. Frederick Douglass Junior High School, where he would study with Countee Cullen (“ To make a poet black, and bid him sing!”), by then the author of two volumes of poetry. Surely, for Baldwin, already the idea of being a writer, for a black man, was a tangible, possible thing.

We are the generation that must throw everything into the endeavor to remake America into what we say we want it to be. Without this endeavor, we will perish. However immoral or subversive this may sound to some, it is the writer who must always remember that morality, if it is to remain or become morality, must be perpetually examined, cracked, changed, made new. He must remember, however powerful the many who would rather forget, that life is the only touchstone and that life is dangerous, and that without the joyful acceptance of this danger, there can never be any safety for anyone, ever, anywhere.

Look back upon winter with gratitude. Spring is the harvest of the darker months—everything you know starts to grow in darkness. Don't write and tell me that winter brought you only colds or the ubiquitous virus. Perhaps it did bring those (and to me as well). Who goes through the chilly months unscathed? But it also brought things not to be forgotten—silver moons and snow, brilliant under stars; it brought Christmas and a new year, and to each of us something happy, something unexpected, which was not another problem but a joy. For the pendulum swings; nothing is static; and the road, however long, does turn.

It seems to me that the truth about us, as individual men and women and as a nation, has been and is being recorded, whether we wish to read it or not. Perhaps we cannot read it now, but the day is coming when we will have nothing else to read. The younger writers, so relentlessly and unfavorably compared to their elders, are nevertheless their descendants and are under the obligation to go further than their elders went. It is the only way to keep faith with them. The real difficulty is that those very same questions, that same anguish, must now be expressed in a way that more closely corresponds to our actual condition.

The idea that students don't know how to write clearly and precisely is as old as school itself, probably, but lately it seems as if students no longer know how to read either. It is true on my campus and from I can gather, on many other college campuses. The students understand words, sentences -- they are not illiterate -- but they don't seem to grasp the reasons for reading. They seem baffled when asked to take two thoughts, connect them, and form something new. They read James Baldwin or Henry David Thoreau and their primary reaction seems to be, "Okay, now I've ready that. I'm done." As if the only goal in reading was to have looked at every word.

Read good writing, and don’t live in the present. Live in the deep past, with the language of the Koran or the Mabinogion or Mother Goose or Dickens or Dickinson or Baldwin or whatever speaks to you deeply. Literature is not high school and it’s not actually necessary to know what everyone around you is wearing, in terms of style, and being influenced by people who are being published in this very moment is going to make you look just like them, which is probably not a good long-term goal for being yourself or making a meaningful contribution. At any point in history there is a great tide of writers of similar tone, they wash in, they wash out, the strange starfish stay behind, and the conches.

The confusion in this country that we call the Negro problem has nothing to do with the Negroes. And this is a fact. It has to do with the actual level of American life. And when I say this, I don’t mean the life that we have in the headlines, and that is celebrated in rhetoric, which fools only us. I mean the lives, the actual private lives, being led here on this continent as we sit here, from coast to coast. It is astonishing that in a country so devoted to the individual, so many people should be afraid to speak. It is astonishing that in a country so wealthy, and with nothing to fear in principle, everyone should be so joyless, so that you scarcely meet anyone who hasn’t just come from a psychiatrist, or isn’t just running off to one.

It is easy to say that Baldwin’s main message was racial equality. Surely the topic flows through his work more than it ebbs. Yet one makes a grave mistake in pigeonholing James Baldwin’s worldview so narrowly, for throughout this miscellany, though racial topics and racial politics are often the touchstone, his true themes are more in line with the early church fathers, with Erasmus of Rotterdam, with the great Western philosophers, with theologians like Reinhold Niebuhr and Dietrich Bonhoeffer and James Cone. And though it is too broad—if not useless—to say his true topic is humanity, it is useful to see how, no matter his topic, how often his writing finds some ur-morality upon which to rest, how he always sees matters through a lens of decency, how he writes with his heart as well as with his head. Baldwin left the pulpit at sixteen, but he never stopped preaching.

Nazi aggression, one might think, should have lent support to Winston’s candidacy. At this, of all times, it seems inconceivable that Baldwin would pick a weak man to supervise the defense of England. Nevertheless, that was what he did. Baldwin said outright: “If I pick Winston, Hitler will be cross.” In his biography of Chamberlain, Keith Feiling writes that the Rhineland was “decisive against Winston’s appointment”; it was “obvious that Hitler would not like it.” As the prime minister’s heir apparent, Chamberlain encouraged Baldwin to think along these lines. He suggested that Baldwin choose a man “who would excite no enthusiasm” and “create no jealousies.” The prime minister agreed. On Saturday, March 14—exactly a week since German troops had crossed the Rhine—he announced that he was establishing, not a ministry of defense, but a ministry for coordination of defense. Its leader, the new cabinet member, would be Sir Thomas Inskip.

We cannot possibly expect, and should not desire, that the great bulk of the populace embark on a mental and spiritual voyage for which very few people are equipped and which even fewer have survived. They have, after all, their indispensable work to do, even as you and I. What we are distressed about, and should be, when we speak of the state of mass culture in this country, is the overwhelming torpor and bewilderment of the people. The people who run the mass media are not all villains and they are not all cowards—though I agree, I must say, with Dwight Macdonald’s forceful suggestion that many of them are not very bright. (Why should they be? They, too, have risen from the streets to a high level of cultural attainment. They, too, are positively afflicted by the world’s highest standard of living and what is probably the world’s most bewilderingly empty way of life.) But even those who are bright are handicapped by their audience: I am less appalled by the fact that Gunsmoke is produced than I am by the fact that so many people want to see it. In the same way, I must add, that a thrill of terror runs through me when I hear that the favorite author of our President is Zane Grey.

We have, as it seems to me, in this most mechanical and interlocking of civilizations, attempted to lop this creature down to the status of time-saving invention. He is, after all, not merely a member of a Society or a Group or a deplorable conundrum to be explained by Science. He is—and how old-fashioned the words sound!—something more than that, something resolutely indefinable, unpredictable. In overlooking, denying, evading his complexity—which is nothing more than the disquieting complexity of ourselves—we are diminished and we perish; only within this web of ambiguity, paradox, this hunger, danger, darkness, can we find at once ourselves and the power that will free us from ourselves. It is this power of revelation which is the business of the novelist, this journey toward a more vast reality which must take precedence over all other claims. What is today parroted as his Responsibility—which seems to mean that he must make formal declaration that he is involved in, and affected by, the lives of other people and to say something improving about this somewhat self-evident fact—is, when he believes it, his corruption and our loss; moreover, it is rooted in, interlocked with and intensifies this same mechanization.

The very first thing a writer has to face is that he cannot be told what to write. You know, nobody asked me to be a writer; I chose it. Well, since I'm a man I have to assume I chose it; perhaps in fact, I didn't choose it. But in any case, the one thing you have to do is try to tell the truth. And what everyone overlooks is that in order to do it -- when the book comes out it may hurt you -- but in order for me to do it, it had to hurt me first. I can only tell you about yourself as much as I can face about myself. And this has happened to everybody who's tried to live. You go through life for a long time thinking, No one has ever suffered the way I've suffered, my God, my God. And then you realize -- You read something or you hear something, and you realize that your suffering does not isolate you; your suffering is your bridge. Many people have suffered before you, many people are suffering around you and always will, and all you can do is bring, hopefully, a little light into that suffering. Enough light so that the person who is suffering can begin to comprehend his suffering and begin to live with it and begin to change it, change the situation. We don't change anything; all we can do is invest people with the morale to change it for themselves.

In the light of the evidence it is hard to believe that most crusaders were motivated by crude materialism. Given their knowledge and expectations and the economic climate in which they lived, the disposal of assets to invest in the fairly remote possibility of settlement in the East would have been a stupid gamble. It makes much more sense to suppose, in so far as one can generalize about them, that they were moved by an idealism which must have inspired not only them but their families. Parents, brothers and sisters, wives and children had to face a long absence and must have worried about them: in 1098 Countess Ida of Boulogne made an endowment to the abbey of St Bertin 'for the safety of her sons, Godfrey and Baldwin, who have gone to Jerusalem'.83 And they and more distant relatives — cousins, uncles and nephews - were prepared to endow them out of the patrimonial lands. I have already stressed that no one can treat the phenomenal growth of monasticism in this period without taking into account not only those who entered the communities to be professed, but also the lay men and women who were prepared to endow new religious houses with lands and rents. The same is true of the crusading movement. Behind many crusaders stood a large body of men and women who were prepared to sacrifice interest to help them go. It is hard to avoid concluding that they were fired by the opportunity presented to a relative not only of making a penitential pilgrimage to Jerusalem but also of fighting in a holy cause. For almost a century great lords, castellans and knights had been subjected to abuse by the Church. Wilting under the torrent of invective and responding to the attempts of churchmen to reform their way of life in terms they could understand, they had become perceptibly more pious. Now they were presented by a pope who knew them intimately with the chance of performing a meritorious act which exactly fitted their upbringing and devotional needs and they seized it eagerly. But they responded, of course, in their own way. They were not theologians and were bound to react in ways consonant with their own ideas of right and wrong, ideas that did not always respond to those of senior churchmen. The emphasis that Urban had put on charity - love of Christian brothers under the heel of Islam, love of Christ whose land was subject to the Muslim yoke - could not but arouse in their minds analogies with their own kin and their own lords' patrimonies, and remind them of their obligations to avenge injuries to their relatives and lords. And that put the crusade on the level of a vendetta. Their leaders, writing to Urban in September 1098, informed him that 'The Turks, who inflicted much dishonour on Our Lord Jesus Christ, have been taken and killed and we Jerusalemites have avenged the injury to the supreme God Jesus Christ.