James Baldwin Love Quotes

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Love does not begin and end the way we seem to think it does. Love is a battle, love is a war; love is a growing up.
James Baldwin
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.
James Baldwin
It took many years of vomiting up all the filth I’d been taught about myself, and half-believed, before I was able to walk on the earth as though I had a right to be here.
James Baldwin (Collected Essays: Notes of a Native Son / Nobody Knows My Name / The Fire Next Time / No Name in the Street / The Devil Finds Work / Other Essays)
If you cannot love me, I will die. Before you came I wanted to die, I have told you many times. It is cruel to have made me want to live only to make my death more bloody.
James Baldwin (Giovanni’s Room)
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.
James Baldwin
If the concept of God has any validity or any use, it can only be to make us larger, freer, and more loving. If God cannot do this, then it is time we got rid of Him.
James Baldwin (The Fire Next Time (Vintage International))
Love takes off the masks that we fear we cannot live without and know we cannot live within. I use the word "love" here not merely in the personal sense but as a state of being, or a state of grace - not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth.
James Baldwin (The Fire Next Time (Vintage International))
Somebody" said Jacques, "your father or mine, should have told us that not many people have ever died of love. But multitudes have perished, and are perishing every hour--and in the oddest places!--for the lack of it.
James Baldwin (Giovanni’s Room)
Neither love nor terror makes one blind: indifference makes one blind.
James Baldwin (If Beale Street Could Talk (Vintage International))
People don't have any mercy. They tear you limb from limb, in the name of love. Then, when you're dead, when they've killed you by what they made you go through, they say you didn't have any character. They weep big, bitter tears - not for you. For themselves, because they've lost their toy.
James Baldwin (Another Country)
Whoever debases others is debasing himself.
James Baldwin (The Fire Next Time (Vintage International))
To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread.
James Baldwin (The Fire Next Time (Vintage International))
We can disagree and still love each other unless your disagreement is rooted in my oppression and denial of my humanity and right to exist.
James Baldwin
Everybody's journey is individual. If you fall in love with a boy, you fall in love with a boy. The fact that many Americans consider it a disease says more about them than it does about homosexuality.
James Baldwin
love brought you here. If you trusted love this far, don't panic now.
James Baldwin (If Beale Street Could Talk (Vintage International))
It's a miracle to realize that somebody loves you.
James Baldwin (If Beale Street Could Talk (Vintage International))
I was guilty and irritated and full of love and pain. I wanted to kick him and I wanted to take him in my arms.
James Baldwin (Giovanni’s Room)
Everyone wishes to be loved, but in the event, nearly no one can bear it. Everyone desires love but also finds it impossible to believe that he deserves it.
James Baldwin (Tell Me How Long the Train's Been Gone)
I guess it can’t be too often that two people can laugh and make love, too, make love because they are laughing, laugh because they’re making love. The love and the laughter come from the same place: but not many people go there
James Baldwin (If Beale Street Could Talk (Vintage International))
I hope that nobody has ever had to look at anybody they love through glass.
James Baldwin (If Beale Street Could Talk (Vintage International))
Love has never been a popular movement. And no one's ever wanted, really, to be free. The world is held together, really it is held together, by the love and the passion of a very few people. Otherwise, of course, you can despair. Walk down the street of any city, any afternoon, and look around you. What you've got to remember is what you're looking at is also you. Everyone you're looking at is also you. You could be that person. You could be that monster, you could be that cop. And you have to decide, in yourself, not to be.
James Baldwin
There are too many things we do not wish to know about ourselves. People are not, for example, terribly anxious to be equal (equal, after all, to what and to whom?) but they love the idea of being superior.
James Baldwin
If I could make you stay, I would,’ he shouted. ‘If I had to beat you, chain you, starve you—if I could make you stay, I would.’ He turned back into the room; the wind blew his hair. He shook his finger at me, grotesquely playful. ‘One day, perhaps, you will wish I had.
James Baldwin (Giovanni’s Room)
Love was a country he knew nothing about.
James Baldwin (Another Country)
Love him,’ said Jacques, with vehemence, ‘love him and let him love you. Do you think anything else under heaven really matters? And how long, at the best, can it last, since you are both men and still have everywhere to go? Only five minutes, I assure you, only five minutes, and most of that, helas! in the dark. And if you think of them as dirty, then they will be dirty— they will be dirty because you will be giving nothing, you will be despising your flesh and his. But you can make your time together anything but dirty, you can give each other something which will make both of you better—forever—if you will not be ashamed, if you will only not play it safe.’ He paused, watching me, and then looked down to his cognac. ‘You play it safe long enough,’ he said, in a different tone, ‘and you’ll end up trapped in your own dirty body, forever and forever and forever—like me.
James Baldwin (Giovanni’s Room)
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.
James Baldwin (Nothing Personal)
But, when the chips are down, its better to be furious with someone you love, or frightened for someone you love, than be put through the merciless horror of being ashamed of someone you love.
James Baldwin
All of us know, whether or not we are able to admit it, that mirrors can only lie, that death by drowning is all that awaits one there. It is for this reason that love is so desperately sought and so cunningly avoided. Love takes off the masks that we fear we cannot live without and know we cannot live within.
James Baldwin (The Fire Next Time (Vintage International))
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.
James Baldwin
You do not,’ cried Giovanni, sitting up, ‘love anyone! You never have loved anyone, I am sure you never will! You love your purity, you love your mirror—you are just like a little virgin, you walk around with your hands in front of you as though you had some precious metal, gold, silver, rubies, maybe diamonds down there between your legs! You will never give it to anybody, you will never let anybody touch it—man or woman. You want to be clean. You think you came here covered with soap and you think you will go out covered with soap—and you do not want to stink, not even for five minutes, in the meantime.’ He grasped me by the collar, wrestling and caressing at once, fluid and iron at once: saliva spraying from his lips and his eyes full of tears, but with the bones of his face showing and the muscles leaping in his arms and neck. ‘You want to leave Giovanni because he makes you stink. You want to despise Giovanni because he is not afraid of the stink of love. You want to kill him in the name of all your lying little moralities. And you—you are immoral. You are, by far, the most immoral man I have met in all my life. Look, look what you have done to me. Do you think you could have done this if I did not love you? Is this what you should do to love?
James Baldwin (Giovanni’s Room)
People are not, for example, terribly anxious to be equal (equal, after all, to what and to whom?) but they love the idea of being superior.
James Baldwin (The Fire Next Time)
There is no reason for you to try to become like white people and there is no basis whatever for their impertinent assumption that they must accept you. The terrible thing, old buddy, is that you must accept them. And I mean that very seriously. You must accept them and accept them with love. For these innocent people have no other hope. They are, in effect, still trapped in a history which they do not understand; and until they understand it, they cannot be released from it. They have had to believe for many years, and for innumerable reasons, that black men are inferior to white men. Many of them, indeed, know better, but, as you will discover, people find it very difficult to act on what they know.
James Baldwin (The Fire Next Time (Vintage International))
The American Negro has the great advantage of having never believed the collection of myths to which white Americans cling: that their ancestors were all freedom-loving heroes, that they were born in the greatest country the world has ever seen, or that Americans are invincible in battle and wise in peace, that Americans have always dealt honorably with Mexicans and Indians and all other neighbors or inferiors, that American men are the world's most direct and virile, that American women are pure. Negroes know far more about white Americans than that; it can almost be said, in fact, that they know about white Americans what parents—or, anyway, mothers—know about their children, and that they very often regard white Americans that way. And perhaps this attitude, held in spite of what they know and have endured, helps to explain why Negroes, on the whole, and until lately, have allowed themselves to feel so little hatred. The tendency has really been, insofar as this was possible, to dismiss white people as the slightly mad victims of their own brainwashing.
James Baldwin (The Fire Next Time (Vintage International))
I loved her as much as ever and I still did not know how much that was.
James Baldwin (Giovanni’s Room)
Time: the word tolled like the bells of a church. Fonny was doing: time. In six months time, our baby would be here. Somewhere, in time, Fonny and I had met: somewhere, in time, we had loved; somewhere, no longer in time, but, now, totally, at time’s mercy, we loved.
James Baldwin (If Beale Street Could Talk)
After departure, only invisible things are left, perhaps the life of the world is held together by invisible chains of memory and loss and love. So many things, so many people, depart! And we can only repossess them in our minds.
James Baldwin (Going to Meet the Man)
He grins again, and everything inside me moves. Oh, love. Love.
James Baldwin (If Beale Street Could Talk (Vintage International))
Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.
Billy Collins (Picnic, Lightning)
He laughed. 'Baby. Baby. Baby. I love you. And I'm going to build us a table and a whole lot of folks are going to be eating off it for a long, long time to come.
James Baldwin (If Beale Street Could Talk (Vintage International))
Giovanni had awakened an itch, had released a gnaw in me. I realized it one afternoon, when I was taking him to work via the Boulevard Montparnasse. We had bought a kilo of cherries and we were eating them as we walked along. We were both insufferably childish and high-spirited that afternoon and the spectacle we presented, two grown men jostling each other on the wide sidewalk and aiming the cherry pits, as though they were spitballs, into each other's faces, must have been outrageous. And I realized that such childishness was fantastic at my age and the happiness out of which it sprang yet more so; for that moment I really loved Giovanni, who had never seemed more beautiful than he was that afternoon.
James Baldwin (Giovanni’s Room)
She fitted in my arms, she always had, and the shock of holding her caused me to feel that my arms had been empty since she had been away.
James Baldwin (Giovanni’s Room)
So what can we really do for each other except--just love each other and be each other's witness? And haven't we got the right to hope--for more? So that we can really stretch into whoever we really are?
James Baldwin (Another Country)
All for the first time, in the days when acts had no consequences and nothing was irrecoverable, and love was simple and even pain had the dignity of enduring forever: it was unimaginable that time could do anything to diminish it.
James Baldwin (Another Country)
We held each other so close that we might indeed have been one body.
James Baldwin (If Beale Street Could Talk (Vintage International))
And then: 'Here comes your baby. Sois sage. Sois chic.' He moved slightly away and began talking to the boy next to him. And here my baby came indeed, through all that sunlight, his face flushed and his hair flying, his eyes, unbelievably, like morning stars.
James Baldwin (Giovanni’s Room)
I don't know, now, when I first looked at Hella and found her stale, found her body uninteresting, her presence grating. It seemed to happen all at once—I suppose that only means that it had been happening for a long time.
James Baldwin (Giovanni’s Room)
Much has been written of love turning to hatred, of the heart growing cold with the death of love. It is a remarkable process. It is far more terrible than anything I have ever read about it, more terrible than anything I will ever be able to say.
James Baldwin (Giovanni’s Room)
White people...have quite enough to do in learning how to accept and love themselves and each other, and when they have achieved this -- which will not be tomorrow and may very well be never -- the Negro problem will no longer exist, for it will no longer be needed.
James Baldwin
All that hatred down there," he said, "all that hatred and misery and love. It's a wonder it doesn't blow the avenue apart.
James Baldwin (Sonny's Blues (Story collection))
And if the word integration means anything, this is what it means: that we, with love, shall force our brothers to see themselves as they are, to cease fleeing from reality and begin to change it. For this is your home, my friend, do not be driven from it; great men have done great things here, and will again, and we can make America what America must become.
James Baldwin (The Fire Next Time (Vintage International))
The universe, which is not merely the stars and the moon and the planets, flowers, grass and trees, but other people, has evolved no terms for your existence, has made no room for you, and if love will not swing wide the gates, no other power will or can. And if one despairs-- as who has not?-- of human love, God's love alone is left.
James Baldwin (The Fire Next Time (Vintage International))
No matter how it seems now, I must confess: I loved him. I do not think that I will ever love anyone like that again. And this might be a great relief if I did not also know that, when the knife has fallen, Giovanni, if he feels anything will feel relief.
James Baldwin (Giovanni’s Room)
For here you were, Big James, named for me—you were a big baby, I was not—here you were, to be loved. To be loved, baby, hard, at once, and forever, to strengthen you against the loveless world.
James Baldwin (The Fire Next Time (Vintage International))
There appears to be a vast amount of confusion on this point, but I do not know many Negroes who are eager to be "accepted" by white people, still less to be loved by them; they, the blacks, simply don't wish to be beaten over the head by the whites every instant of our brief passage on this planet. White people in this country will have quite enough to do in learning how to accept and love themselves and each other, and when they have achieved this -- which will not be tomorrow and will not be today and may very well be never -- the Negro problem will no longer exist, for it will no longer be needed.
James Baldwin (The Fire Next Time (Vintage International))
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.
James Baldwin (Notes of a Native Son)
There is no reason for you to try to become like white people and there is no basis whatever for their impertinent assumption that *they* must accept *you*. The really terrible thing, old buddy, is that you must accept them. And I mean that very seriously. You must accept them and accept them with love.
James Baldwin (The Fire Next Time (Vintage International))
No one knows very much about the life of another. This ignorance becomes vivid, if you love another. Love sets the imagination on fire, and, also, eventually, chars the imagination into a harder element: imagination cannot match love, cannot plunge so deep, or range so wide.
James Baldwin
I was in a terrible confusion. Sometimes I thought, but this is your life. Stop fighting it. Stop fighting. Or I thought, but I am happy. And he loves me. I am safe. Sometimes, when he was not near me, I thought, I will never let him touch me again. Then, when he touched me, I thought it doesn’t matter, it is only the body, it will soon be over. When it was over I lay in the dark and listened to his breathing and dreamed of the touch of hands, of Giovanni’s hands, or anybody’s hands, hands which would have the power to crush me and make me whole again.
James Baldwin (Giovanni’s Room)
With this fearful intimation there opened in me a hatred for Giovanni which was as powerful as my love and which was nourished by the same roots.
James Baldwin (Giovanni’s Room)
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 each other's light. Gentle work. Steadfast work. Life-saving work in those moments when shame and sorrow occlude our own light from view, but there is still a clear-eyed loving person to beam it back. In our best moments, we are that person for another.
James Baldwin (Nothing Personal)
If a society permits one portion of its citizenry to be menaced or destroyed, then, very soon, no one in that society is safe. The forces thus released in the people can never be held in check, but run their devouring course, destroying the very foundations which it was imagined they would save. But we are unbelievably ignorant concerning what goes on in our country--to say nothing of what goes on in the rest of the world--and appear to have become too timid to question what we are told. Our failure to trust one another deeply enough to be able to talk to one another has become so great that people with these questions in their hearts do not speak them; our opulence is so pervasive that people who are afraid to lose whatever they think they have persuade themselves of the truth of a lie, and help disseminate it; and God help the innocent here, that man or womn who simply wants to love, and be loved. Unless this would-be lover is able to replace his or her backbone with a steel rod, he or she is doomed. This is no place for love. I know that I am now expected to make a bow in the direction of those millions of unremarked, happy marriages all over America, but I am unable honestly to do so because I find nothing whatever in our moral and social climate--and I am now thinking particularly of the state of our children--to bear witness to their existence. I suspect that when we refer to these happy and so marvelously invisible people, we are simply being nostalgic concerning the happy, simple, God-fearing life which we imagine ourselves once to have lived. In any case, wherever love is found, it unfailingly makes itself felt in the individual, the personal authority of the individual. Judged by this standard, we are a loveless nation. The best that can be said is that some of us are struggling. And what we are struggling against is that death in the heart which leads not only to the shedding of blood, but which reduces human beings to corpses while they live.
James Baldwin (Nothing Personal)
It is not too much to say that whoever wishes to become a truly moral human being ... must first divorce himself from all the prohibitions, crimes, and hypocrisies of the Christian church. If the concept of God has any validity or any use, it can only be to make us larger, freer, and more loving. If God cannot do this, then it is time we got rid of Him.
James Baldwin (The Fire Next Time (Vintage International))
Wisely, Baldwin insisted that we are always more than our pain. Not only did he believe in our capacity to love, he felt black people were uniquely situated to risk loving because we had suffered.
bell hooks (Salvation: Black People and Love)
The first love disappears, but never goes. That ache becomes reconciliation.
James Baldwin (Just Above My Head)
Love forces, at last, this humility: you cannot love if you cannot be loved, you cannot see if you cannot be seen.
James Baldwin (Just Above My Head)
If one wishes to be instructed--not that anyone does--concerning the treacherous role that memory plays in a human life, consider how relentlessly the water of memory refuses to break, how it impedes that journey into the air of time. Time: the whisper beneath that word is death. With this unanswerable weight hanging heavier and heavier over one's head, the vision becomes cloudy, nothing is what it seems... How then, can I trust my memory concerning that particular Sunday afternoon?...Beneath the face of anyone you ever loved for true--anyone you love, you will always love, love is not at the mercy of time and it does not recognize death, they are strangers to each other--beneath the face of the beloved, however ancient, ruined, and scarred, is the face of the baby your love once was, and will always be, for you. Love serves, then, if memory doesn't, and passion, apart from its tense relation to agony, labors beneath the shadow of death. Passion is terrifying, it can rock you, change you, bring your head under, as when a wind rises from the bottom of the sea, and you're out there in the craft of your mortality, alone.
James Baldwin (Just Above My Head)
There may not be as much humanity in the world as one would like to see. But there is some. There's more than one would think. In any case, if you break faith with what you know, that's a betrayal of many, many, many, many people. I may know six people, but that's enough. Love has never been a popular movement and no one's ever wanted really to be free. The world is held togther, really it is held together, by the love and the passion of very few people. Otherwise, of course you're in despair. Walk down the street of any city, any afternoon, and look around you. What you've got to remember is what you're looking at is also you. Everyone you're looking at is also you. You could be that person. You could be that person, you could be that cop. And you have to decide in yourself not to be.
James Baldwin
Nothing tamed or broke her, nothing touched her, neither kindness, nor scorn, nor hatred, nor love. She had never thought of prayer. It was unimaginable that she would ever bend her knees and come crawling along a dusty floor to anybody’s altar, weeping for forgiveness. Perhaps her sin was so extreme that it could not be forgiven; perhaps her pride was so great that she did not need forgiveness. She had fallen from that high estate which God had intended for men and women, and she made her fall glorious because it was so complete.
James Baldwin (Go Tell It on the Mountain)
To encounter oneself is to encounter the other: and this is love. If I know that my soul trembles, I know that yours does, too: and if I can respect this, both of us can live. Neither of us, truly, can live without the other: a statement which would not sound so banal if one were not so endlessly compelled to repeat it, and act on that belief.
James Baldwin (The Devil Finds Work: Essays)
What are you doing all the time? And why do you say nothing? You are evil, you know, and sometimes when you smiled at me I hated you. I wanted to strike you. I wanted to make you bleed. 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.
James Baldwin (Giovanni’s Room)
People always seem to band together in accordance to a principle that has nothing to do with love, a principle that releases them from personal responsibility
James Baldwin (The Fire Next Time)
Don’t think I don’t know you love me. You believe we going to make it?
James Baldwin (If Beale Street Could Talk)
People love different people in different ways.
James Baldwin (If Beale Street Could Talk (Vintage International))
Sometimes, when he was not near me, I thought, I will never let him 'Touch' me again. Then, when he 'Touched' me, I thought, it doesn't matter, it is only the body, it will soon be over. When it was over, I lay in the dark and listened to his breathing and dreamed of the 'Touch' of hands, of Giovanni's hands, or anybody's hands, hands which would have the power to crush me and make me whole again.
James Baldwin (Giovanni’s Room)
The states of birth, suffering, love, and death, are extreme states: extreme, universal, and inescapable. We all know this, but we would rather not know it. The artist is present to correct the delusions to which we are all prey in our attempts to avoid this knowledge." - James Baldwin, "The Creative Process
James Baldwin (The Price of the Ticket: Collected Nonfiction, 1948-1985)
And he knew again that she was not saying everything she meant; in a kind of secret language she was telling him today something that he must remember and understand tomorrow. He watched her face, his heart swollen with love for her and with an anguish, not yet his own, that he did not understand and that frightened him.
James Baldwin (Go Tell It on the Mountain)
Loving anybody and being loved by anybody is a tremendous danger, a tremendous responsibility. Loving of children, raising of children. The terrors homosexuals go through in this society would not be so great if the society itself did not go through so many terrors which it doesn’t want to admit. The discovery of one’s sexual preference doesn’t have to be a trauma. It’s a trauma because it’s such a traumatized society.
James Baldwin (James Baldwin: The Last Interview and Other Conversations)
It's terrible sometimes, inside," he said, "that's what's the trouble. You walk these streets, black and funky and cold, and there's not really a living ass to talk to, and there's nothing shaking, and there's no way of getting it out- that storm inside. You can't talk it and you can't make love with it, and when you finally try to get with it and play it, you realize nobody's listening. So you've got to listen. You got to find a way to listen.
James Baldwin (Sonny's Blues (Story collection))
She knows Daddy better than I do. I think it's because she's felt since we were children that our Daddy maybe loved me more than he loves her. This isn't true, and she knows that now--people love different people in different ways--but it must have seemed that way to her when we were little. I look as though I just can't make it, she looks like can't nothing stop her. If you look helpless, people react to you in one way and if you look strong, or just come on strong, people react to you in another way, and, since you don't see what they see, this can be very painful. I think that's why Sis was always in front of that damn mirror all the time, when we were kids. She was saying, 'I don't care. I got me.' Of course, this only made her come on stronger than ever, which was the last effect she desired: but that's the way we are and that's how we can sometimes get so fucked up. Anyway, she's past all that. She knows who she is, or, at least, she knows who she damn well isn't.
James Baldwin (If Beale Street Could Talk (Vintage International))
it is the responsibility of free men to trust and celebrate what is constant—birth, struggle, and death are constant, and so is love, though we may not always think so—and to apprehend the nature of change, to be able and willing to change.
James Baldwin (The Fire Next Time (Vintage International))
There appears to be a vast amount of confusion on this point, but I do not know many Negroes who are eager to be "accepted" by white people, still less to be loved by them; they, the blacks, simply don't wish to be beaten over the head by the whites every instant of our brief passage on this planet.
James Baldwin (The Fire Next Time (Vintage International))
But what was the point, the purpose, of my salvation if it did not permit me to behave with love toward others, no matter how they behaved toward me? What others did was their responsibility, for which they would answer when the judgment trumpet sounded.
James Baldwin (The Fire Next Time (Vintage International))
That was how I met her, in a bar in Saint-Germain-des-Prés, she was drinking and watching, and that was why I liked her, I thought she would be fun to have fun with.
James Baldwin (Giovanni’s Room)
I really mean that there was no love in the church. It was a mask for hatred and self-hatred and despair.
James Baldwin (The Fire Next Time (Vintage International))
Love will simply have no choice but to go into battle with space and time, and, furthermore, win.
James Baldwin (Nothing Personal)
If one really wishes to know how justice is administered in a country, one does not question the policemen, the lawyers, the judges, or the protected members of the middle class. One goes to the unprotected—those, precisely, who need the law’s protection the most!—and listens to their testimony. Ask any Mexican, any Puerto Rican, any black man, any poor person—ask the wretched how they fare in the halls of justice, and then you will know, not whether or not the country is just, but whether or not it has any love for justice, or any concept of it.
Eddie S. Glaude Jr. (Begin Again: James Baldwin's America and Its Urgent Lessons for Our Own)
Terrifying, that the loss of intimacy with one person results in the freezing over of the world, and the loss of oneself! And terrifying that the terms of love are so rigorous, its checks and liberties so tightly bound together… Their relationship depended on her restraint… The premise of their affair, or the basis of their comedy, was that they were two independent people, who needed each other for a time, who would always be friends, but who, probably, would not always be lovers. Such a premise forbids the intrusion of the future, or too vivid an exhibition of need.
James Baldwin (Another Country)
Yet, in Florence's heart tonight hatred and bitterness weighed like granite, pride refused to abdicate from the throne it had held so long. Neither love nor humility had led her to the altar, but only fear.
James Baldwin (Go Tell It on the Mountain)
We have not stopped trembling yet, but if we had not loved each other none of us would have survived. And now you must survive because we love you, and for the sake of your children and your children's children.
James Baldwin (The Fire Next Time (Vintage International))
It seemed, then, that a lifetime would not be long enough for me to act with Joey the act of love.
James Baldwin (Giovanni’s Room)
a boy with an unspeakable past was a man with an unendurable future. He was good to look at, good to dance with, probably good to sleep with: but he was no longer good for love.
James Baldwin (Tell Me How Long the Train's Been Gone)
The American revolution, the terms are these: not that I drive you out or that you drive me out, but that we come together and embrace and learn to live together. That is the only way that we can have achieved the American revolution. Now, if we can face this, it involves facing a great many things. It demands that white people face the fact that I, for example, or any black person they will ever meet or have ever met—I am not an exotic rarity. I am not a stranger. I am none of those things. On the contrary, for all you know, for all you know, I might be your uncle, your brother, your cousin, among other things. One of the things that has happened here—and the pathology of the Deep South proves it; so does the pathology of the North, which dictates to them that they move out and I move in—among other things which have to be excavated here is the fact that this long history is also the history of a love affair.
James Baldwin
Where you lead me," I said, "I'll follow." He laughed. "Baby. Baby. Baby. I love you. And I'm going to build us a table and a whole lot of folks going to be eating off it for a long, long time to come.
James Baldwin (If Beale Street Could Talk (Vintage International))
And then, again, I was undergoing with my father what the very young inevitability undergo with their elders: I was beginning to judge him. And the very harshness of this judgement, which broke my heart, revealed, though I could not have said it then, how much I had loved him, how that love, along with my innocence, was dying.
James Baldwin (Giovanni’s Room)
In my experience - and this is a very awkward way to put it, since I don't really know what the word experience means - the strangest people in one's life are the people one has known and loved, still know and will always love. Here, both I and the vocabulary are both in trouble, for strangest does not imply stranger. A stranger is a stranger is a stranger, simply, and you watch the stranger to anticipate his next move. But the people who elicit from you a depth of attention and wonder which we helplessly call love are perpetually making moves which cannot possibly be anticipated. Eventually, you realize that it never occurred to you to anticipate their next move, not only because you couldn't but because you didn't have to: it was not a question of moving on the next move, but simply, of being present. Danger, true, you try to anticipate and you prepare yourself, without knowing it, to stand in the way of death. For the strangest people in the world are those people recognized, beneath one's senses, by one's soul - the people utterly indispensable for one's journey.
James Baldwin (Just Above My Head)
He wished he could rescue her, that it was within his power to rescue her and make her life less hard. But it was only love which could accomplish the miracle of making a life bearable -- only love, and love itself mostly failed; and he had never loved her. He had used her to find out something about himself. And even this was not true. He had used her in the hope of avoiding a confrontation with himself which he had, nevertheless, and with a vengeance, been forced to endure.
James Baldwin (Another Country)
And there was something so artless in this smile that I had to smile back.
James Baldwin (Giovanni’s Room)
I love a few people and they love me and some of them are white, and isn't love more important than color?
James Baldwin (The Fire Next Time (Vintage International))
How's one going to get through it all? How can you live if you can't love? And how can you live if you do?
James Baldwin (Another Country)
I’m aware, you know, that I and the people I love may perish in the morning. I know that. But there’s light on our faces now.
James Baldwin
We had bought a kilo of cherries and we were eating them as we walked along. We were both insufferably childish and high-spirited that afternoon and th spectacle we presented, two grown men, jostling each other on the wide sidewalk, and aiming the cherry-pips, as though they were spitballs, into each other's facesm must have been outrageous. And I realized that such childishness was fantastic at my age and the happiness out of which it sprang yet more so; for that moment I really loved Giovanni, who had never seemed more beautiful than he was that afternoon. And, watching his face, I realized that it meant much to me that I could make his face so bright. I saw that I might be willing to give a great deal not to lose that power. And I felt myself flow toward him, as a river rushes when the ice breaks up.
James Baldwin (Giovanni’s Room)
Neither civilized reason nor Christian love would cause any of those people to treat you as they presumably wanted to be treated; only the fear of your power to retaliate would cause them to do that, or to seem to do it, which was (and is) good enough.
James Baldwin (The Fire Next Time)
Only a man can see in the face of a woman the girl she was. It is a secret which can be revealed only to a particular man, and, then, only at his insistence. But men have no secrets, except from women, and never grow up in the way women do. It is very much harder, and it takes much longer, for a man to grow up, and he could never do it at all without women. This is a mystery which can terrify and immobilize a woman, and it is always the key to her deepest distress. She must watch and guide, but he must lead, and he will always appear to be giving far more of his real attention to his comrades than he is giving to her. But that noisy, outward openness of men with each other enables them to deal with the silence and secrecy of women, that silence and secrecy which contains the truth of a man, and releases it. I suppose that the root of the resentment—a resentment which hides a bottomless terror—has to do with the fact that a woman is tremendously controlled by what the man’s imagination makes of her—literally, hour by hour, day by day; so she becomes a woman. But a man exists in his own imagination, and can never be at the mercy of a woman’s.—Anyway, in this fucked up time and place, the whole thing becomes ridiculous when you realize that women are supposed to be more imaginative than men. This is an idea dreamed up by men, and it proves exactly the contrary. The truth is that dealing with the reality of men leaves a woman very little time, or need, for imagination. And you can get very fucked up, here, once you take seriously the notion that a man who is not afraid to trust his imagination (which is all that men have ever trusted) if effeminate. It says a lot about this country, because, of course, if all you want to do is make money, the very last thing you need is imagination. Or women, for that matter: or men.
James Baldwin (If Beale Street Could Talk (Vintage International))
And the darkness of John's sin was like the darkness of the church on Saturday evenings[...] It was like his thoughts as he moved about the tabernacle in which his life had been spent; the tabernacle that he hated, yet loved and feared[...] The darkness of his sin was in the hardheartedness with which he resisted God's power; in the scorn that was often his while he listened to the crying, breaking voices, and watched the black skin glisten while they lifted up their arms and fell on their faces before the Lord. For he had made his decision. He would not be like his father, or his father's fathers. He would have another life.
James Baldwin (Go Tell It on the Mountain)
Fonny liked me so much that it didn't occur to him that he loved me. I liked him so much that no other boy was real to me. I didn't see them. I didn't know what this meant. But the waiting moment, which had spied us on the road, and which was waiting for us, knew.
James Baldwin (If Beale Street Could Talk)
Beneath the face of anyone you ever loved for true - anyone you love, you will always love, love is not at the mercy of time and it does not recognize death, they are strangers to each other - beneath the face of the beloved, however ancient, ruined, and scarred, is the face of the baby your love once was, and will always be, for you. Love serves, then, if memory doesn't, and passion, apart from its tense relation to agony, labors beneath the shadow of death. Passion is terrifying, it can rock you, change you, bring your head under, as when a wind rises from the bottom of the sea, and you're out there in the craft of your mortality, alone.
James Baldwin
To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread. It will be a great day for America, incidentally, when we begin to eat bread again, instead of the blasphemous and tasteless foam rubber that we have substituted for it. And I am not being frivolous now, either. Something very sinister happens to the people of a country when they begin to distrust their own reactions as deeply as they do here, and become as joyless as they have become.
James Baldwin (The Fire Next Time (Vintage International))
The beast which Giovanni had awakened in me would never go to sleep again; but one day I would not be with Giovanni any more. And would I then, like all the others, find myself turning and following all kinds of boys down God knows what dark avenues, into what dark places? With this fearful intimation there opened in me hatred for Giovanni which was as powerful as my love and which was nourished by the same roots.
James Baldwin (Giovanni’s Room)
There appears to be a vast amount of confusion on this point, but I do not know many Negroes who are eager to be “accepted” by white people, still less to be loved by them; they, the blacks, simply don’t wish to be beaten over the head by the whites every instant of our brief passage on this planet.
James Baldwin (The Fire Next Time)
I remember feeling dimly that there was a kind of blackmail in it. People, I felt, ought to love the Lord because they loved Him, and not because they were afraid of going to Hell.
James Baldwin (The Fire Next Time (Vintage International))
I wish I had heard him more clearly: an oblique confession is always a plea.
James Baldwin
Isn't love more important than colour?
James Baldwin (The Fire Next Time (Vintage International))
He wanted no distance between us; he wanted me to look on him as a man like myself. But I wanted the merciful distance of father and son, which would have permitted me to love him.
James Baldwin (Giovanni’s Room)
And everything was different. I was walking through streets I had never seen before. The faces around me, I had never seen. We moved in silence which was music from everywhere.
James Baldwin (If Beale Street Could Talk (Vintage International))
And the passion with which we loved the Lord was a measure of how deeply we feared and distrusted and, in the end, hated almost all strangers, always, and avoided and despised ourselves.
James Baldwin (The Fire Next Time)
It is not really a “Negro revolution” that is upsetting the country. What is upsetting the country is a sense of its own identity. If, for example, one managed to change the curriculum in all the schools so that Negroes learned more about themselves and their real contributions to this culture, you would be liberating not only Negroes, you’d be liberating white people who know nothing about their own history. And the reason is that if you are compelled to lie about one aspect of anybody’s history, you must lie about it all. If you have to lie about my real role here, if you have to pretend that I hoed all that cotton just because I loved you, then you have done something to yourself. You are mad.
James Baldwin
I belong to a culture that includes Proust, Henry James, Tchaikovsky, Cole Porter, Plato, Socrates, Aristotle, Alexander the Great, Michelangelo, Leonardo da Vinci, Christopher Marlowe, Walt Whitman, Herman Melville, Tennessee Williams, Byron, E.M. Forster, Lorca, Auden, Francis Bacon, James Baldwin, Harry Stack Sullivan, John Maynard Keynes, Dag Hammarskjold… These are not invisible men. Poor Bruce. Poor frightened Bruce. Once upon a time you wanted to be a soldier. Bruce, did you know that an openly gay Englishman was as responsible as any man for winning the Second World War? His name was Alan Turing and he cracked the Germans' Enigma code so the Allies knew in advance what the Nazis were going to do — and when the war was over he committed suicide he was so hounded for being gay. Why don't they teach any of this in the schools? If they did, maybe he wouldn't have killed himself and maybe you wouldn't be so terrified of who you are. The only way we'll have real pride is when we demand recognition of a culture that isn't just sexual. It's all there—all through history we've been there; but we have to claim it, and identify who was in it, and articulate what's in our minds and hearts and all our creative contributions to this earth. And until we do that, and until we organize ourselves block by neighborhood by city by state into a united visible community that fights back, we're doomed. That's how I want to be defined: as one of the men who fought the war.
Larry Kramer (The Normal Heart)
Yes, he had heard it all his life, but it was only now that his ears were opened to this sound that came from darkness, that could only come from darkness, that yet bore such sure witness to the glory of the light. And now in his moaning, and so far from any help, he heard it in himself--it rose from his bleeding, his cracked-open heart. It was a sound of rage and weeping which filled the grave, rage and weeping from time set free, but bound now in eternity; rage that had no language, weeping with no voice--which yet spoke now, to John's startled soul, of boundless melancholy, of the bitterest patience, and the longest night; of the deepest water, the strongest chains, the most cruel lash; of humility most wretched, the dungeon most absolute, of love's bed defiled, and birth dishonored, and most bloody, unspeakable, sudden death. Yes, the darkness hummed with murder: the body in the water, the body in the fire, the body on the tree. John looked down the line of these armies of darkness, army upon army, and his soul whispered: Who are these? Who are they? And wondered: Where shall I go?
James Baldwin (Go Tell It on the Mountain)
There seems to be a vast amount of confusion in the Western world concerning these matters, but love and sexual activity are not synonymous: Only by becoming inhuman can the human being pretend that they are. The mare is not obliged to love the stallion, nor is the bull required to love the cow. They are doing what comes naturally.
James Baldwin (Collected Essays: Notes of a Native Son / Nobody Knows My Name / The Fire Next Time / No Name in the Street / The Devil Finds Work / Other Essays)
The universe, which is not merely the stars and the moon and the planets, flowers, grass, and trees, but other people, has evolved no terms for your existence, has made no room for you, and if love will not swing wide the gates, no other power will or can. And if one despairs - as who has not? - of human love, God's love alone is left.
James Baldwin (The Fire Next Time (Vintage International))
She sensed that what her aunt spoke of as love was something else—a bribe, a threat, an indecent will to power. She knew that the kind of imprisonment that love might impose was also, mysteriously, a freedom for the soul and spirit, was water in the dry place, and had nothing to do with the prisons, churches, laws, rewards, and punishments, that so positively cluttered the landscape of her aunt’s mind.
James Baldwin (Go Tell It on the Mountain)
I knew the tension in me between love and power, between pain and rage, and the curious, the grinding way I remained extended between these poles—perpetually attempting to choose the better rather than the worse.
James Baldwin (The Fire Next Time (Vintage International))
I don't know if you have known anybody from that far back, if you have loved anybody that long, first as an infant, then as a child, then as a man. You gain a strange perspective on time and human pain and effort.
James Baldwin (The Fire Next Time (Vintage International))
Each day he invited me to witness how he had changed, how love had changed him, how he worked and sang and cherished me. I was in a terrible confusion. Sometimes I thought, but this is your life. Stop fighting it. Or I thought, but I am happy. And he loves me. I am safe. Sometimes, when he was not near me, I thought, I will never let him touch me again. Then, when he touched me, I thought it doesn't matter, it is only the body, it will soon be over. When it was over I lay in the dark and listened to his breathing and dreamed of the touch of hands, of Giovanni's hands, or anybody's hands, hands which would have the power to crush me and make me whole again.
James Baldwin (Giovanni’s Room)
They were oddly equal: perhaps each could teach the other, concerning love, what neither now knew. And they were equal in that both were afraid of what unanswerable and unimaginable riddles might be uncovered in so merciless a light
James Baldwin (Another Country)
No one in the world -- in the entire world -- know more -- knows Americans better or, odd as this may sound, loves them more than the American Negro. This is because he has had to watch you, outwit you, deal with you, and bear you, and sometimes even bleed and die with you, ever since we got here, that is, since both of us, black and white, got here -- and this is a wedding. Whether I like it or not, or whether you like it or not, we are bound together forever. We are part of each other.
James Baldwin (Nobody Knows My Name (Vintage International))
Yes, Mama. I’m going to try to love the Lord.” At this there sprang into his mother’s face something startling, beautiful, unspeakably sad—as though she were looking far beyond him at a long, dark road, and seeing on that road a traveler in perpetual danger. Was it he, the traveler? or herself? or was she thinking of the cross of Jesus?
James Baldwin (Go Tell It on the Mountain)
I was also able to see that the principles governing the rites and customs of the churches in which I grew up did not differ from the principles governing the rites and customs of other churches, white. The principles were Blindness, Loneliness, and Terror, the first principle necessarily and actively cultivated in order to deny the two others. I would love to believe that the principles were Faith, Hope, and Charity, but this is clearly not so for most Christians, or for what we call the Christian world.
James Baldwin (The Fire Next Time)
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.
James Baldwin (Giovanni’s Room)
For, without love, pleasure withers quickly, becomes a foul taste on the palate, and pleasure’s inventions are soon exhausted. There must be a soul within the body you are holding, a soul which you are striving to meet, a soul which is striving to meet yours.
James Baldwin (Just Above My Head)
The love and the laughter come from the same place: but not many people go there.
James Baldwin (If Beale Street Could Talk (Vintage International))
And yet power is real, and many things, including, very often, love, cannot be achieved without it.
James Baldwin (The Fire Next Time)
what was the point, the purpose, of my salvation if it did not permit me to behave with love toward others, no matter how they behaved toward me?
James Baldwin (The Fire Next Time)
These fantasies began as fantasies of love and soured imperceptibly into fantasies of violence and humiliation.
James Baldwin (Another Country)
There are tears on his face, his face or mine, I don't know. I kiss him where our tears fall. I start to say something. He puts one finger on my lips. He smiles his little smile.
James Baldwin (If Beale Street Could Talk (Vintage International))
if you’ve loved anybody that long, first as an infant, then as a child, then as a man, you gain a strange perspective on time and human pain and effort.
James Baldwin (The Fire Next Time)
What kind of friendship have you had? Or for that matter...what kind of love affairs?
James Baldwin (Giovanni’s Room)
Jimmy Baldwin was a whirlwind who stirred everything and everybody. He lived at a dizzying pace and I loved spinning with him.
Maya Angelou (A Song Flung Up to Heaven)
It’s a miracle to realize that somebody loves you.
James Baldwin (If Beale Street Could Talk (Vintage International))
I love you" "Oh. Well. You have, you know, had better ideas.
James Baldwin (Tell Me How Long the Train's Been Gone)
For it was time that filled his mind, time that was violent with the mysterious love of God. And his mind could not contain the terrible stretch of time that united twelve men fishing by the shores of Galilee, and black men weeping on their knees tonight, and he, a witness.
James Baldwin (Go Tell It on the Mountain)
Ask any Mexican, any Puerto Rican, any black man, any poor person - ask the wretched how they fare in the halls of justice, and then you will know, not whether or not the country is just, but whether or not it has any love for justice, or any concept of it. It is certain, in any case, that ignorance, allied with power, is the most ferocious enemy justice can have.
James Baldwin (No Name in the Street (Vintage International))
And if one despairs—as who has not?—of human love, God’s love alone is left. But God—and I felt this even then, so long ago, on that tremendous floor, unwillingly—is white. And if His love was so great, and if He loved all His children, why were we, the blacks, cast down so far?
James Baldwin (The Fire Next Time)
White people in this country will have quite enough to do in learning how to accept and love themselves and each other, and when they have achieved this – which will not be tomorrow and may very well be never – the Negro problem will no longer exist, for it will no longer be needed.
James Baldwin (The Fire Next Time)
In the Negro world, as in the white world, Negroes who have money band together and try to ignore the existence of their unluckier brothers. That is the way the love of money works. But neither money, nor the love of it, is the root of all evil. The importance of money is simply that power in the world does not exist without it and power in the world is what almost everyone would like to have.
James Baldwin (Collected Essays: Notes of a Native Son / Nobody Knows My Name / The Fire Next Time / No Name in the Street / The Devil Finds Work / Other Essays)
He was held together, in short, by a dream... and was united with his "brothers" on the basis of their color. Perhaps one cannot ask for more. People always seem to band together in accordance to a principle that has nothing to do with love, a principle that releases them from personal responsibility.
James Baldwin (The Fire Next Time (Vintage International))
Nobody, no man and no woman, is precisely what they think they are. Love is where you find it. You don't know where it'll carry you, and it's a terrifying thing, love. It's the only possibility but it's terrifying.
James Baldwin
When I think of identity, I think of our bodies and souls and the influences of family, culture, and community - the ingredients that make us. James Baldwin describes identity as "the garment with which one covers the nakedness of the self." The garment should be worn "loose," he says, so we can always feel our nakedness. "This trust in one's nakedness is all that gives one the power to change one's robes." I'm still journeying toward that place where I'm comfortable in this nakedness, standing firmly in my interlocking identities.
Janet Mock (Redefining Realness: My Path to Womanhood, Identity, Love & So Much More)
the things that most white people imagine that they can salvage from the storm of life is really, in sum, their innocence. It was this commodity precisely which I had to get rid of at once, literally, on pain of death. I am afraid that most of the white people I have ever known impressed me as being in the grip of a weird nostalgia, dreaming of a vanished state of security and order, against which dream, unfailingly and unconsciously, they tested and very often lost their lives. It is a terrible thing to say, but I am afraid that for a very long time the troubles of white people failed to impress me as being real trouble. They put me in mind of children crying because the breast has been taken away. Time and love have modified my tough-boy lack of charity, but the attitude sketched above was my first attitude and I am sure that there is a great deal of it left.
James Baldwin (Nobody Knows My Name)
no matter what Saint Paul may thunder, love is where you find it. A man can fall in love with a man: incarceration, torture, fire, and death, and, still more, the threat of these, have not been able to prevent it, and never will. It became a grave, a tragic matter, on the North American continent, where white power became indistinguishable from the question of sexual dominance. But the question of sexual dominance can exist only in the nightmare of that soul which has armed itself, totally, against the possibility of the changing motion of conquest and surrender, which is love.
James Baldwin (The Devil Finds Work: Essays)
And I realized that such childishness was fantastic at my age and the happiness out of which it sprang yet more so; for that moment I really loved Giovanni, who had never seemed more beautiful than he was that afternoon. And, watching his face, I realized that it meant much to me that I could make his face so bright. I saw that I might be willing to give a great deal not to lose that power. And I felt myself flow toward him, as a river rushes when the ice breaks up.
James Baldwin (Giovanni’s Room)
Most, I loved James Baldwin's essays. There was to a Baldwin essay a metropolitan elegance I envied, a refusal of the livid. In Baldwin I found a readiness to rise to prophetic wrath, something like those ministers, and yet, once more, to bend down in tenderness, to call grown men and women "baby" (a whiff of the theater). Watching Baldwin on television—I will always consider the fifties to have been a sophisticated time—fixed for me what being a writer must mean. Arching eyebrows intercepted ironies, parenthetically declared fouls; mouthfuls of cigarette smoke shot forth ribbons of exactitude.
Richard Rodríguez
I loved my country, but I could not respect it, could not, upon my soul, be reconciled to my country as it was. And I loved my work, had great respect for the craft which I was compelled to study, and wanted it to have some human use. It was beginning to be clear to me that these two loves might, never, in my life, be reconciled: no man can serve two masters.
James Baldwin (The Devil Finds Work: Essays)
Any honest examination of the national life proves how far we are from the standard of human freedom with which we began. The recovery of this standard demands of everyone who loves this country a hard look at himself, for the greatest achievements must begin somewhere, and they always begin with the person. If we are not capable of this examination, we may yet become one of the most distinguished and monumental failures in the history of nations. --“Nobody Knows My Name,” in Partisan Review
James Baldwin (Memorable Quotations: James Baldwin)
A great deal of what I say just leaves me open, I suppose, to a vast amount of misunderstanding. A great deal of what I say is based on an assumption which I hold and don’t always state. You know my fury about people is based precisely on the fact that I consider them to be responsible, moral creatures who so often do not act that way. But I am not surprised when they do. I am not that wretched a pessimist, and I wouldn’t sound the way I sound if I did not expect what I expect from human beings, if I didn’t have some ultimate faith and love, faith in them and love for them. You see, I am a human being too, and I have no right to stand in judgment of the world as though I am not a part of it. What I am demanding of other people is what I am demanding of myself.' - James Baldwin
Margaret Mead (A Rap on Race)
I think the inability to love is the central problem, because that inability masks a certain terror, and that terror is the terror of being touched. And if you can’t be touched, you can’t be changed. And if you can’t be changed, you can’t be alive. —James Baldwin
Valarie Kaur (See No Stranger: A Memoir and Manifesto of Revolutionary Love)
When I watched all the children, their copper, brown, and beige faces staring up at me as I taught Sunday school, I felt that I was committing a crime in talking about the gentle Jesus, in telling them to reconcile themselves to their misery on earth in order to gain the crown of eternal life. Were only Negroes to gain this crown? Was Heaven, then, to be merely another ghetto? Perhaps I might have been able to reconcile myself even to this if I had been able to believe that there was any loving-kindness to be found in the haven I represented. But I had been in the pulpit too long and I had seen too many monstrous things. I don’t refer merely to the glaring fact that the minister eventually acquires houses and Cadillacs while the faithful continue to scrub floors and drop their dimes and quarters and dollars into the plate. I really mean that there was no love in the church. It was a mask for hatred and self-hatred and despair. The transfiguring power of the Holy Ghost ended when the service ended, and salvation stopped at the church door.
James Baldwin (The Fire Next Time)
Where I was in the world. I mean, what I’m made of. Anyway, Giovanni’s Room is not really about homosexuality. It’s the vehicle through which the book moves. Go Tell It on the Mountain, for example, is not about a church, and Giovanni is not really about homosexuality. It’s about what happens to you if you’re afraid to love anybody. Which is much more interesting than the question of homosexuality.
James Baldwin (James Baldwin: The Last Interview: and other Conversations (The Last Interview Series))
I had never seen the love and respect that men can have for each other. I've had time since to think about it. I think that the first time a woman sees this--though I was not yet a woman--she sees it, first of all, only because she loves the man: she could not possibly see it otherwise.
James Baldwin (If Beale Street Could Talk (Vintage International))
Perhaps we were, all of us—pimps, whores, racketeers, church members, and children—bound together by the nature of our oppression, the specific and peculiar complex of risks we had to run; if so, within these limits we sometimes achieved with each other a freedom that was close to love.
James Baldwin (The Fire Next Time)
The Fire Next Time, James Baldwin wonders if “the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death.
Ram Dass (Walking Each Other Home: Conversations on Loving and Dying)
Pretend, for example, that you were born in Chicago and have never had the remotest desire to visit Hong Kong, which is only a name on a map for you; pretend that some convulsion, sometimes called accident, throws you into connection with a man or a woman who lives in Hong Kong; and that you fall in love. Hong Kong will immediately cease to be a name and become the center of your life. And you may never know how many people live in Hong Kong. But you will know that one man or one woman lives there without whom you cannot live. And this is how our lives are changed, and this is how we are redeemed. What a journey this life is! Dependent, entirely, on things unseen. If your lover lives in Hong Kong and cannot get to Chicago, it will be necessary for you to go to Hong Kong. Perhaps you will spend your life there, and never see Chicago again. And you will, I assure you, as long as space and time divide you from anyone you love, discover a great deal about shipping routes, airlines, earth quake, famine, disease, and war. And you will always know what time it is in Hong Kong, for you love someone who lives there. And love will simply have no choice but to go into battle with space and time and, furthermore, to win.
James Baldwin (Nothing Personal)
Because only an artist can tell and only an artist have told, since we have heard of man, what it is like for anyone that gets this planet, to survive it. What it is like to die, or to have somebody die, what it is like to fear death, what is it like to fear, what it is like to love, what it is like to be glad.
James Baldwin
Well, the black man has functioned in the white man's world as a fixed star, as an immovable pillar: and as he moves out of his place, heaven and earth are shaken to their foundations. You, don't be afraid. I said that it was intended that you should perish in the ghetto, perish by never being allowed to go behind the white man's definitions, by never being allowed to spell your proper name. You have, and many of us have, defeated this intention; and, by a terrible law, a terrible paradox, those innocents who believed that your imprisonment made them safe are losing their grasp of reality. But these men are your brothers - your lost, younger brothers. And if the word integration means anything, this is what it means: that we, with love, shall force our brothers to see themselves as they are, to cease fleeing from reality and begin to change it. For this is your home, my friend, do not be driven from it; great men have done great things here, and will again, and we can make America what America must become. It will be hard, James, but you come from sturdy, peasant stock, men who picked cotton and damned rivers and built railroads, and, in the teeth of the most terrifying odds, achieved an unassailable and monumental dignity. You come from a long line of great poets, some of the greatest poets since Homer. One of them said, The very time I thought I was lost, My dungeon shook and my chains fell off.
James Baldwin (The Fire Next Time (Vintage International))
The distance between us, and I had never thought of this before, was that they did not know this, and I now dared to realize that I loved them more than they loved me. And I do not mean that my love was greater: who dares judge the inexpressible expense another pays for his life? who knows how much one is loved, by whom, or what that love may be called on to do? No, the way the cards had fallen meant that I had to face more about them than they could know about me, knew
James Baldwin (No Name in the Street)
White Americans have contented themselves with gestures that are now described as "tokenism". For hard example, white Americans congratulate themselves on the 1954 Supreme Court decision outlawing segregation in the schools; they suppose, in spite of the mountain of evidence that has since accumulated to the contrary, that this was proof of a change of heart – or, as they like to say, progress. Perhaps. It all depends on how one reads the word "progress". Most of the Negroes I know do not believe that this immense concession would ever have been made if it had not been for the competition of the Cold War, and the fact that Africa was clearly liberating herself and therefore had, for political reasons, to be wooed by the descendants of her former masters. Had it been a matter of love or justice, the 1954 decision would surely have occurred sooner; were it not for the realities of power in this difficult era, it might very well not have occurred yet.
James Baldwin
In all jazz, and especially the blues, there is something tart and ironic, authoritative and double-edged. White Americans seem to feel that happy songs are happy and sad songs are sad, and that, God help us, is exactly the way most white Americans sing them—sounding, in both cases, so helplessly, defenselessly fatuous that one dare not speculate on the temperature of the deep freeze from which issue their brave and sexless little voices. Only people who have been “down the line,” as the song puts it, know what this music is about…. White Americans do not understand the depths out of which such an ironic tenacity comes, but they suspect that the force is sensual, and they are terrified of sensuality, and do not any longer understand it. The word “sensual” is not intended to bring to mind quivering dusky maidens or priapic black studs. I am referring to something much simpler and much less fanciful. To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread. It will be a great day for America, incidentally, when we begin to eat bread again, instead of the blasphemous and tasteless foam rubber that we have substituted for it. And I am not being frivolous here, either.
James Baldwin (The Fire Next Time (Vintage International))
You want to be clean. You think you came here covered with soap and you think you will go out covered with soap—and you do not want to stink, not even for five minutes, in the meantime.’ He grasped me by the collar, wrestling and caressing at once, fluid and iron at once: saliva spraying from his lips and his eyes full of tears, but with the bones of his face showing and the muscles leaping in his arms and neck. ‘You want to leave Giovanni because he makes you stink. You want to despise Giovanni because he is not afraid of the stink of love. You want to kill him in the name of all your lying little moralities. And you—you are immoral. You are, by far, the most immoral man I have met in all my life. Look, look what you have done to me. Do you think you could have done this if I did not love you? Is this what you should do to love?
James Baldwin (Giovanni’s Room)
I had reasons of my own for believing, remembering the extent of Giovanni's desperation, knowing how far this terror which was so vast that it had simply become a void had driven him. 'Me, I want to escape,' he had told me, 'je veuz m'evader -this dirty world, this dirty body. I never wish to make love with anything more than the body.
James Baldwin (Giovanni’s Room)
You go to white movies and, like everybody else, you fall in love with Joan Crawford, and you root for the Good Guys who are killing off the Indians. It comes as a great psychological collision when you realize all of these things are really metaphors for your oppression, and will lead into a kind of psychological warfare in which you may perish.
James Baldwin
It is not simply the relationship of oppressed to oppressor, of master to slave, nor is it motivated merely by hatred; it is also, literally and morally, a blood relationship, perhaps the most profound reality of the American experience, and we cannot begin to unlock it until we accept how very much it contains of the force and anguish and terror of love.
James Baldwin (Notes of a Native Son)
those innocents who believed that your imprisonment made them safe are losing their grasp of reality. But these men are your brothers—your lost, younger brothers. And if the word integration means anything, this is what it means: that we, with love, shall force our brothers to see themselves as they are, to cease fleeing from reality and begin to change it.
James Baldwin (The Fire Next Time)
About my interests: I don’t know if I have any, unless the morbid desire to own a sixteen-millimeter camera and make experimental movies can be so classified. Otherwise, I love to eat and drink – it’s my melancholy conviction that I’ve scarcely ever had enough to eat (this is because it’s impossible to eat enough if you’re worried about the next meal) – and I love to argue with people who do not disagree with me too profoundly, and I love to laugh. I do not like bohemia, or bohemians, I do not like people whose principal aim is pleasure, and I do not like people who are earnest about anything. 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.
James Baldwin
If one really wishes to know how justice is administered in a country, one does not question the policeman, the lawyers, the judges, or the protected members of the middle class. One goes to the unprotected - those, precisely, who need the law’s protection the most! - and listens to their testimony. Ask any Mexican, any Puerto Rican, any black man, any poor person - ask the wretched how they fare in the halls of justice, and then you will know, not whether or not the country is just, but whether or not it has any love for justice, or any concept of it.
James Baldwin (No Name in the Street (Vintage International))
She knew through what fires the soul must crawl, and with what weeping one passed over. Men spoke of how the heart broke up, but never spoke of how the soul hung speechless in the pause, the void, the terror between the living and the dead; how, all garments rent and cast aside, the naked soul passed over the very mouth of Hell. Once there, there was no turning back; once there, the soul remembered, though the heart sometimes forgot. For the world called to the heart, which stammered to reply; life, and love, and revelry, and most falsely, hope, called the forgetful, the human heart. Only the soul, obsessed with the journey it had made, and had still to make, pursued its mysterious and dreadful end; and carried heavy with weeping and bitterness the heart along.
James Baldwin (Go Tell It on the Mountain)
To Americans, time always sounds like a parade chez vous [at your house], a triumphant parade, like armies with banners entering a town . . . as though with enough time and all that fearful energy and virtue you people have, everything will be settled, solved, put in its place. . . . I mean all the serious, dreadful things, like pain and death and love, in which you Americans do not believe.
James Baldwin (Giovanni’s Room)
You want to leave Giovanni because he makes you stink. You want to despise Giovanni because he is not afraid of the stink of love. You want to kill him in the name of all your lying little moralities. And you—you are immoral. You are, by far, the most immoral man I have met in all my life. Look, look what you have done to me. Do you think you could have done this if I did not love you? Is this what you should do to love?
James Baldwin (Giovanni’s Room)
The day I realized Fonny was in love with me was strange. It was the day he gave mama that sculpture. I dumped water over Fonny’s head and scrubbed Fonny's back in the bathtub in a time that seems so long ago. I don’t remember that we ever had any curiosity concerning each other's bodies. Fonny loved me too much. And that meant that there had never been any occasion for shame between us. We were a part of each other. Flesh of each other's flesh which we so took for granted that we never thought of the flesh. And yet, it was no surprise to me when I finally understood that he was the most beautiful person I had seen in all my life.
If Beale Street Could Talk
The Negro came to the white man for a roof or for five dollars or for a letter to the judge; the white man came to the Negro for love. But he was not often able to give what he came seeking. The price was too high; he had too much to lose. And the Negro knew this, too. When one knows this about a man, it is impossible for one to hate him, but unless he becomes a man—becomes equal— it is also impossible for one to love him.
James Baldwin (The Fire Next Time (Vintage International))
Just as the birds above our heads circling are singing, knowing that, in what lies before them, the always unknown passage, wind, water, air, the failing light the failing night the blinding sun they must get the journey done. Listen. They have wings and voices are making choices are using what they have. They are aware that, on long journeys, each bears the other, whirring, stirring love occuring in the middle of the terrifying air.
James Baldwin
Justice will not be served until those who are unaffected are as outraged as those who are. -Benjamin Franklin Not everything that is faced can be changed. But nothing can be changed until it is faced. -James Baldwin She wore an expression I've only seen in paintings in museums, of a love and a grief so fierce that they forged together to create some new, raw emotion. There are two types of people who become public defenders: those who believe they can save the world, and those who know damn well they can. Any public defender who tells you justice is blind is telling you a big fat lie. If no one ever talks about race in court, how is anything ever supposed to change? It is amazing how you can look in a mirror your whole life & think you are seeing yourself clearly. Then one day, you peel off a filmy gray layer of hypocrisy, & you realize you've never truly seen yourself at all. My client hates me. She thinks I'm a racist. Micah: She has a point. You're white and she's not, and you both happen to live in a world where white people have all the power. It is a strange thing being suddenly motherless. It's like losing a rudder that was keeping me on course, one that I never paid much mind to before now. Who will teach me how to parent, how to deal with the unkindness of strangers, how to be humble? You already did, I realize. She looks at me, and we laugh....we have more in common than we have differences. Everyone has prejudices. It's my job to make sure that they work in favor of the person I'm representing. The Millennials are the me generation. They usually think everything revolves around them, and make decisions based on what's going on in their lives & how it will affect their lives. They're minfields of egocentrism.
Jodi Picoult (Small Great Things)
I ached abruptly, intolerably, with a longing to go home; not to that hotel, in one of the alleys of Paris, where the concierge barred the way with my unpaid bill; but home, home across the ocean, to things and people I knew and understood; to those things, those places, those people which I would always helplessly, and in whatever bitterness of spirit, love above all else. I had never realized such a sentiment in myself before, and it frightened me. I saw myself, sharply, as a wanderer, an adventurer, rocking through the world, unanchored. I looked at Giovanni's face, which did not help me. He belonged to this strange city, which did not belong to me. I began to see that, while what was happening to me was not so strange as it would have comforted me to believe, yet it was strange beyond belief. It was not really so strange, so unprecedented, though voices deep within me boomed, For shame! For shame! that I should be so abruptly, so hideously entangled with a boy; what was strange was that this was but one tiny aspect of the dreadful human tangle, occurring everywhere, without end, forever.
James Baldwin (Giovanni’s Room)
White people in this country will have quite enough to do in learning how to accept and love themselves and each other, and when they have achieved this—which will not be tomorrow and may very well be never—the Negro problem will no longer exist, for it will no longer be needed. People more advantageously placed than we in Harlem were, and are, will no doubt find the psychology and the view of human nature sketched above dismal and shocking in the extreme.
James Baldwin (The Fire Next Time)
White Americans do not understand the depths out of which such an ironic tenacity comes, but they suspect that the force is sensual, and they are terrified of sensuality and do not any longer understand it. The word “sensual” is not intended to bring to mind quivering dusky maidens or priapic black studs. I am referring to something much simpler and much less fanciful. To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread. It will be a great day for America, incidentally, when we begin to eat bread again, instead of the blasphemous and tasteless foam rubber that we have substituted for it.
James Baldwin (The Fire Next Time)
To be with God is really to be involved with some enormous, overwhelming desire, and joy, and power which you cannot control, which controls you. I conceive of my own life as a journey toward something I do not understand, which in the going toward, makes me better. I conceive of God, in fact, as a means of liberation and not a means to control others. Love does not begin and end the way we seem to think it does. Love is a battle, love is a war; love is a growing up. No one in the world—in the entire world—knows more—knows Americans better or, odd as this may sound, loves them more than the American Negro. This is because he has had to watch you, outwit you, deal with you, and bear you, and sometimes even bleed and die with you, ever since we got here, that is, since both of us, black and white, got here—and this is a wedding. Whether I like it or not, or whether you like it or not, we are bound together forever. We are part of each other. What is happening to every Negro in the country at any time is also happening to you. There is no way around this. I am suggesting that these walls—these artificial walls—which have been up so long to protect us from something we fear, must come down.
James Baldwin (Nobody Knows My Name (Vintage International))
There is no reason for you try to become like white people and there is no basis whatever for their impertinent assumption that they must accept you. The really terrible thing, old buddy, is that you must accept them. And I mean that very seriously. You must accept them and accept them with love. For these innocent people have no other hope. They are, in effect, still trapped in a history which they do not understand; and until they understand it, they cannot be released from it.
James Baldwin (The Fire Next Time (Vintage International))
My father's attitude was that this was but an inevitable phase of my growing up and he affected to take it lightly. But beneath his jocular, boys-together air, he was at a loss, he was frightened. Perhaps he had supposed that my growing up would bring us closer together— whereas, now that he was trying to find out something about me, I was in full flight from him. I did not want him to know me. I did not want anyone to know me. And then, again, I was undergoing with my father what the very young inevitably undergo with their elders: I was beginning to judge him. And the very harshness of this judgment, which broke my heart, revealed, though I could not have said it then, how much I had loved him, how that love, along with my innocence, was dying.
James Baldwin (Giovanni’s Room)
I have never accepted the notion that you keep a Cadillac or a yacht or anything at all, except perhaps for convenience. I have always had a quarrel with this country not only about race but about the standards by which it appears to live. People are drowning in things. They don’t even know what they want them for. They are actually useless. You can’t sleep with a yacht. You can’t make love to a Cadillac, though everyone appears to be trying to… I think the great emotional or psychological or effective lack of love and touching is the key to the American or even the Western disease.
James Baldwin (A Rap on Race)
And they all looked at me as though—well, as though I had done it—and, oh, I wanted so bad to take that girl in my arms and kiss that look off her face and make her know that I didn’t do it, I wouldn’t do it, whoever was doing it was doing it to me, too.” He was crying, silently, and he bent forward, hiding his face with one long hand. “I know I failed him, but I loved him, too, and nobody there wanted to know that. I kept thinking, They’re colored and I’m white but the same things have happened, really the same things, and how can I make them know that?” “But they didn’t,” she said, “happen to you because you were white. They just happened. But what happens up here”—and the cab came out of the park; she stretched her hands, inviting him to look—“happens because they are colored. And that makes a difference.” And, after a moment, she dared to add, “You’ll be kissing a long time, my friend, before you kiss any of this away.
James Baldwin (Another Country)
Looking at this picture, I am struck by how beautiful my parents were together. James and Angela. I know what it cost them to build a life, to have me. A white woman and a black man in the early ’80s, neither of their families being particularly thrilled with the arrangement. We moved around a lot before my father died, trying to find a neighborhood where my parents felt at ease, at home. My mother didn’t feel welcome in Baldwin Hills. My father didn’t feel comfortable in Brentwood. I was in school before I met another person who looked like me. Her name was Yael. Her father was Dominican, and her mother was from Israel. She liked to play soccer. I liked to play dress-up. We could rarely agree on anything. But I liked that when someone asked her if she was Jewish, she said, “I’m half Jewish.” No one else I knew was half something. For so long, I felt like two halves. And then my father died, and I felt like I was one-half my mother and one-half lost. A half that I feel so torn from, so incomplete without. But looking at this picture now, the three of us together in 1986, me in overalls, my father in a polo, my mother in a denim jacket, we look like we belong together. I don’t look like I am half of one thing and half of another but rather one whole thing, theirs. Loved.
Taylor Jenkins Reid (The Seven Husbands of Evelyn Hugo)
GOLDSTEIN: I don't think straight people realize how frightening it is to finally admit to yourself that this is going to be you forever. BALDWIN: It's very frightening. But the so-called straight person is no safer than I am really. Loving anybody and being loved by anybody is a tremendous danger, a tremendous responsibility. Loving of children, raising of children. The terrors homosexuals go through in this society would not be so great if the society itself did not go through so many terrors which it doesn't want to admit. The discovery of one's sexual preference doesn't have to be a trauma. It's a trauma because it's such a traumatized society.
James Baldwin (James Baldwin: The Last Interview and Other Conversations)
I’ve had time since to think about it. I think that the first time a woman sees this—though I was not yet a woman—she sees it, first of all, only because she loves the man: she could not possibly see it otherwise. It can be a very great revelation. And, in this fucked up time and place, many women, perhaps most women, feel, in this warmth and energy, a threat. They think that they feel locked out. The truth is that they sense themselves in the presence, so to speak, of a language which they cannot decipher and therefore cannot manipulate, and, however they make a thing about it, so far from being locked out, are appalled by the apprehension that they are, in fact, forever locked in.
James Baldwin (If Beale Street Could Talk)
What it comes to, finally, is that the nation has spent a large part of its time and energy looking away from one of the principal facts of its life. This failure to look reality in the face diminishes a nation as it diminishes a person, and it can only be described as unmanly. And in exactly the same way that the South imagines that it “knows” the Negro, the North imagines that it has set him free. Both camps are deluded. Human freedom is a complex, difficult—and private—thing. If we can liken life, for a moment, to a furnace, then freedom is the fire which burns away illusion. Any honest examination of the national life proves how far we are from the standard of human freedom with which we began. The recovery of this standard demands of everyone who loves this country a hard look at himself, for the greatest achievements must begin somewhere, and they always begin with the person. If we are not capable of this examination, we may yet become one of the most distinguished and monumental failures in the history of nations.
James Baldwin (Nobody Knows My Name)
A great deal of what I say just leaves me open, I suppose, to a vast amount of misunderstanding. A great deal of what I say is based on an assumption which I hold and don’t always state. You know my fury about people is based precisely on the fact that I consider them to be responsible, moral creatures who so often do not act that way. But I am not surprised when they do. I am not that wretched a pessimist, and I wouldn’t sound the way I sound if I did not expect what I expect from human beings, if I didn’t have some ultimate faith and love, faith in them and love for them. You see, I am a human being too, and I have no right to stand in judgment of the world as though I am not a part of it. What I am demanding of other people is what I am demanding of myself.
James Baldwin (A Rap on Race)
There is no reason for you to try to become like white people & there is no basis whatever for their impertinent assumption that they must accept you. The really terrible thing, old buddy is that you must accept them. And I mean that very seriously. You must accept them with love. For these innocent people have no other hope. They are, in effect, still trapped in a history which they do not understand; and until they understand it, they cannot be released from it. They have had to believe for many years, & for innumerable reasons, that black men are inferior to white men. Many of them, indeed, know better, but, as you will discover, people find it very difficult to act on what they know. To act is to be committed, & to be committed is to be in danger. In this case, the danger, in the minds of most white Americans, is the loss of their identity.
James Baldwin (The Fire Next Time (Vintage International))
Giovanni smiled his humble, grateful smile and told me in as many ways as he could find how wonderful it was to have me there, how I stood, with my love and my ingenuity, between him and the dark. Each day he invited me to witness how he had changed, how love had changed him, how he worked and sang and cherished me. I was in a terrible confusion. Sometimes I thought, but this is your life. Stop fighting it. Stop fighting. Or I thought, but I am happy, And he loves me. I am safe. Sometimes, when he was not near me, I thought, I will never let him touch me again. Then, when he touched me, I thought it doesn't matter, it is only the body, it will soon be over. When it was over I lay in the dark and listen to his breathing and dreamed of the touch of hands, of Giovanni's hands, or anybody's hands, hands which would have the power to crash me and make me whole again.
James Baldwin
That this is not likely to happen is due to a great many reasons, most hidden and powerful among them the Negro’s real relation to the white American. This relation prohibits, simply, anything as uncomplicated and satisfactory as pure hatred. In order really to hate white people, one has to blot so much out of the mind—and the heart—that this hatred itself becomes an exhausting and self-destructive pose. But this does not mean, on the other hand, that love comes easily: the white world is too powerful, too complacent, too ready with gratuitous humiliation, and, above all, too ignorant and too innocent for that. One is absolutely forced to make perpetual qualifications and one’s own reactions are always canceling each other out. It is this, really, which has driven so many people mad, both white and black. One is always in the position of having to decide between amputation and gangrene. Amputation is swift but time may prove that the amputation was not necessary—or one may delay the amputation too long. Gangrene is slow, but it is impossible to be sure that one is reading one’s symptoms right. The idea of going through life as a cripple is more than one can bear, and equally unbearable is the risk of swelling up slowly, in agony, with poison. And the trouble, finally, is that the risks are real even if the choices do not exist.
James Baldwin (Notes of a Native Son)
Finally, we are confronted with the psychology and tradition of the country; if the Negro vote is so easily bought and sold, it is because it has been treated with so little respect; since no Negro dares seriously assume that any politician is concerned with the fate of Negroes, or would do much about it if he had the power, the vote must be bartered for what it will get, for whatever short-term goals can be managed. These goals are mainly economic and frequently personal, sometimes pathetic: bread or a new roof or five dollars, or, continuing up the scale, schools, houses or more Negroes in hitherto Caucasian jobs. The American commonwealth chooses to overlook what Negroes are never able to forget: they are not really considered a part of it. Like Aziz in A Passage to India or Topsy in Uncle Tom’s Cabin, they know that white people, whatever their love for justice, have no love for them.
James Baldwin (Notes of a Native Son)
The states of birth, suffering, love and death, are extreme states: extreme, universal, and inescapable. We all know this, but we would rather not know it. The artist is present to correct the delusions to which we fall prey in our attempts to avoid this knowledge. It is for this reason that all societies have battled with that incorrigible disturber of peace – the artist. I doubt that future societies will get on with him any better. The entire purpose of society is to create a bulwark against the inner and the outer chaos, literally, in order to make life bearable and to keep the human race alive. And it is absolutely inevitable that when a tradition has been evolved, whatever the tradition is, that the people, in general will suppose it to have existed from before the beginning of time and will be most unwilling and indeed unable to conceive of any changes in it. They do not know how they will live without those traditions which have given them their identity. Their reaction, when it is suggested that they can or that they must, is panic. And we see this panic, I think, everywhere in the world today, from the streets of our own New Orleans to the grisly battleground of Algeria. And a higher level of consciousness among the people is the only hope we have, now or in the future, of minimizing the human damage.
James Baldwin
Those of us who hope to be their allies should not be surprised, if and when this day comes, that when those who have been locked up and locked out finally have the chance to speak and truly be heard, what we hear is rage. The rage may frighten us; it may remind us of riots, uprisings, and buildings aflame. We may be tempted to control it, or douse it with buckets of doubt, dismay, and disbelief. But we should do no such thing. Instead, when a young man who was born in the ghetto and who knows little of life beyond the walls of his prison cell and the invisible cage that has become his life, turns to us in bewilderment and rage, we should do nothing more than look him in the eye and tell him the truth. We should tell him the same truth the great African American writer James Baldwin told his nephew in a letter published in 1962, in one of the most extraordinary books ever written, The Fire Next Time. With great passion and searing conviction, Baldwin had this to say to his young nephew: This is the crime of which I accuse my country and my countrymen, and for which neither I nor time nor history will ever forgive them, that they have destroyed and are destroying hundreds of thousands of lives and do not know it and do not want to know it …. It is their innocence which constitutes the crime …. This innocent country set you down in a ghetto in which, in fact, it intended that you should perish. The limits of your ambition were, thus, expected to be set forever. You were born into a society which spelled out with brutal clarity, and in as many ways as possible, that you were a worthless human being. You were not expected to aspire to excellence: you were expected to make peace with mediocrity …. You have, and many of us have, defeated this intention; and, by a terrible law, a terrible paradox, those innocents who believed that your imprisonment made them safe are losing their grasp on reality. But these men are your brothers—your lost, younger brothers. And if the word integration means anything, this is what it means: that we, with love, shall force our brothers to see themselves as they are, to cease fleeing from reality and begin to change it. For this is your home, my friend, do not be driven from it; great men have done great things here, and will again, and we can make America what it must become. It will be hard, but you come from sturdy, peasant stock, men who picked cotton and dammed rivers and built railroads, and, in the teeth of the most terrifying odds, achieved an unassailable and monumental dignity. You come from a long line of great poets since Homer. One of them said, The very time I thought I was lost, My dungeon shook and my chains fell off …. We cannot be free until they are free. God bless you, and Godspeed.67
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colourblindness)