James Baldwin Quote
Richard and I seemed really to be at the end of our rope, for he had done what he could for me, and it had not worked out, and now he was going away. It seemed to me that he was sailing into the most splendid of futures, for he was going, of all places! to France, and he had been invited there by the French government. But Richard did not seem, though he was jaunty, to be overjoyed. There was a striking sobriety in his face that day. He talked a great deal about a friend of his, who was in trouble with the U.S. Immigration authorities, and was about to be, or already had been, deported. Richard was not being deported, of course, he was traveling to a foreign country as an honored guest; and he was vain enough and young enough and vivid enough to find this very pleasing and exciting. Yet he knew a great deal about exile, all artists do, especially American artists, especially American Negro artists. He had endured already, liberals and literary critics to the contrary, a long exile in his own country. He must have wondered what the real thing would be like. And he must have wondered, too, what would be the unimaginable effect on his daughter, who could now be raised in a country which would not penalize her on account of her color. And that day was very nearly the last time Richard and I spoke to each other without the later, terrible warfare. Two years later, I, too, quit America, never intending to return.
Richard and I seemed really to be at the end of our rope, for he had done what he could for me, and it had not worked out, and now he was going away. It seemed to me that he was sailing into the most splendid of futures, for he was going, of all places! to France, and he had been invited there by the French government. But Richard did not seem, though he was jaunty, to be overjoyed. There was a striking sobriety in his face that day. He talked a great deal about a friend of his, who was in trouble with the U.S. Immigration authorities, and was about to be, or already had been, deported. Richard was not being deported, of course, he was traveling to a foreign country as an honored guest; and he was vain enough and young enough and vivid enough to find this very pleasing and exciting. Yet he knew a great deal about exile, all artists do, especially American artists, especially American Negro artists. He had endured already, liberals and literary critics to the contrary, a long exile in his own country. He must have wondered what the real thing would be like. And he must have wondered, too, what would be the unimaginable effect on his daughter, who could now be raised in a country which would not penalize her on account of her color. And that day was very nearly the last time Richard and I spoke to each other without the later, terrible warfare. Two years later, I, too, quit America, never intending to return.
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About James Baldwin
Baldwin's fiction posed fundamental personal questions and dilemmas amid complex social and psychological pressures. Themes of masculinity, sexuality, race, and class intertwine to create intricate narratives that run parallel with some of the major political movements toward social change in mid-twentieth century America, such as the civil rights movement and the gay liberation movement. Baldwin's protagonists are typically but not exclusively African American, with gay and bisexual men featured prominently in his work. His characters often face internal and external obstacles in their search for self- and social acceptance: dynamics prominent in his 1956 novel Giovanni's Room.
Baldwin's work continues to influence artists and writers. His unfinished manuscript Remember This House was expanded and adapted as the 2016 documentary film I Am Not Your Negro, winning the BAFTA Award for Best Documentary. His 1974 novel If Beale Street Could Talk was adapted into a 2018 film of the same name, which earned widespread praise.