But it’s also a country where if you’re running and you’re black there is a high chance you’ll be shot in the back. Then there will be a brief and cinematic fuss but no justice. Baldwin’s beautiful and screaming incomprehension sixty years ago at such atrocities still makes too much sense [emphasis added].
Please take the rope from my throat so that I may sing, Talia Marshall
Within integrated schools, de facto segregation persists, Erica L. Green
Howard County is the most integrated school district in the region, according to the Maryland Equity Project of the University of Maryland. Children of different races — especially those who are black and white — are more likely to sit next to each other in Howard than almost anywhere else in the state.
But within that diversity, school leaders have uncovered a de facto system of segregation.
Enrollment data obtained by The Baltimore Sun through a public records request shows that the district’s advanced classes — honors, gifted and talented, and AP — are disproportionately white, while the regular and remedial classes are disproportionately black.
Erika Frankenberg, an associate professor of education and an associate of the Population Research Institute at Penn State, was the lead author of the study. She notes that “Black and Latino students tended to move into charter schools that were more racially isolated than the public schools they left.” This is a cause for concern, according to the authors. Dr. Frankenberg states that “minority students in more diverse school settings have higher short-term and long-term academic outcomes than those who attend racially isolated minority schools.
White students in Philadelphia area schools tended to go to charter schools that had a greater percentage of White students than the public school they had attended. But in the rest of the state, White students tended to opt for charter schools that were more diverse than the public schools.
How James Baldwin’s The Fire Next Time still lights the way towards equality, Steven W Thrasher
His 1962 classic The Fire Next Time was originally a letter, written by Baldwin to his nephew on the 100th anniversary of the so-called emancipation of black America. In the letter’s penultimate paragraph, Baldwin writes: “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 is rhythmically similar to Trump’s red-hatted mantra – but there’s a big difference between trying to make America “great again” and focusing on what it once was, rather than what it “must become”.
More than 50 years on, The Fire Next Time has been reprinted by Taschen in a beautiful new edition that pairs his text with images by the civil rights-era photographer Steve Schapiro. Baldwin was “the scribe of the movement, our illustrious griot, who knew our struggle because he lived it”, as congressman John Lewis writes in the foreword. But before mobile phone videos and Twitter allowed black Americans to directly telegraph their plight to the world, it was up to photojournalism to visualise the message, as Schapiro’s images did in Life magazine.
Against Literary Nationalism, Jan Clausen
In the twenty years since [Adrienne] Rich spoke out, the injustices she pointed to have intensified. Indeed, anyone who thinks that “cynical policies” disappeared under Obama should review his remarks to the nation’s top financial executives in March 2009, when the purveyor of “hope and change” tried to reassure the fat cats: “My administration is the only thing between you and the pitchforks. . . . I’m going to shield you from congressional and public anger.”
Those who value “justice for all” cannot look at the actually existing United States — the barbarous inequalities it fosters at home, the imperial violence it passes off as foreign policy — without concluding that “the American proposition” is bunk. This is not, of course, to give up on fighting for justice; it is merely to eschew the veneration of a history of abuses.
So why don’t today’s writers take a stand like Rich? What happened to the radical dissent embodied in figures like James Baldwin, Grace Paley, and June Jordan — or the United Kingdom’s Harold Pinter, who devoted part of his 2005 Nobel Prize acceptance speech to delivering a scathing rebuke of America’s imperial crimes?
Under the Spell of James Baldwin, Darryl Pinckney
Baldwin said that Martin Luther King Jr., symbol of nonviolence, had done what no black leader had before him, which was “to carry the battle into the individual heart.” But he refused to condemn Malcolm X, King’s supposed violent alternative, because, he said, his bitterness articulated the sufferings of black people. These things could also describe Baldwin himself in his essays on race and US society. He may not have dealt with “this sociology and economics jazz,” as Harold Cruse complained of him in The Crisis of the Negro Intellectual (1967), but the reconstruction of America was for him, even in his bleakest essays, firstly a moral question, a matter of conscience. And at his best he simply didn’t need the backup of statistics and dates. When it came to The Fire Next Time (1963), the evidence of his experience, the truth of American history, he could take perfect flight on his own.
Battling to Save James Baldwin’s Home in the South of France, Rachel Donadio
Baldwin, who had lived in Paris earlier in his life, first came to Saint-Paul-de-Vence in 1970, at the age of 46, after a breakdown. He had been excoriated by fellow members of the civil rights movement — some called the author, who was gay, Martin Luther Queen — and believed he was under surveillance by the United States government. In France, he found the tranquillity and distance to write.
At the time of his death from cancer, he had been buying the house in installments from his landlady, Jeanne Faure, who grew up in Algeria under French colonial rule. Despite her right-wing politics, she and Baldwin had become the best of friends. (When President François Mitterrand of France made Baldwin a commander of the Legion of Honor in 1986, one of the country’s highest honors, the author brought Ms. Faure to the ceremony.)
Please take the rope from my throat so that I may sing, Talia Marshall
I read Baldwin’s gay novel Giovanni’s Room at the same time, but Another Country is my favourite because it had these women in it: white, privileged Cass with her WASP, horse-riding New England girlhood, and Black, imperious and beautiful Ida who was aloof and suspicious of her dead brother’s white friends. Cass and Ida were proof Baldwin paid some attention to the inner world of women even if he imprisoned them in their sex as equally as men.
All his writing toils with the fact and cage of the body. The black body and the white fear of its darkness, and the cultural incomprehension at the heart of American life. His paradoxical and gospel-fed vision was that the only way to solve the ‘negro problem’ was to set white people free from their prejudice, given the subjugating nature of power even for the powerful.
James Baldwin was the double negative: Black and gay, and blessed with a frog-like lovely/unlovely face and boy-preacher airs; the greedy reader who devoured every single book in the Harlem library as a child; the ear for mixing the street talk of Harlem and Brooklyn, and the Beat chatter of the Village with the heady modernism of James and Joyce. Baldwin is often accused by critics of having superfluous amounts of empathy, and at times this compassion for the human condition slips into purple, gushing sentimentality. Like Disney for the bohemian set, Baldwin’s writing can be the literary equivalent of a relentless zoom lens shot of people’s faces and all their wretched, spilling emotions.