James Baldwin was, no doubt, one of the deepest American thinkers to have ever lived, and, even more importantly, a damn good writer — a skill that, if ever missing, makes all the great thinking in the world quite sterile, and oftentimes irrelevant.
I’ve called Baldwin’s work blackness without bullshit because unlike, say, in the time of empty ‘nationalist’ posturing back then, or of frauds like Cornel West and Al Sharpton today, James Baldwin refused to accept any demands placed upon him by any race or creed, and, therefore, had a longevity that so many others in his niche do not. And I use the word ‘niche’ intentionally, for James Baldwin (like James A. Emanuel) is pigeon-holed as a black writer, first, despite all evidence to the contrary. Yes, he wrote of prototypically black things — gay things, as well, and literary things; European things — but in a way that dissented from the fads, ideologies, and self-limiting perspectives that afflict so many to this day. One only needs to read his reactions to black leaders (such as his brilliant take-down of Elijah Muhammad in Down At The Cross) to realize that he was, and still is, on the margins, neither desired by revolutionary blacks, who preferred polemic, nor liberal whites, who wanted their allies to be a bit more narrow-minded, and therefore more easily squirreled away into some ‘side’.
Among the many books he’d written, I’ve always found one particularly difficult to categorize: in fact, as all great writing should be, when deeper possibilities come open. The book is The Devil Finds Work, a long essay on American film as filtered through a racial lens. No, this is not true film criticism, in the sense that James Baldwin is able to give the reader a blueprint for understand good and bad art qualitatively, but it’s not the wan social analysis that passes for film crit in academic circles, either. So, here are some of my favorite quotes from the book, which — as per the James Baldwin aesthetic — combines some important social insights with flat-out great writing.
On Lawrence Of Arabia (1962):
“For, this overwhelming desert, though it exists geographically, and was actually filmed by an actual camera crew, sent there for that purpose, is put to a use which is as far from reality as are most of the people we encounter in it. The least real of these people is Lawrence himself. This is not O’Toole’s fault: but so grave an adventure can scarcely be ascribed to the vagaries and idealism of a single man. Lawrence’s courage and steadfastness are given as admirable, because hard-won — here, the film, unconsciously, rather patronizes Lawrence; his complexities are barely — or, rather, perhaps, endlessly — hinted at, that is to say never illuminated. His rapport with the Arabs is of great use to the British, whose attitude toward him, otherwise, is at best ambivalent. The film takes the view that he was a valiant, … Continue reading →