Like Baldwin, Manning seemed to recognize the appeal to security, along with the stories we tell ourselves about how that security was won, as costly fantasies enacted through both the explicit suppression of information and a deep denial of who we are, or have become, as a nation.
The thrill was in the prose, in Baldwin’s capacity to wed the intimate and the universal and to make of his life an offering to generations of readers, including those whose experiences were far removed from his own. But the destabilization mattered more. Baldwin’s language upended the order of my understanding, as a political theorist-in-training, and as a white American.
Baldwin’s love and hope for true democracy is most clear in his consistent attention to black music throughout his work. Especially in “Sonny’s Blues,” Baldwin underscores the importance of music in embodying and relating racialized trauma.
As the years go on, as courses evolve and new crops of students sit in front of me, I have come to realize that when I speak about teaching Baldwin, I am in a sense talking about all my teaching.
Never better read or better loved—you can now buy votive candles bearing Baldwin’s image at your local indie bookstore—he has also never been a harder story to pass on.
Although Baldwin did not relish the opportunity to sit across a table from James Jackson Kilpatrick, he felt duty-bound to do so. His example can teach us something valuable about the nature of our duty to confront racism in our own time.
Ten original essays, with preface and introduction, on the relevance of James Baldwin's thought and writings.
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