Go Tell It on the Mountain (31 page)

“Praise the Lord this morning,” said Elisha. “He done give us something to praise Him for.”

“Amen,” said his mother, “praise the Lord!”

John moved up to the short, stone step, smiling a little, looking down on them. His mother passed him, and started into the house.

“You better come on upstairs,” she said, still smiling, “and take off them wet clothes. Don’t want you catching cold.”

And her smile remained unreadable; he could not tell what it hid. And to escape her eyes, he kissed her, saying: “Yes, Mama. I’m coming.”

She stood behind him, in the doorway, waiting.

“Praise the Lord, Deacon,” Elisha said. “See you at the morning service, Lord willing.”

“Amen,” said his father, “praise the Lord.” He started up the stone steps, staring at John, who blocked the way. “Go on upstairs, boy,” he said, “like your mother told you.”

John looked at his father and moved from his path, stepping down into the street again. He put his hand on Elisha’s arm, feeling himself trembling, and his father at his back.

“Elisha,” he said, “no matter what happens to me, where I go, what folks say about me, no matter what
any
body says, you remember—please remember—I was saved. I was
there
.”

Elisha grinned, and looked up at his father.

“He come through,” cried Elisha, “didn’t he, Deacon Grimes? The Lord done laid him out, and turned him around and wrote his
new
name down in glory. Bless our God!”

And he kissed John on the forehead, a holy kiss.

“Run on, little brother,” Elisha said. “Don’t you get weary. God won’t forget you. You won’t forget.”

Then he turned away, down the long avenue, home. John stood still, watching him walk away. The sun had come full awake. It was waking the streets, and the houses, and crying at the windows. It fell over Elisha like a golden robe, and struck John’s forehead, where Elisha had kissed him, like a seal ineffaceable forever.

And he felt his father behind him. And he felt the March wind rise, striking through his damp clothes, against his salty body. He turned to face his father—he found himself smiling, but his father did not smile.

They looked at each other a moment. His mother stood in the doorway, in the long shadows of the hall.

“I’m ready,” John said, “I’m coming. I’m on my way.”

THE AMEN CORNER

For years Sister Margaret Alexander has moved her congregation with a mixture of personal charisma and ferocious piety. But when her estranged husband, Luke, comes home to die, she is in danger of losing both her standing in the church and the son she has tried to keep on the godly path.
The Amen Corner
is an uplifting, sorrowful, and exultant masterpiece of the modern American theater.

Drama

ANOTHER COUNTRY

Set in Greenwich Village, Harlem, and France, among other locales,
Another Country
is a novel of passions—sexual, racial, political, artistic—that is stunning for its emotional intensity and haunting sensuality, depicting men and women stripped of their masks of gender and race by love and hatred at their most elemental and sublime.

Fiction/Literature

BLUES FOR MISTER CHARLIE

In a small Southern town, a white man murders a black man, then throws his body in the weeds. With this act of violence Baldwin launches an unsparing and at times agonizing probe of the wounds of race. For where once a white storekeeper could have shot a “boy” like Richard Henry with impunity, times have changed. In
Blues for Mister Charlie
, Baldwin turns a murder and its aftermath into an inquest in which even the most well-intentioned whites are implicated—and in which even a killer receives his share of compassion.

Fiction/Literature

THE DEVIL FINDS WORK

Baldwin’s personal reflections on movies gathered here in a book-length essay are also a probing appraisal of American racial politics. Offering an incisive look at racism in American movies and a vision of America’s self-delusions and deceptions, Baldwin challenges the underlying assumptions in such films as
In the Heat of the Night
,
Guess Who’s Coming to Dinner
, and
The Exorcist
. Here are our loves and hates, biases and cruelties, fears and ignorance reflected by the films that have entertained us and shaped our consciousness.

African American Studies

THE CROSS OF REDEMPTION

The Cross of Redemption
is a revelation by an American literary master: a gathering of essays, articles, polemics, reviews, and interviews that have never before appeared in book form. In
The Cross of Redemption
we have Baldwin discoursing on, among other subjects, the possibility of an African-American president and what it might mean; the hypocrisy of American religious fundamentalism; the black church in America; the trials and tribulations of black nationalism; anti-Semitism; the blues and boxing; Russian literary masters; and the role of the writer in our society. Prophetic and bracing,
The Cross of Redemption
is a welcome and important addition to the works of a cosmopolitan and canonical American writer who still has much to teach us about race, democracy, and personal and national identity.

Essays/African American Studies

THE FIRE NEXT TIME

A national bestseller when it first appeared in 1963,
The Fire Next Time
galvanized the nation and gave passionate voice to the emerging civil rights movement. At once a powerful evocation of James Baldwin’s early life in Harlem and a disturbing examination of the consequences of racial injustice, the book is an intensely personal and provocative document.

Social Science/African American Studies

GIOVANNI’S ROOM

Set in the 1950s Paris of American expatriates, liaisons, and violence, a young man finds himself caught between desire and conventional morality. With a sharp, probing imagination, James Baldwin’s now-classic narrative delves into the mystery of loving and creates a moving, highly controversial story of death and passion that reveals the unspoken complexities of the human heart.

Fiction/Literature

GO TELL IT ON THE MOUNTAIN

Go Tell It On The Mountain
, first published in 1953, is Baldwin’s first major work, a novel that has established itself as an American classic. With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy’s discovery of the terms of his identity as the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935.

Fiction/Literature

GOING TO MEET THE MAN

“There’s no way not to suffer. But you try all kinds of ways to keep from drowning in it.” The men and women in these eight short fictions grasp this truth on an elemental level, and their stories, as told by James Baldwin, detail the ingenious and often desperate ways in which they try to keep their heads above water. It may be the heroin that a down-and-out jazz pianist uses to face the terror of pouring his life into an inanimate instrument. It may be the brittle piety of a father who can never forgive his son for his illegitimacy. Or it may be the screen of bigotry that a redneck deputy has raised to blunt the awful childhood memory of the day his parents took him to watch a black man being murdered by a gleeful mob.

Fiction/Literature

IF BEALE STREET COULD TALK

Tish and Fonny have pledged to get married, but Fonny is falsely accused of a terrible crime and imprisoned. Their families set out to clear his name, and as they face an uncertain future, the young lovers experience a kaleidoscope of emotions—affection, despair, and hope.

Fiction/Literature

NO NAME IN THE STREET

A searing memoir and an extraordinary history of the turbulent sixties and early seventies,
No Name in the Street
is James Baldwin’s powerful commentary on the political and social agonies of America’s contemporary history. The prophecies of
The Fire Next Time
have been tragically realized—through assassinations, urban riots, and increased racial polarization—and the hope for justice seems more elusive than ever. Through it all, Baldwin’s uncompromising vision and his fierce disavowal of despair are ever present in this eloquent and personal testament to his times.

Nonfiction

NOBODY KNOWS MY NAME

Nobody Knows My Name
is a collection of illuminating, deeply felt essays on topics ranging from race relations in the United States—including a passionate attack on William Faulkner for his ambivalent views about the segregated South—to the role of the writer in society, with personal accounts of such writers as Richard Wright and Norman Mailer.

Literature/African American Studies

TELL ME HOW LONG THE TRAIN’S BEEN GONE

In this magnificently passionate, angry, and tender novel, James Baldwin created one of his most striking characters, a man struggling to become himself even as he juggles multiple identities—as black man, bisexual, and artist—on the mercilessly floodlit stage of American public life. At the height of his theatrical career, the actor Leo Proudhammer is nearly felled by a heart attack. As he hovers between life and death, Baldwin shows the choices that have made him enviably famous and terrifyingly vulnerable. For between Leo’s childhood on the streets of Harlem and his arrival into the intoxicating world of the theater lies a wilderness of desire and loss, shame and rage. An adored older brother vanishes into prison. There are love affairs with a white woman and a younger black man, each of whom will make irresistible claims on Leo’s loyalty. And everywhere there is the anguish of being black in a society that at times seems poised on the brink of total racial war.

Fiction/Literature