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The central figure in black gay literary history, James Baldwin has become a familiar touchstone for queer scholarship in the academy. Matt Brim’s James Baldwin and the Queer Imagination draws on the contributions of queer theory and black queer studies to critically engage with and complicate the project of queering Baldwin and his work. Brim argues that Baldwin animates and, in contrast, disrupts both the black gay literary tradition and the queer theoretical enterprise that have claimed him. More paradoxically, even as Baldwin’s fiction brilliantly succeeds in imagining queer intersections of race and sexuality, it simultaneously exhibits striking queer failures, whether exploiting gay love or erasing black lesbian desire. Brim thus argues that Baldwin’s work is deeply marked by ruptures of the “unqueer” into transcendent queer thought—and that readers must sustain rather than override this paradoxical dynamic within acts of queer imagination.
A novel approach to understanding the work of James Baldwin and its transformative potential The relationship of James Baldwin’s life and work to Black religion is in many ways complex and confounding. What is he doing through his literary deployment of religious language and symbols? Despite Baldwin’s disavowal of Christianity in his youth, he continued to engage the symbols and theology of Christianity in works such as The Amen Corner, Just Above My Head, and others. With Jimmy’s Faith, author Christopher W. Hunt shows how Baldwin’s usage of those religious symbols both shifted their meaning and served as a way for him to build his own religious and spiritual vision. Engaging José Esteban Muñoz’s theory of disidentification as a queer practice of imagination and survival, Hunt demonstrates the ways in which James Baldwin disidentifies with and queers Black Christian language and theology throughout his literary corpus. Baldwin’s vision is one in which queer sexuality signifies the depth of love’s transforming possibilities, the arts serve as the (religious) medium of knitting Black community together, an agnostic and affective mysticism undermines Christian theological discourse, “androgyny” troubles the gender binary, and the Black child signifies the hope for a world made new. In disidentifying with Christian symbols, Jimmy’s Faith reveals how Baldwin imagines both religion and the world “otherwise,” offering a model of how we might do the same for our own communities and ourselves.
In Poor Queer Studies Matt Brim shifts queer studies away from its familiar sites of elite education toward poor and working-class people, places, and pedagogies. Brim shows how queer studies also takes place beyond the halls of flagship institutions: in night school; after a three-hour commute; in overflowing classrooms at no-name colleges; with no research budget; without access to decent food; with kids in tow; in a state of homelessness. Drawing on the everyday experiences of teaching and learning queer studies at the College of Staten Island, Brim outlines the ways the field has been driven by the material and intellectual resources of those institutions that neglect and rarely serve poor and minority students. By exploring poor and working-class queer ideas and laying bare the structural and disciplinary mechanisms of inequality that suppress them, Brim jumpstarts a queer-class knowledge project committed to anti-elitist and anti-racist education. Poor Queer Studies is essential for all of those who care about the state of higher education and building a more equitable academy.
This Companion offers fresh insight into the art and politics of James Baldwin, one of the most important writers and provocative cultural critics of the twentieth century. Black, gay, and gifted, he was hailed as a 'spokesman for the race', although he personally, and controversially, eschewed titles and classifications of all kinds. Individual essays examine his classic novels and nonfiction as well as his work across lesser-examined domains: poetry, music, theatre, sermon, photo-text, children's literature, public media, comedy, and artistic collaboration. In doing so, The Cambridge Companion to James Baldwin captures the power and influence of his work during the civil rights era as well as his relevance in the 'post-race' transnational twenty-first century, when his prescient questioning of the boundaries of race, sex, love, leadership, and country assume new urgency.
"This fine collection of essays represents an important contribution to the rediscovery of Baldwin's stature as essayist, novelist, black prophetic political voice, and witness to the Civil Rights era. The title provides an excellent thematic focus. He understood both the necessity, and the impossibility, of being a black 'American' writer. He took these issues 'Beyond'---Paris, Istanbul, various parts of Africa---but this formative experience only returned him to the unresolved dilemmas. He was a fine novelist and a major prophetic political voice. He produced some of the most important essays of the twentieth century and addressed in depth the complexities of the black political movement. His relative invisibility almost lost us one of the most significant voices of his generation. This welcome 'revival' retrieves it. Close call." ---Stuart Hall, Professor Emeritus, Open University This interdisciplinary collection by leading writers in their fields brings together a discussion of the many facets of James Baldwin, both as a writer and as the prophetic conscience of a nation. The core of the volume addresses the shifting, complex relations between Baldwin as an American—“as American as any Texas GI” as he once wryly put it—and his life as an itinerant cosmopolitan. His ambivalent imaginings of America were always mediated by his conception of a world “beyond” America: a world he knew both from his travels and from his voracious reading. He was a man whose instincts were, at every turn, nurtured by America; but who at the same time developed a ferocious critique of American exceptionalism. In seeking to understand how, as an American, he could learn to live with difference—breaking the power of fundamentalisms of all stripes—he opened an urgent, timely debate that is still ours. His America was an idea fired by desire and grief in equal measure. As the authors assembled here argue, to read him now allows us to imagine new possibilities for the future. With contributions by Kevin Birmingham, Douglas Field, Kevin Gaines, Briallen Hopper, Quentin Miller, Vaughn Rasberry, Robert Reid-Pharr, George Shulman, Hortense Spillers, Colm Tóibín, Eleanor W. Traylor, Cheryl A. Wall, and Magdalena Zaborowska.
NEW YORK TIMES BESTSELLER Featured as One of Summer’s most anticipated reads by the Los Angeles Times, Vogue, Vulture, Entertainment Weekly, ELLE, Buzzfeed, and Bitch Media. From the author of I Don’t Want to Die Poor and in the style of New York Times bestsellers You Can’t Touch My Hair, Bad Feminist, and I'm Judging You, a timely collection of alternately hysterical and soul‑searching essays about what it is like to grow up as a creative, sensitive black man in a world that constantly tries to deride and diminish your humanity. It hasn’t been easy being Michael Arceneaux. Equality for LGBTQ people has come a long way and all, but voices of persons of color within the community are still often silenced, and being Black in America is…well, have you watched the news? With the characteristic wit and candor that have made him one of today’s boldest writers on social issues, I Can’t Date Jesus is Michael Arceneaux’s impassioned, forthright, and refreshing look at minority life in today’s America. Leaving no bigoted or ignorant stone unturned, he describes his journey in learning to embrace his identity when the world told him to do the opposite. He eloquently writes about coming out to his mother; growing up in Houston, Texas; being approached for the priesthood; his obstacles in embracing intimacy that occasionally led to unfortunate fights with fire ants and maybe fleas; and the persistent challenges of young people who feel marginalized and denied the chance to pursue their dreams. Perfect for fans of David Sedaris, Samantha Irby, and Phoebe Robinson, I Can’t Date Jesus tells us—without apologies—what it’s like to be outspoken and brave in a divisive world.
Reimagines the field of queer studies by asking “How do we do queer theory?” Imagining Queer Methods showcases the methodological renaissance unfolding in queer scholarship. This volume brings together emerging and esteemed researchers from all corners of the academy who are defining new directions for the field. From critical race studies, history, journalism, lesbian feminist studies, literature, media studies, and performance studies to anthropology, education, psychology, sociology, and urban planning, this impressive interdisciplinary collection covers topics such as humanistic approaches to reading, theorizing, and interpreting, as well as scientific appeals to measurement, modeling, sampling, and statistics. By bringing together these diverse voices into an unprecedented single volume, Amin Ghaziani and Matt Brim inspire us with innovative ways of thinking about methods and methodologies in queer studies.
Never before available, the unexpurgated last interview with James Baldwin “I was not born to be what someone said I was. I was not born to be defined by someone else, but by myself, and myself only.” When, in the fall of 1987, the poet Quincy Troupe traveled to the south of France to interview James Baldwin, Baldwin’s brother David told him to ask Baldwin about everything—Baldwin was critically ill and David knew that this might be the writer’s last chance to speak at length about his life and work. The result is one of the most eloquent and revelatory interviews of Baldwin’s career, a conversation that ranges widely over such topics as his childhood in Harlem, his close friendship with Miles Davis, his relationship with writers like Toni Morrison and Richard Wright, his years in France, and his ever-incisive thoughts on the history of race relations and the African-American experience. Also collected here are significant interviews from other moments in Baldwin’s life, including an in-depth interview conducted by Studs Terkel shortly after the publication of Nobody Knows My Name. These interviews showcase, above all, Baldwin’s fearlessness and integrity as a writer, thinker, and individual, as well as the profound struggles he faced along the way.
Between 1961 and 1971 James Baldwin spent extended periods of time in Turkey, where he worked on some of his most important books. In this first in-depth exploration of Baldwin’s “Turkish decade,” Magdalena J. Zaborowska reveals the significant role that Turkish locales, cultures, and friends played in Baldwin’s life and thought. Turkey was a nurturing space for the author, who by 1961 had spent nearly ten years in France and Western Europe and failed to reestablish permanent residency in the United States. Zaborowska demonstrates how Baldwin’s Turkish sojourns enabled him to re-imagine himself as a black queer writer and to revise his views of American identity and U.S. race relations as the 1960s drew to a close. Following Baldwin’s footsteps through Istanbul, Ankara, and Bodrum, Zaborowska presents many never published photographs, new information from Turkish archives, and original interviews with Turkish artists and intellectuals who knew Baldwin and collaborated with him on a play that he directed in 1969. She analyzes the effect of his experiences on his novel Another Country (1962) and on two volumes of his essays, The Fire Next Time (1963) and No Name in the Street (1972), and she explains how Baldwin’s time in Turkey informed his ambivalent relationship to New York, his responses to the American South, and his decision to settle in southern France. James Baldwin’s Turkish Decade expands the knowledge of Baldwin’s role as a transnational African American intellectual, casts new light on his later works, and suggests ways of reassessing his earlier writing in relation to ideas of exile and migration.