The Devil Finds Work [NOOK Book]


James Baldwin At The Movies...  Provocative, timeless, brilliant.

Bette Davis's eyes, Joan Crawford's bitchy elegance, Stepin Fetchit's stereotype, Sidney Poitier's superhuman black man...  These are the movie stars and the qualities that influenced James Baldwin...  and now become part of his incisive look at racism in American movies.

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The Devil Finds Work

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James Baldwin At The Movies...  Provocative, timeless, brilliant.

Bette Davis's eyes, Joan Crawford's bitchy elegance, Stepin Fetchit's stereotype, Sidney Poitier's superhuman black man...  These are the movie stars and the qualities that influenced James Baldwin...  and now become part of his incisive look at racism in American movies.

Baldwin challenges the underlying assumptions in such films as In the Heat of the Night, Guess Who's Coming to Dinner, and The Exorcist, offering us a vision of America's self-delusions and deceptions.  Here are our loves and hates, biases and cruelties, fears and ignorance reflected by the films that have entertained us and shaped our consciousness.  And here, too, is the stunning prose of a writer whose passion never diminished his struggle for equality, justice, and social change.

From The Birth of a Nation to The Exorcist--one of America's most important writers turns his critical eye to American film.
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Editorial Reviews

From the Publisher
"If Van Gogh was our 19th-century artist-saint, James Baldwin is our 20th-century one."
--Michael Ondaatje

"The best essayist in this country--a man whose power has always been in his reasoned, biting sarcasm; his insistence on removing layer by layer the hardened skin with which Americans shield themselves from their country."
--The New York Times Book Review

"It will be hard for the reader to see these films in quite the same way again."
--The Christian Science Monitor

"He has taken the old subject of race and made it even more personal probing perhaps more deeply than ever before into American racial practices."
--The Nation

"A provocative discussion."
--Saturday Review

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Product Details

  • ISBN-13: 9780804149686
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 9/17/2013
  • Series: Vintage International
  • Sold by: Random House
  • Format: eBook
  • Pages: 144
  • Sales rank: 749,900
  • File size: 2 MB

Meet the Author

James Baldwin
James Baldwin
In 1953, a young James Baldwin published Go Tell It on the Mountain, winning acclaim as a literary star and one of the leading voices of the African-American experience. Although Baldwin would spend the bulk of his adult life in France, his writing always addressed the complexities at the heart of America, viewed through the lens of the consummate outsider.


James Baldwin was born on August 2, 1924, and educated in New York. His first novel, Go Tell It on the Mountain, appeared in 1953 to excellent reviews and immediately was recognized as establishing a profound and permanent new voice in American letters. "Mountain is the book I had to write if I was ever going to write anything else," he remarked. Baldwin's play The Amen Corner was first performed at Howard University in 1955 (it was staged commercially in the 1960s), and his acclaimed collection of essays Notes of a Native Son, was published the same year. A second collection of essays, Nobody Knows My Name, was published in 1961 between his novels Giovanni's Room (1956) and Another Country (1961).

The appearance of The Fire Next Time in 1963, just as the civil rights movement was exploding across the American South, galvanized the nation and continues to reverberate as perhaps the most prophetic and defining statement ever written of the continuing costs of Americans' refusal to face their own history. It became a national bestseller, and Baldwin was featured on the cover of Time magazine. Critic Irving Howe said that The Fire Next Time achieved "heights of passionate exhortation unmatched in modern American writing." In 1964 Blues for Mister Charlie, his play based on the murder of a young black man in Mississippi, was produced by the Actors Studio in New York. That same year, Baldwin was made a member of the National Institute of Arts and Letters and collaborated with the photographer Richard Avedon on Nothing Personal, a series of portraits of America intended as a eulogy for the slain Medger Evers. A collection of short stories, Going to Meet the Man, was published in 1965, and in 1968, Tell Me How Long the Train's Been Gone, his last novel of the 1960s appeared.

In the 1970s he wrote two more collections of essays and cultural criticism: No Name in the Street (1972) and The Devil Finds Work (1976). He produced two novels: the bestselling If Beale Street Could Talk (1974) and Just Above My Head (1979) and also a children's book Little Man, Little Man: A Story of Childhood (1976). He collaborated with Margaret Mead on A Rap on Race (1971) and with the poet-activist Nikki Giovanni on A Dialogue (1973). He also adapted Alex Haley's The Autobiography of Malcolm X into One Day When I Was Lost.

In the remaining years of his life, Baldwin produced a volume of poetry, Jimmy's Blues (1983), and a final collection of essays, The Price of the Ticket. Baldwin's last work, The Evidence of Things Not Seen (1985), was prompted by a series of child murders in Atlanta. Baldwin was made a Commander of the French Legion of Honor in June 1986. Among the other awards he received are a Eugene F. Saxon Memorial Trust Award, a Rosenwald fellowship, a Guggenheim fellowship, a Partisan Review fellowship, and a Ford Foundation grant.

James Baldwin died at his home in Saint-Paul-de-Vence in France on December 1, 1987.

Author biography courtesy of Random House, Inc.

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    1. Also Known As:
      James Arthur Baldwin (full name)
      James Baldwin
    1. Date of Birth:
      August 2, 1924
    2. Place of Birth:
      New York, New York
    1. Date of Death:
      December 1, 1987
    2. Place of Death:
      St. Paul de Vence, France

Read an Excerpt

Congo Square

Joan Crawford's straight, narrow, and lonely back. We are following her through the corridors of a moving train. She is looking for someone, or is she is trying to escape from someone. She is eventually intercepted by, I think, Clark Gable.

I am fascinated by the movement on, and of, the screen, that movement which is something like the heaving and swelling of the sea (though I have not yet been to the sea): and which is also something like the light which moves on, and especially beneath, the water.

I am about seven. I am with my mother, or my aunt. The movie is Dance, Fools, Dance.

I don't remember the film. A child is far too self-centered to relate to any dilemma which does not, somehow, relate to him— to his own evolving dilemma. The child escapes into what he would like his situation to be, and I certainly do not wish to be a fleeing fugitive on a moving train; and, also, with quite another part of my mind, I was aware that Joan Crawford was a white lady. Yet, I remember being sent to the store sometime later, and a colored woman, who, to me, looked exactly like Joan Crawford, was buying something. She was so incredibly beautiful—she seemed to be wearing the sunlight, rearranging it around her from time to time, with a movement of one hand, with a movement of her head, and with her smile—that, when she paid the man and started out of the store, I started out behind her. The storekeeper, who knew me, nd others in the store who knew my mother's little boy (and who also knew my Miss Crawford!) laughed and called me back. Miss Crawford also laughed and looked down at me with so beautiful a smile that I was not even embarrassed. Which was rare for me.

Tom Mix, on his white horse. Actually, it was Tom Mix's hat, a shadow in the shadow of the hat, a kind of rock background (which, again, was always moving) and the white horse. Tom Mix was a serial. Every Saturday, then, if memory serves, we left Tom Mix and some bleakly interchangeable girl in the most dreadful danger—or, rather, we left the hat and the shadow of the hat and the white horse: for the horse was not interchangeable and the serial could not have existed without it.

The Last of the Mohicans: Randolph Scott (a kind of fifteenth-rate Gary Cooper) and Binnie Barnes (a kind of funky Geraldine Fitzgerald), Heather Angel (a somewhat more bewildered Olivia de Havilland) and Philip Reed (a precursor of Anthony Quinn). Phillip Reed was the Indian, Uncas, whose savage, not to say slavish adoration of Miss Angel's fine blonde frame drives her over a cliff, headlong, to her death. She has chosen death before dishonor, which made perfect sense. The erring Uncas eventually pays for his misguided lust with his life, and a tremulous, met-eyed brave couple, Randolph Scott and Binnie Barnes, eventually, hand in hand, manage to make it out of the wilderness. Into America, or back to England, I really do not remember, and I don't suppose that it matters.

20,000 Years in Sing Sing: Spencer Tracy and Bette Davis. By this time, I had been taken in hand by a young white school-teacher, a beautiful woman, very important to me. I was between ten and eleven. She had directed my first play and endured my first theatrical tantrums and had then decided to escort me into the world. She gave me books to read and talked to me about the books, and about the world: about Spain, for example, and Ethiopia, and Italy, and the German Third Reich; and took me to see plays and films, plays and films to which no one else would have dreamed of taking a ten-year-old boy. I loved her, of course, and absolutely, with a child's love; didn't understand half of what she said, but remembered it; and it stood me in a good stead later. It is certainly partly because of her, who arrived in my terrifying life so soon, that I never really managed to hate white people—though, God knows, I have often wished to murder more than one or two. But Bill Miller—her name was Orilla, we called her Bill—was not white for me in the way, for example, that Joan Crawford was white, in the way that the landlords and the store keepers and the cops and most of my teachers were white. She didn't baffle me that way and she never frightened me and she never lied to me. I never felt her pity, either, in spite of the fact that she sometimes brought us old clothes (because she worried about our winters) and cod-liver oil, especially for me, because I seemed destined, then, to be carried away by whooping cough.

I was a child, of course, and, therefore, unsophisticated. I don't seem ever to have had any innate need (or, indeed, any innate ability) to distrust people: and so I took Bill Miller as she was, or as she appeared to be to me. Yet, the difference between Miss Miller and other white people, white people as they lived in my imagination, and also as they were in life, had to have had a profound and bewildering effect on my mind. Bill Miller was not at all like the cops who had already beaten me up, she was not like the landlords who called me nigger, she was not like the storekeepers who laughed at me. I had found white people to be unutterably menacing, terrifying, mysterious—wicked: and they were mysterious, in fact, to the extent that they were wicked: the unfathomable question being, precisely, this one: what, under heaven, or beneath the sea, or in the catacombs of hell, could cause any people to act as white people acted? From Miss Miller, therefore, I began to suspect that white people did not act as they did because they were white, but for some other reason, and I began to try to located and understand the reason. She, too, anyway, was treated like a nigger, especially by the cops, and she had no love for landlords.

My father said, during all the years I lived with him, that I was the ugliest boy he had ever seen, and I had absolutely no reason to doubt him. But it was not my father's hatred of my frog-eyes which hurt me, this hatred proving, in time, to be rather more resounding than real: I have my mother's eyes. When my father called me ugly, he was not attacking me so much as he was attacking my mother. (No doubt, he was also attacking my real, and unknown, father.) And I loved my mother. I knew that she loved me, and I sensed that she was paying an enormous price for me. I was a boy, and so I didn't really too much care that my father thought me hideous. (So I said to myself—this judgment, nevertheless, was to have a decidedly terrifying effect on my life.) But I thought that he must have been stricken blind (or was as mysteriously wicked as white people, a paralyzing thought) if he was unable to see that my mother was absolutely beyond any question the most beautiful woman in the world.

So, here, now, was Bette Davis, on that Saturday afternoon, in close-up, over a champagne glass, pop-eyes popping. I was astounded. I had caught my father, not in a lie, but in an infirmity. For, here, before me, after all, was a movie star: white: and if she was white and a movie star, she was rich: and she was ugly. I felt exactly the same way I felt, just before this moment, of just after, when I was in the street, playing, and I saw an old, very black, and very drunk woman stumbling up the sidewalk, and I ran upstairs to make my mother come to the window and see what I had found: You see?  You see? She's uglier than you, Mama! She's uglier than me! Out of bewilderment, out of loyalty to my mother, probably, and also because I sensed something menacing and unhealthy (for me, certainly) in the face on the screen, I gave Davis's skin the dead-white greenish cast of something crawling form under a rock, but I was held, just the same, by the tense intelligence of the forehead, the disaster of the lips: and when she moved, she moved just like a nigger. Eventually, from a hospital bed, she murders someone, and Tracy takes the weight, to Sing Sing. In his arms, Davis cries and cries, and the movie ends. "What's going to happen to her now?" I asked Bill Miller. "We don't know," said Bill, conveying to me, nevertheless, that she would probably never get over it, that people pay for what they do.

I had not yet heard Bessie Smith's "why they call this place the Sing Sing?/come stand here by this rock pile, and listen to these hammers ring," and it would be seven years before I would begin working on the railroad. It was to take a longer time than that before I would cry; a longer time than that before I would cry in anyone's arms; and a long long long long time before I would begin to realize what I myself was doing with my enormous eyes—or vice versa. This had nothing to do with Davis, the actress, or with all those hang-ups I didn't yet know I had: I had discovered that my infirmity might not be my doom; my infirmity, or infirmities, might be forged into weapons.

For I was not only considered by my father to be ugly. I was considered by everyone to be "strange," including my poor mother, who didn't, however, beat me for it. well, if I was "strange" —and I knew I must be, otherwise people would not have treated me so strangely, and I would not have been so miserable—perhaps I could find a way to use my strangeness. A "strange" child, anyway, dimly and fearfully apprehends that the years are not likely to make him less strange. Therefore, if he wishes to live, he must calculate, and I knew that I had to live. I very much wanted my mother to be happy and to be proud of me, and I very much loved my brothers and my sisters, who, in a sense, were all I had. My father showed no favoritism, he did not beat me worse than the others because I was not his son. (I didn't know this then, anyway, none of the children did, and by the time we all found out, it became just one more detail of the peculiar journey we had made in company with each other.) I knew, too, that my mother depended on me. I was not always dependable, for no child can be, but I tried: and I knew that I might have to prepare myself to be, one day, the actual head of my family. I did not actually do this, either, for we were all forced to take on our responsibilities each for the other, and to discharge them in our different ways. The eldest can be, God knows, as much a burden as a help, and is doomed to be something of a mystery for those growing up behind him—a mystery then not, indeed, an intolerable exasperation. I, nevertheless, was the eldest, a responsibility I did not intend to fail, and my first conscious calculation as to how to go about defeating the world's intentions for me and mine began on that Saturday afternoon in what we called the movies, but which was actually my first entrance into the cinema of my mind.

I read Uncle Tom's Cabin over and over and over again—this is the first book I can remember having read—and then I read A Tale of Two Cities—over and over and over again. Bill Millers takes me to see A Tales of Two Cities, at the Lincoln, on 135th Street. I am twelve.

I did not yet know that virtually every black community in America contains a movie house, or, sometimes, in those days, an actual theater, called the Lincoln, or the Booker T. Washington, nor did I know why; any more than I knew why The Cotton Club was called The Cotton Club. I knew about Lincoln only that he had freed the slaves (in the South, which made the venture remote from me) and then had been shot, dead, in a theater by an actor; and a movie I was never to see, called The Prisoner of Shark Island, had something to do with the murder of Lincoln. How I knew this, I do not remember precisely. But I know that I read everything I could get my hands on, including movie advertisements, and Uncle Tom's Cabin had had a tremendous impact on me, and I certainly reacted to the brutal conjunction of the words, prisoner, and shark, and island. I may have feared becoming a prisoner, or feared that I was one already; had never seen a shark—I hoped: but I was certainly trapped on an island. And, in any case, the start of this film, Warner Baxter, later, but during the same era, made a film with the female star of A Tale of Two Cities, called Slave Ship: which I did not see, either.

I knew about Booker T. Washington less than I knew about my father's mother, who had been born a slave, and who died in our house when I was little: a child cannot make the connection between slave and grandmother, and it was to take me a while (mainly because I had discovered the Schomburg collection at the 135th Street Library) to read Up From Slavery: but, when I read it, I no longer knew which was was up. As for The Cotton Club, i knew only that it was a dance hall which gave out free Thanksgiving dinners every Thanksgiving (!) for which my brother, George, and I, stood in line. Which means that I knew that I was poor, and knew that I was black, but did not yet know what being black really meant, what it meant, that is, in the history of my country, and in my own history. Bill could instruct me as to how poverty came about and what it meant and what it did, and, also, what it was meant to do: but she could not instruct me as to blackness, except obliquely, feeling that she had neither the right nor the authority, and also knowing that I was certain to find out. Thus, she tried to suggest to me the extent to which the world's social and economic arrangements are responsible for (and to) the world's victims. But a victim may or may not have a color, just as he may or may not have virtue: a difficult, not to say unpopular notion, for nearly everyone prefers to be defined by his status, which, unlike his virtue is ready to wear.
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  • Anonymous

    Posted November 30, 2003

    Am I the Only one?

    Loved the whole thing

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