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No Name in the Street

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Overview

This stunningly personal document and extraordinary history of the turbulent sixties and early seventies displays James Baldwin's fury and despair more deeply than any of his other works.  In vivid detail he remembers the Harlem childhood that shaped his early conciousness, the later events that scored his heart with pain—the murders of Martin Luther King and Malcolm X, his sojourns in Europe and in Hollywood, and his retum to the American South to confront a violent ...

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No Name in the Street

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Overview

This stunningly personal document and extraordinary history of the turbulent sixties and early seventies displays James Baldwin's fury and despair more deeply than any of his other works.  In vivid detail he remembers the Harlem childhood that shaped his early conciousness, the later events that scored his heart with pain—the murders of Martin Luther King and Malcolm X, his sojourns in Europe and in Hollywood, and his retum to the American South to confront a violent America face-to-face.

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Editorial Reviews

From the Publisher
“More eloquent than W. E. B. DuBois, more penetrating than Richard Wright.... It contains truth that cannot be denied.” —The Atlantic Monthly“Characteristically beautiful.... He has not himself lost access to the sources of his being–which is what makes him read and awaited by perhaps a wider range of people than any other major American writer.” —The Nation
Library Journal

Baldwin's 1972 volume is a right-between-the-eyes commentary on American racism in the 1950s and 1960s, capped by the assassination of Martin Luther King Jr. and other civil rights figures. Still as powerful and important as the day it was written.


—Michael Rogers
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Product Details

  • ISBN-13: 9780307275929
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 1/9/2007
  • Series: Vintage International Series
  • Edition description: Reprint
  • Pages: 208
  • Sales rank: 627,814
  • Product dimensions: 5.20 (w) x 8.00 (h) x 0.53 (d)

Meet the Author

James Baldwin

James Baldwin was born in 1924 and educated in New York. He is the author of more than twenty works of fiction and nonfiction, including Go Tell It on the Mountain, Notes of a Native Son, Giovanni's Room, Nobody Knows My Name, Another Country, and The Fire Next Time. Among the 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. He was made a Commander of the Legion of Honor in 1986. Baldwin died in 1987.

Biography

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

"That is a good idea," I heard my mother say. She was staring at a wad of black velvet, which she held in her hand, and she carefully placed this bit of cloth in a closet. We can guess how old I must have been from the fact that for years afterward I thought that an "idea" was a piece of black velvet.Much, much, much has been blotted out, coming back only lately in bewildering and untrustworthy flashes. I must have been about five, I should think, when I made my connection between ideas and velvet, but I may have been younger; this may have been the same year that my father had me circumcised, a terrifying event which I scarcely remember at all; or I may think I was five because I remember tugging at my mother's skirts once and watching her face while she was telling someone else that she was twenty-seven. This meant, for me, that she was virtually in the grave already, and I tugged a little harder at her skirts. I already knew, for some reason, or had given myself some reason to believe, that she had been twenty-two when I was born. And, though I can't count today, I could count when I was little.I was the only child in the house—or houses—for a while, a halcyon period which memory has quite repudiated; and if I remember myself as tugging at my mother's skirts and staring up into her face, it was because I was so terrified of the man we called my father; who did not arrive on my scene, really, until I was more than two years old. I have written both too much and too little about this man, whom I did not understand till he was past Understanding. in my first memory of him, he is standing in the kitchen, drying the dishes. My mother had dressed me to go out, she is taking me someplace, and it must be winter, because I am wearing, in my memory, one of those cloth hats with a kind of visor, which button under the chin—a Lindbergh hat, I think. I am apparently in my mother's arms, for I am staring at my father over my mother's shoulder, we are near the door; and my father smiles. This may be a memory, I think it is, but it may be a fantasy. One of the very last times I saw my father on his feet, I was staring at him over my mother's shoulder—she had come rushing into the room to separate us—and mx father was not smiling and neither was I.His mother, Barbara, lived in our house, and she had been born in slavery. She was so old that she never moved from her bed. I remember her as pale and gaunt and she must have worn a kerchief because I don't remember her hair. I remember that she loved me: she used to scold her son about the way he treated me; and he was a little afraid of her. When she died, she called me into the room to give me a present—one of those old, round, metal boxes, usually with a floral design, used for candy. She thought it was full of candy and I thought it was full of candy, but it wasn't. After she died, I opened it and it was full of needles and thread.This broke my heart, of course, but her going broke it more because I had loved her and depended on her. I knew—children must know—that she would always protect me with all her strength. So would my mother, too, I knew that, but my mother's strength was only to be called on in a desperate emergency. It did not take me long, nor did the children, as they came tumbling into this world, take long to discover that our mother paid an immense price for standing between us and our father. He had ways of making her suffer quite beyond our ken, and so we soon learned to depend on each other and became a kind of wordless conspiracy to protect her. (We were all, absolutely and mercilessly, united against our father.) We soon realized, anyway, that she scarcely belonged to us: she was always in the hospital, having another baby. Between his merciless children, who were terrified of him, the pregnancies, the births, the rats, the murders on Lenox Avenue, the whores who lived downstairs, his job on Long Island—to which he went every morning, wearing a Derby or a Homburg, in a black suit, white shirt, dark tie, looking like the preacher he was, and with his black lunch-box in his hand—and his unreciprocated love for the Great God Almighty, it is no wonder our father went mad. We, on the other hand, luckily, on the whole, for our father, and luckily indeed for our mother, simply took over each new child and made it ours. I want to avoid generalities as far as possible; it will, I hope, become clear presently that what I am now attempting dictates this avoidance; and so I will not say that children love miracles, but I will say that I think we did. A newborn baby is an extraordinary event; and I have never seen two babies who looked or even sounded remotely alike. Here it is, this breathing mirade who could not live an instant without you, with a skull more fragile than an egg, a miracle of eyes, legs, toenails, and (especially) lungs. It gropes in the light like a blind thing—it is, for the moment, blind—what can it make of what it sees? It's got a little hair, which it's going to lose, it's got no teeth, it pees all over you, it belches, and when it's frightened or hungry, quite without knowing what a miracle it's accomplishing, it exercises its lungs. You watch it discover it has a hand; then it discovers it has toes. Presently, it discovers it has you, and since it has already decided it wants to live, it gives you a toothless smile when you come near it, gurgles or giggles when you pick it up, holds you tight by the thumb or the eyeball or the hair, and, having already opted against solitude, howls when you put it down. You begin the extraordinary journey of beginning to know and to control this creature. You know the sound—the meaning—of one cry from another; without knowing that you know it. You know when it's hungry—that's one sound. You know when it's wet—that's another sound. You know when it's angry. You know when it's bored. You know when it's frightened. You know when it's suffering. You come or you go or you sit still according to the sound the baby makes. And you watch over it where I was born, even in your sleep, because rats love the odor of newborn babies and are much, much bigger.By the time it has managed to crawl under every bed, nearly suffocate itself in every drawer, nearly strangle itself with string, somehow, God knows how, trapped itself behind the radiator, been pulled back, by one leg, from its suicidal investigation of the staircase, and nearly poisoned itself with everything—its hand being quicker than your eye—it can possibly get into its mouth, you have either grown to love it or you have left home.I, James, in August. George, in January. Barbara, in August. Wilmer, in October, David, in December. Gloria, Ruth, Elizabeth, and (when we thought it was over!) Paula Maria, named by me, born on the day our father died, all in the summertime.The youngest son of the New Orleans branch of the family—family, here, is used loosely and has to be; we knew almost nothing about this branch, which knew nothing about us; Daddy, the great good friend of the Great God Almighty, had simply fled the South, leaving a branch behind. As I have said, he was the son of a slave, and his youngest daughter, by his first marriage, is my mother's age and his youngest son is nine years older than I. This boy, who did not get along with his father, was my elder brother, as far as I then knew, and he sometimes took me with him here and there. He took me into the Coney Island breakers on his back one day, teaching me to swim, and somehow ducked beneath me, playing, or was carried away from me for a moment, terrified, caught me and brought me above the waves. In the time that his body vanished beneath me and the waters rolled over my head, I still remember the slimy sea water and the blinding green—it was not green; it was all the world's snot and vomit; it entered into me; when my head was abruptly lifted out of the water, when I felt my brother's arms and saw his worried face—his eyes looking steadily into mine with the intense and yet impersonal anxiety of a surgeon, the sky above me not yet in focus, my lungs failing to deliver the mighty scream I had nearly burst with in the depths, my four or five or six-year-old legs kicking—and my brother slung me over his shoulder like a piece of meat, or a much beloved child, and strode up out of the sea with me, with me! he had saved me, after all, I learned something about the terror and the loneliness and the depth and the height of love.Not so very much later, this brother, who was in his teens, fooling around with girls or shooting dice with his friends, who knows, came home late, which was forbidden in our Baptist house, and had a terrible fight with his Daddy and left the house and never came back. He swore that he never would come back, that his Daddy would never see him again. And he never did come back, not while daddy was still alive. Daddy wrote, but his son never answered. When I became a young minister, I was asked to write him, and I did— sometimes my father dictated the letters to me. And the boy answered me, sometimes, but he never answered his father and never mentioned him. Daddy slowly began to realize that he was never going to see that son, who was his darling, the apple of his eye, anymore, and this broke his heart and destroyed his will and helped him into the madhouse and the grave—my only intimation, perhaps, during all those years, that he was human. The son came home, when his father died, to help me bury him. Then he went away again, and I didn't see him until I had to go to California on a Civil Rights gig, and he met me at the airport. By then, I was thirty-nine and he was nearly fifty, I had made his disowned father's name famous, and I had left home in exactly the same way he did, for more or less the same reasons, and when I was seventeen.Since Martin's death, in Memphis, and that tremendous day in Atlanta, something has altered in me, something has gone away. Perhaps even more than the death itself, the manner of his death has forced me into a judgment concerning human life and human beings which I have always been reluctant to make— indeed, I can see that a great deal of what the knowledgeable would call my life-style is dictated by this reluctance. Incontestably, alas, most people are not, in action, worth very much; and yet, every human being is an unprecedented miracle. One tries to treat them as the miracles they are, while trying to protect oneself against the disasters they've become. This is not very different from the act of faith demanded by all those marches and petitions while Martin was still alive. One could scarcely be deluded by Americans anymore, one scarcely dared expect anything from the great, vast, blank generality; and yet one was compelled to demand of Americans—and for their sakes, after all—a generosity, a clarity, and a nobility which they did not dream of demanding of themselves. Part of the error was irreducible, in that the marchers and petitioners were forced to suppose the existence of an entity which, when the chips were down, could not be located—i.e., there are no American people yet: but to this speculation (or desperate hope) we shall presently return. Perhaps, however, the moral of the story (and the hope of the world) lies in what one demands, not of others, but of oneself. However that may be, the failure and the betrayal are in the record book forever, and sum up, and condemn, forever, those descendants of a barbarous Europe Who arbitrarily and arrogantly reserve the right to call themselves Americans.The mind is a strange and terrible vehicle, moving according to rigorous rules of its own; and my own mind, after I had left Atlanta, began to move backward in time, to places, people, and events I thought I had forgotten. Sorrow drove it there, I think, sorrow, and a certain kind of bewilderment, triggered, perhaps, by something which happened to me in connection with Martin's funeral.When Martin was murdered, I was based in Hollywood, working—working, in fact, on the screen version of The Autobiography of Malcolm X. This was a difficult assignment, since I had known Malcolm, after all, crossed swords with him, worked with him, and held him in that great esteem which is not easily distinguishable, if it is distinguishable at all, from love. (The Hollywood gig did not work out because I did not wish to be a party to a second assassination: but we will also return to Hollywood, presently.)Very shortly before his death, I had to appear with Martin at Carnegie Hall, in New York. Having been on the Coast so long, I had nothing suitable to wear for my Carnegie Hall gig, and so I rushed out, got a dark suit, got it fitted, and made my appearance. Something like two weeks later, I wore this same suit to Martin's funeral; returned to Hollywood; presently, had to come East again, on business. I ran into Leonard Lyons one night, and I told him that I would never be able to wear that suit again. Leonard put this in his column. I went back to Hollywood.Weeks later, either because of a Civil Rights obligation, or because of Columbia Pictures, I was back in New York. On my desk in New York were various messages—and it must be said that my sister, Gloria, who worked for me then, is extremely selective, not to say brutal, about the messages she leaves on my desk. I don't see, simply, most of the messages I get. I couldn't conceivably live with them. No one could— as Gloria knows. However, my best friend, black, when I had been in junior high school, when I was twelve or thirteen, had been calling and calling and calling. The guilt of the survivor is a real guilt—as I was now to discover. In a way that I may never be able to make real for my countrymen, or myself, the fact that I had "made it"—that is, had been seen on television, and at Sardi's, could (presumably!) sign a check anywhere in the world, could, in short, for the length of an entrance, a dinner, or a drink, intimidate headwaiters by the use of a name which had not been mine when I was born and which love had compelled me to make my own—meant that I had betrayed the people who had produced me. Nothing could be more unutterably paradoxical: to have thrown in your lap what you never dreamed of getting, and, in sober, bitter truth, could never have dreamed of having, and that at the price of an assumed betrayal of your brothers and your sisters! One is always disproving the accusation in action as futile as it is inevitable.

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