| Title | : | If Beale Street Could Talk |
| Author | : | |
| Rating | : | |
| ISBN | : | 0307275930 |
| ISBN-10 | : | 9780307275936 |
| Language | : | English |
| Format Type | : | Paperback |
| Number of Pages | : | 197 |
| Publication | : | First published January 1, 1974 |
If Beale Street Could Talk Reviews
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”I thought of Fonny’s touch, of Fonny, in my arms, his breath, his touch, his odor, his weight, that terrible and beautiful presence riding into me and his breath being snarled, as if by a golden thread, deeper and deeper in his throat as he rode--as he rode deeper and deeper not so much into me as into a kingdom which lay just behind his eyes. He worked on wood that way. He worked on stone that way. If I had never seen him work, I might never have known he loved me.
It’s a miracle to realize that somebody loves you.”
Stephen James and Kiki Layne star in the 2018 film that was released on December 25th.
Fonny and Tish have known each other nearly their entire lives. Sometimes relationships like this evolve into being friends or at least acquaintances for life. Sometimes they become lovers, and when lightning strikes the same place twice, they become lovers and best friends.
Lightning struck twice.
This is a tale of two families. Tish’s family is not only supportive of the relationship but go so far as to consider Fonny part of their family. As Tish and Fonny are caught up in the whirlwind of 1970s racist New York, the support of Tish’s family is the only thing standing between Fonny spending a good part of his life in jail and Tish having to work the streets to make enough money to afford a lawyer for his defense.
Fonny’s family is a different story. His mother has never thought highly of him or his prospects. She is a religious nut who, in her fervor for her God, has lifted herself up above the rest of humanity. From this perch, she can cast judgments down on those around her, especially those not heeding the call of the church. She would be a better Christian if she were casting bread instead of casting aspersions. Fonny’s two older sisters, taking their cues from their mother, are dismissive of their little brother as well and find it embarrassing, rather than tragic, that he has been arrested. They are sure he is guilty because they have found him guilty his whole life.
Fonny’s father is an interesting character. He is a man who loves his family, but he knows that Fonny needs his love more than the rest. Tish’s father, Joseph, is always bucking Frank up, giving him hope.
”’Look. I know what you’re saying. You’re saying they got us by the balls. Okay. But that’s our flesh and blood, baby: our flesh and blood. I don’t know how we going to do it. I just know we have to do it. I know you ain’t scared for you., and God knows I ain’t scared for me. That boy is got to come out of there. That’s all. And we got to get him out. That’s all. And the first thing we got to do, man, is just not to lose our nerve. We can’t let those cunt-faced, white-assed motherfuckers get away with this shit any longer.’ He subsides, he sips his beer. ‘They been killing our children long enough.’”
James Baldwin was proclaiming that #blacklivesmatter from the beginning of his existence as a writer.
Being a young, virile, prideful, black man in the 1970s was a dangerous thing to be. Fonny, by breathing the same air and walking the same streets as the predominantly white police force, has committed a crime. Yes, he has committed a crime by existing. When he comes to the attention of one particular cop, it is only a matter of time before he is put in the frame for something. This cop has an interest in Fonny that is akin to sexual desire. He pursues him like a spurned lover pursues the person of their affection. He is the head of the hammer of white fear.
”He walked the way John Wayne walks, striding out to clean up the universe, and he believed all that shit: a wicked, stupid, infantile motherfucker. Like his heroes, he was kind of a pinheaded, heavy gutted, big assed, and his eyes were as blank as George Washington’s eyes. But I was beginning to learn something about the blankness of eyes. What I was learning was beginning to frighten me to death. If you look steadily into that unblinking blue, into that pinpoint at the center of the eye, you discover a bottomless cruelty, a viciousness cold and icy. In that eye, you do not exist: if you are lucky”
The problem is that Fonny is at the pinpoint of that blue eye.
This is a book about injustice, about family sticking together, about community, and it is about love, real love, soul trembling love. It is the type of love that, when your lover walks in the room, you feel your insides turn to Champagne with frenzied bubbles and a cork in your throat trembling to hold it all in.
One thing I’ve learned about life is those that have the least to give, give the most.
Two Bards hanging out together. The conversation they would have had over a bottle of wine.
James Baldwin moved to Saint-Paul-de-Vence, France in 1970. This book was published in 1974. Even though he was an American in exile, America came to him. Miles Davis, Josephine Baker, Sidney Poitier, Harry Belafonte, Ray Charles, and many more made pilgrimages to see him. He spent most of his days writing and responding to correspondence from all over the world. He changed lives with his gift of hope and his honesty about what was really happening to Black America. Every time I read one of his books, I am struck by the power of his prose and the passion of his anger. He was determined to drag America, kicking and screaming, under a soul revealing, bright light so the demons of inequality, racism, and hatred have a chance to be exorcised.
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4.5 stars
"It’s a miracle to realize that somebody loves you."
You might call this a love story, and you would be right. But this is a love story à la James Baldwin. And if you have read James Baldwin, then you will understand that this is a love story full of passion, yes, but also charged with torment, beauty, and truth. It is real love with no embellishment. It is wholly and incredibly believable. And it's also more than just a love story.
Fonny Hunt and Tish Rivers, a young black couple living in Harlem during the early 1970s, grew up together and were friends first. Then they became lovers and pledged to marry one another. Their love is pure. I, for one, was quite moved. "I guess it can’t be too often that two people can laugh and make love, too, make love because they are laughing, laugh because they’re making love. The love and the laughter come from the same place: but not many people go there."
When Fonny is falsely accused of rape by a hate-mongering white cop and thrown into jail, we quickly come to see the picture Baldwin was painting for us – that of a racist New York City where the color of your skin could be crime enough to convict an innocent man of wrongdoing. Through his characters, we feel the author’s rage at the considerable injustices of this system, of this time in America – and rightly so. Fonny is one of the more ‘fortunate’ ones though. He has a support system in Tish and her family. Not every young black man had such sustenance. There’s a tragic story of another man, Fonny’s childhood friend Daniel, which illustrates another all-too real glimpse at the cruel offense of bigotry and the lasting effects of a brutal incarceration within the American prison system.
Tish’s parents, Sharon and Joseph, and sister, Ernestine, rally along with Tish to fight for Fonny’s freedom. Actually, what is quite gripping in this novel, too, is the family dynamics of both Tish’s and Fonny’s families. Fonny’s mother is a self-righteous ‘Christian’ that lords her beliefs over others and looks with contempt on anyone that does not follow suit. "It was like there was nothing, nothing, nothing you could ever hope to say to her unless you wanted to pass through the hands of the living God: and He would check it out with her before He answered you." Her daughters are much the same, while husband Frank, Fonny’s father, is adrift and angry and sometimes violent. However, unlike the rest of the Hunts, Frank loves his son unconditionally. The others exact a selfish price.
This novel has a feeling of urgency, despair and hope. It is written with the passion and rage from what I imagine to be the depths of Baldwin’s soul. He is unflinching in his intent to shed light on the mean injustices and rank corruption of an America that was yet to uphold the hard-fought rights of the Civil Rights Movement. It’s often quite harsh. Unnecessarily so? I really don’t think so. He understood and he was outraged. "… New York must be the ugliest and the dirtiest city in the world. It must have the ugliest buildings and the nastiest people. It’s got to have the worst cops. If any place is worse, it’s got to be so close to hell that you can smell the people frying. And, come to think of it, that’s exactly the smell of New York in the summertime."
Last summer I read Baldwin’s novel, Giovanni’s Room. It was my first encounter with his writing, and he immediately soared to my favorite author list based on that one book alone. The stunning prose left no doubt in my mind that I would read and love everything he had to offer. This book is much different from that one. The writing is unadorned, less lyrical. Yet, it is powerful and immediate and remarkable in its own way. It works, and I was once again impressed.
"Neither love nor terror makes one blind: indifference makes one blind." -
Fucking hell. Reeling. I can't wait to see what Barry Jenkins does with the film adaptation.
UPDATE (1/17/18)
I have finally seen the film adaptation! I went to a screening last Saturday with a friend. Here are some thoughts, which I shared in the comments section in response to Nicole:
I found the film adaptation to be just the kind of movie I would expect from Barry Jenkins, and yet not what I would have imagined as a film adaptation of this book. In my mind's eye, I saw something grittier, something heavier. Jenkin's adaptation isn't that – it is an incredibly striking film that is visually impeccable in a way that seems so intentional it's almost heavy-handed and too controlled. That said, it's a beautiful and devasting movie that appropriately (& tenderly) elevates the themes of black love (romantic and familial) found in the book, and juxtaposes it with the despair of Fonny's unjust incarceration. I especially loved the scene between Fonny & his friend Daniel. It was full of vulnerability between the two men, and a visceral foreshadowing of what was to come for Fonny.
A profile of Barry Jenkins that I like,
an interview of Jenkins that I also liked &
a review of the film that I appreciated . -
Last year I got up from the rock I was under and finally discovered the writing of James Baldwin. In one of my goodreads group, I read Giovanni’s Room with a few friends. The writing was outstanding and the ensuing discussion even better. We made plans to read another Baldwin novel in January and I was game. I suggested If Beale Street Could Talk based on the title, having no idea that the story was soon to be released as a movie. The title evokes images of a Memphis blues house and I envisioned luscious prose. While the plans for a buddy read fizzled out, I went ahead with sticking to my own reading plan, selecting If Beale Street Could Talk as my first novel of the year.
There are few American master storytellers I can return to again and again and not be disappointed. My two favorites are Steinbeck and McCullers, and Baldwin is slowly inching up the list, after only reading two novels. His prose is masterful and reels a reader in instantly, getting a feel for the time and place of the novel. Here we meet Tish Rivers. She is nineteen having come of age in 1970s New York, at a time when race politics were still fractious at best. Her parents Joseph and Sharon are in their early forties having had their children young and they would move water to support their two daughters. We find out that Tish is going to have the baby of her lifetime boyfriend and best friend, Fonny Hunt, only Fonny is imprisoned for being falsely accused of rape. The point of view is Tish’s and her sole goal is to get Fonny out of jail so that the couple can get married and raise their child together.
Baldwin introduces the Hunts and Rivers’ families, all representing a different archetype of African American life. Mrs Hunt is a holy rolling church lady and her obedient daughters copy her every move. Her husband Frank is as hard working as can be given the lack of opportunities for jobs for African Americans at the time, and it is obvious that the family is split down the middle between the men and women. Mrs Hunt has disapproved of Fonny from childhood, not loving him for who he is and desiring that he become a respectable church going man. Yet, all Fonny has ever desired is to spend his life with Tish and to use his hand to be a woodworker. Baldwin’s prose favors Fonny as an artist, a woodworker, but he has never been good enough for his mother, and now he is in jail, and his mother could not care less, leaving the Rivers family to prove his innocence on their own.
Tish has to be strong for Fonny, their baby, and herself. She has a strong support system in her parents and sister Ernestine, who are all as happy as can be for Tish to get married and start a family. We find out that Ernestine is a social worker and has connections in the white world, which will factor greatly in Fonny’s case. Procuring a respectable white lawyer as well as working for an actress who is sympathetic to their cause, it is Ernestine who shoulders most of Tish’s burden. Yet despite their being nine characters, the entire point of view is told through Tish. She alternates between her relationship with Fonny, then being completely in love and in tune with one another in body and soul, and the tense present time, where he is in jail and she spends every ounce of her being to get him out. At age nineteen, it is obvious that Baldwin has created a character in Tish who is wise beyond her years.
As expected, the prose of If Beale Street Could Talk does flow like Memphis jazz and blues, between the fractious moments with the Hunts to the crescendo of love between Fonny and Tish. The soundtrack I had playing in my mind would translate well to the big screen, and I look forward to seeing the film version. Some goodreads users downgraded the overall novel due to Baldwin’s inability to tie up loose ends. It seems, however, that this is Baldwin’s style, and, like improvised music, it is up to the reader to create an ending for themselves. Even though this is my first official read of the year, the memorable characters and prose that Baldwin has created will undoubtedly catapult If Beale Street Could Talk to among my year’s best. I expect to be revisiting his work again in years to come.
5 stars -
If Beale Street Could Talk by James Baldwin is a an angry and sometimes brutal love story set in the Bronx, New York.
Tish is 19 and pregnant - her partner Fonny is a couple of years older and in prison, falsely accused of rape. Tish’s family are close and supportive. Fonny’s are stiff and judgemental.
Childhood friends, Tish and Fonny (Alonzo) have fallen in love and are building a life together. With meagre income and youthful naivety this is never going to be easy.
The situation they find themselves in after Fonny’s arrest seems almost impossible.
James Baldwin paints a bleak picture of racism and injustice - a cry against the establishment and attitudes of 1970’s America.
If Beale Steeet Could Talk is a short and powerful novel. The plot is simple and propulsive, the dialogue gritty and crackles on the page, and the images are graphic.
The story is full of sadness and searing emotion - it’s hard not to feel angry, as the odds are stacked against our star struck lovers from the start.
The only real criticism is that I wanted to spend longer with Tish and Fonny as they struggle on into the future.
As Joseph, Tish’s father says to them at one point:
‘Take care of each other ......... you are going to find out that it’s more than a notion’ -
I’m disappointed to report If Beale Street Could Talk was just ok for me. I wasn’t blown away. Perhaps my expectations were too high after all of the hype surrounding the book but I have to say, I felt letdown.
New York City, 1970s: Fonny, a young African-American man, is accused of raping a woman, a crime he did not commit. While he’s in jail, his newly pregnant girlfriend, Tish, works diligently with her family and Fonny’s father, Frank, going to great lengths beyond their means to try to save Fonny from this fate.
I never felt invested in any of the characters - Yes, there was racial injustice and it wasn’t fair these two families had to endure this challenge, but it was hard for me to feel for them - I remained disconnected throughout the book. I also truly disliked the abrupt, unfinished ending. I’m fine with an ending that leaves some elements of a story open to interpretation - After all, life is rarely neat and tidy, but this one genuinely felt abandoned.
This isn’t a long book, though it took me days to get through. It’s clear James Baldwin is a talented writer, but for me, If Beale Street Could Talk is a three star read, and the third star is strictly for the quality of the writing. I do plan to watch the movie soon (the trailer is what initially peaked my interest in this story) and hope I will like it more than the book.
Update 9/29/19: Watched the movie and enjoyed it, at least more than the book. The actors/actresses were very good. I appreciated that the ending was a little more clear and less abrupt than in the book too. -
A bleak tragedy about incarceration, endurance, and anti-Blackness, If Beale Street Could Talk gives voice to the despair of a young couple living in Harlem during the seventies. Nineteen-year-old Tish is pregnant and engaged to Fonny, a sculptor who’s been imprisoned after being accused of rape by a Puerto Rican woman. A local cop with a vendetta against Fonny has framed him, and manipulated the survivor of rape into giving false testimony and fleeing the country. The main storyline follows the couple’s families as they attempt to prove Fonny’s innocence while preparing for the possibility that Tish might have to raise her child alone. Alternating with these are wistful sections in which Tish reminisces about the history of her relationship with Fonny, from their childhood to the present. Even at its most poetic, the novel’s frank language lacks the lyricism of Baldwin’s earlier fiction; little is aesthicized or made beautiful here. Full of suspense and pain, the short novel brings to life the unbearable human toll of racism in America.
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James Baldwin is, to me, an author who can do no wrong, except for this book which in many ways felt, was, and tended to be wrong.
Don't get ME wrong - the discussion of the horrors of the criminal justice system is excellent. One of the best I've ever read on the subject.
But nothing else - the family relationships, especially Fonny's family, the romance, the characters themselves - worked for me as well.
The women of Fonny's family and the sex scenes especially were nightmarish - there is a lot of misogyny in here!!! And to be honest, I'm not typically a reader who can't handle misogyny. But there was something disturbing about this.
Bottom line: Three stars for the justice system depiction alone! Everything else...shudder.
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pre-review
not my favorite. but what is, really
review to come / 3 or 3.5 stars
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tbr review
might mess around and read everything james baldwin has ever written -
You have to brace yourself to read James Baldwin. And even then, even if you know he’s going to throw a punch at you, he’ll still knock you right off your feet.
Written and set in the 1970s, “If Beale Street Could Talk” might as well be set now, because this is the kind of story that we read about in the news all too often: and just as in real life, there is no perfect resolution to this tale of injustice, prejudice and broken homes.
Tish and Fonny have always loved each other, even when they were too young to know it. When they do finally realize it and begin to make plans for a life together, their dreams are dashed: a woman is raped by an black man, points to Fonny in a line up, and he is sent to jail. Tish and her family know that Fonny is innocent, but they have the testimony of a white cop against them, and then the accuser disappears…
Told in Tish’s voice, the story of how her and her family try to free Fonny is endlessly tragic, but also, somehow, a beautiful love story. Tish is strong and resilient, but also prudent. She is well-aware that the nightmare she is in is neither uncommon nor is it going away easily. Her family, a tight-knit group of imperfect but loving people who will try anything to help, is a stark contrast to Fonny’s, whose father is the only one who takes a part of fighting for the young man’s freedom – the very religious but heartless mother and sisters echoing Baldwin’s previous work, where characters are devoted to their Church but not to their family and community.
Baldwin’s prose, of course, is sharp like a scalpel and exposes the truths he saw and heard and that he desperately wanted other people to see and hear. He knew that his strongest weapon in a fight for justice was his story-telling. So he wrote about the lengths some people have to go in order to get the justice that others take for granted, that the cost is more than simply money, and that a rigged system doesn’t only hurt the person who is unfairly jailed, but all those who are near and dear to them.
This little novella packs quite a punch, and isn’t as far from us as the publication date might make it seem. My tiny review can’t do justice to this heartbreaking and important book. -
A lyrical, rapturous, beautifully written short novel about love in the face of brutal injustice.
Fonny and Tish are a young Black couple in early 1970s New York City. Fonny has been falsely accused of raping a Puerto Rican woman and is in prison; Tish, who narrates most of the book, is pregnant. Their families – especially Tish's – are working to get Fonny out of jail, but then, as now, the odds are stacked against a young Black man, especially when there's a racist cop looking to pin something on you.
This is the first Baldwin novel I've read, but it won't be my last. The prose is rich and soulful; my heart ached for this young couple just starting out in the world, and I especially loved being inside Tish's inquiring mind.
There's real pain and despair contained in the book; there's a section where Fonny and Tish meet up with Daniel, one of Fonny's old friends, and Daniel tells them what happened to him in prison (where he was sent after his own trumped-up charge). But there's just as much goodness. One sequence in which a young landlord agrees to rent a loft (Fonny is a sculptor) to the pair exudes warmth and affection. (He's Jewish; he knows they're in love and discriminated against.)
I sought out this book because I had seen Barry Jenkins's (Moonlight) film adaptation a few months ago (it gets a general release soon). I was curious about the rapturous, romantic tone of the movie. Why wasn't there more about the false charge? What happened to the racist cop?
I realize now, after having read the book, that those questions belong to another kind of movie, one we've all, sadly, seen before. This book is about hope, love, perseverance. It's about the endurance of the human spirit, if you will.
If our city streets could talk, would they howl in anger and pain? Would they accuse? Those streets soak up so much blood, they witness prejudice, veiled and unveiled threats. They feel the weight of Black bodies brutally pushed down on them, handcuffed, beaten, shot, killed.
The streets can't talk back. But they can witness. Baldwin, too, is a witness, and he's got one helluva powerful voice: urgent, necessary, passionate, forgiving. -
This coming-of-age novel is a mixed bag for me.
It's James Baldwin's writing, so I delighted, as always, in the crack and hum of his dynamic words, and the violence he strikes with his consciousness shattering one-liners.
It's an important book as well: a relatable story about systemic racism and the ripple effects of oppression, “a bottomless cruelty, a viciousness cold and icy.”
I wanted to love it, but, unfortunately, I wrestled with it instead, bothered from the first page to the last by Mr. Baldwin's inability to connect with his main character, Tish.
It seems atypical for an offering of his, to experience this disjointed connection. I felt that, no matter how hard he tried, Mr. Baldwin could not access Tish's Voice. A lot of the dialogue in this novel felt inauthentic to me, but I struggled most particularly with almost every sentence that came out of Tish's mouth (not to mention that she was simultaneously unformed, yet omniscient).
I did, however, find myself cheering on Tish's very believable mother, Sharon, who was definitely my favorite character, and I also found myself fascinated by the white attorney, Hayward, and his own personal journey down the rabbit hole of social injustice, but the story hinged on Tish's narration and I kept being pulled out of it by what felt like her reading off of cue cards.
I was also more than a little disturbed by the violence on women in this story, set in New York City, and the excuses that are made for the “comeuppance” of the women in the community—the multiple occurrences of women being slapped into compliance by the male characters and the mob mentality of women that Mr. Baldwin presents here, in the guise of excusing certain acts of violence on women because they were committed by other women. In short: being “bitch-slapped” by other “bitches.”
Let me clarify: I understand that Mr. Baldwin was mirroring, in his fictional story, a very real world of violence upon women that was alive and kicking in the early 1970s in this country, but I felt, also, that he was somewhat flippant in relating it.
I think it was disappointing for me to discover that even a man who was a minority in two significant ways would still feel very “male” in his depiction of women.
Also. . . grumble, grumble, grumble. . . did Mr. Baldwin even interview any women, to ask them what it was like, the first time they ever had sex? I'm a woman, and I've known a lot of women in this lifetime, and none of them have ever described to me that the first time they had sex, they grabbed the man's ass to drive him deeper into themselves and then climaxed after having their hymen broken. To be honest, from the stories I've either experienced or had shared with me, a woman is a lot more likely to cry when she loses her virginity, than to cry out in pleasure, and I knew a woman once who shared with me that she vomited afterward.
Again. . . it felt very “male” to me that a man should have such a perception of a woman's experience of having sex for the first time. The scene with the 18-year-old virgin, moaning and groaning and demanding more dick, turned me into a grouchy reader quickly.
It took some big balls to publish this story in 1974, especially so close on the heels of the Civil Rights Act of 1964, but I still felt frustrated by what was standing in this story's way. -
I've never come across a Baldwin read I didn't love. Beale Street 'talked' something sexual and consciously charged. It is profound and suspenseful storytelling (I think I was on page 78 and still didn't know why Fonny was locked up, yet I went along patiently and willingly). This book is very different from the lyricism that is
Go Tell It on the Mountain and
Giovanni's Room, but the love story and angst is Baldwinian. I don't think I've come across such a vivid portrait of the urban, African-American, blue-collar family struggle as I have here. At some point I read( I believe it was in one of Maya Angelou's memoirs), that Baldwin once found himself flat on his back, on a paved lot, at the command of a police officer - the rest is implicitly stated. In this novel, it's not so implicit. The language is at times brutal, the pain palpable. What I'll say is this: in these times, when the truth is too harsh, and when it sometimes manifests itself into hateful rhetoric, as it did with Fonny's father, this book may not be for everyone. Better yet, if Ellison's
Invisible Man is not your cup of tea, most likely this wouldn't be. The novel ends in a commune in France and if you know Baldwin's life story, you know at some point he became so disheartened, he left America to live in France. -
It's a lyrical voice that seems to have the power of penetrating even dreams...
The family unit is the strongest structure--it's refreshing to see the power of staying together, of belonging by blood. Remember "Raisin in the Sun"? It's power is as magnetic as this novel's. Which is all about the family, about rescuing members that are drowning.
&, of course, the enormous racism inherent in the U.S. "correction" system is seen at the forefront. -
A novel about racial injustice in New York in the 1970s. A young black man is arrested for a rape he didn't commit. I have to confess at one point I was hoping for the twist that he was guilty because that would have opened up a much broader canvas. But this is a novel of angels and demons and was never nuanced enough to truly engage me. I never got as angry as the author wanted me to get. And I'm someone who gets angry easily at social injustice and racism. Perhaps everyone in this book was too good to be true. And I didn't warm to the nondescript writing style. Probably might be more successful as a movie.
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Una preciosa historia de amor. Una dura crítica al racismo en EEUU.
Es un libro muy íntimo que narra el amor entre dos adolescentes que quieren ser adultos y que se aman desde que eran niños.
Baldwin arrasa con toda la maquinaria de su país: una justicia corrupta; una policía racista; una sociedad hipócrita. Muy poco se salva de su mordacidad.
No todo es malo. Hay personas buenas, muy buenas, que cuidan de los demás.
Es uno de estas novelas que, o te destroza o te hace más fuerte.
A beautiful love story. A harsh critique of racism in the US.
It is a very intimate book that narrates the love between two teenagers who want to be adults and who have loved each other since they were children.
Baldwin destroys all the machinery of his country: a corrupt justice; a racist police force; a hypocritical society. Very little is saved from his mordacity. Not everything is bad. There are good people, very good people, who take care of others.
It's one of those novels that either destroys you or makes you stronger. -
"Black love literally shouldn’t exist in America, in any form. Familial, heterosexual, trans, queer, community, etc. Everything was done to prevent it. It is the purest form and most glaring example in American History, to me, of resistance." - Reginald Cunningham from "Black Love is Revolutionary" via the Huffington Post (2017).
A classic novel that showcases two participants in this revolution, Tish & Fonny. Despite all of the odds, they stuck by each other and knew that their love, which developed from their youth, was worth fighting for.
A love story that is HILARIOUS, full of superb dialogue, and critiques of criminal justice in the US that could have been written in 2025 (no typo). A book that also lives up to its eponymous street through James Baldwin's effortlessly poetic prose, hard earned wisdom, and blues references to spare.
I look forward to this novel, that centered Black people and Blackness, as a movie. Barry Jenkins centered Black lives beautifully with his Academy Award winning Moonlight, and I look forward to him directing, what I hope will be, another Oscar winner. -
A sobering look at the injustice of racial profiling in New York in the 70’s, this shows the human side of a family uniting to prove one of their own innocent amongst all the odds stacked against them. The strength of their collective love to free an innocent man from life in jail really pulls at the heartstrings, it’s clear early on that hope is dim with the knowledge that it’s a one sided judicial system a system that is there to derail them. It’s sad and raw and it should make you angry, but also fill your cup of joy at the strength of love and the uniting bond to protect one of their own and how hope can make a difference, but sometimes even that’s not enough. I really enjoyed my second foray reading James Baldwin. I love the grit and power of his storytelling.
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My first read by Baldwin & now I know the reason why he's a renowned great writer.
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رواية إنسانية ممتعة ومؤثرة. عن العنصرية التي يتعرض لها أصحاب البشرة السمراء في أمريكا.
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“أنها معجزة حين تكتشف أن أحدهم يحبك”.
“كانوا أحرارًا إلى درجة أفقدتهم إيمانهم بأيّ شيء، وأعمت بصائرهم عن رؤية أن هذه الحرية هي محض وهم يعيشونه، بل أن هذا الوهم هو الحقيقة الوحيدة التي يملكونها”.
“إن من أفضع الأمور وأكثرها غموضًا في الحياة، أن لا تنتبه إلى تحذير كان قد وجِّه إليك إلا حين تستعيد الماضي، أي بعد فوات الأوان”.
جيمس بالدوين . -
2,5*
Depois de ler um Penguin 60's com três contos, achei que James Baldwin me conquistara, mas essa proeza não se confirmou com nenhum dos seus romances, depois de ter largado “O Quarto de Giovanni” a meio e de ter terminado “Se Esta Rua Falasse” com um certo fastio.
Dizer que gosto dos protagonistas de Baldwin quando estão calados pode parecer abrasivo, uma ofensa gratuita, mas os momentos realmente bonitos deste livro são os de instrospecção, quando Fonny está transido de medo na sua cela, quando Tish está a sentir e pensar no bebé que tem dentro dela, quando a família Rivers está reunida em silêncio, a ouvir música. Quando estão a expressar-se, quando estão em diálogo ou em conflito, as personagens são histriónicas, parece que estão sempre aos gritos, a pregar a sua mensagem, a lançar a sua raiva e a sua revolta, totalmente justificada, aos sete ventos, o que em mim não surte nenhum outro efeito que não seja a irritação. Pode ser sinal da minha “fragilidade branca”, um termo muito em voga agora, mas faz-me confusão que haja um branco muito, muito mau, capaz de incriminar, violar, matar e um outro branco que, depois de muita desconfiança, até é um porreiraço; que haja as mulheres desprezíveis da família de Fonny, que são umas beatas insensíveis, e do outro lado, haja as mulheres formidáveis da família da Tish, em que a irmã é uma activista e a mãe é uma ex-cantora muito forte e determinada; que seja tudo, de facto, muito preto ou branco, sem tons de cinzento, como eu vejo a vida na realidade. Chegando por fim ao casalinho no centro deste drama, é Fonny o único que vejo como sendo de carne e osso, uma pessoa com desejos, ideias e sonhos, porque, se virmos bem, Tish é quase um autómato, uma rapariga a quem acontecem coisas, mas que não chega a fazer nada de livre vontade.
Não pretendo demover ninguém de ler “Se Esta Rua Falasse”, muito pelo contrário, pois aplaudo o interesse da editora Alfaguara por este autor norte-americano, que só peca por ser tardio (um atraso de cerca de 70 anos!). Eu, obviamente, não sou um homem negro nos Estados Unidos nos anos 70 e, por isso, tenho uma sensibilidade e uma vivência diferente, mas além da flagrante injustiça racial e social que serve de tema a esta obra, há cenas de violência doméstica e verbal que servem apenas para caracterizar ou punir as personagens, que não vistas como problemáticas e isso, para mim, no meu Speaker’s Corner virtual, é sempre um problema. Por exemplo, por duas vezes se refere que as mulheres deste livro se deviam prostituir a fim de se arranjar dinheiro para as despesas legais do rapaz que foi preso; e a naturalidade com que isso é dito é arrepiante. -
Una preciosa historia de amor. Una dura crítica al racismo en EEUU.
Es un libro muy íntimo que narra el amor entre dos adolescentes que quieren ser adultos y que se aman desde que eran niños.
Baldwin arrasa con toda la maquinaria de su país: una justicia corrupta; una policía racista; una sociedad hipócrita. Muy poco se salva de su mordacidad.
No todo es malo. Hay personas buenas, muy buenas, que cuidan de los demás.
Es uno de estas novelas que, o te destroza o te hace más fuerte.
A beautiful love story. A harsh critique of racism in the US.
It is a very intimate book that narrates the love between two teenagers who want to be adults and who have loved each other since they were children.
Baldwin destroys all the machinery of his country: a corrupt justice; a racist police force; a hypocritical society. Very little is saved from his mordacity. Not everything is bad. There are good people, very good people, who take care of others.
It's one of those novels that either destroys you or makes you stronger. -
"One of the most terrible, most mysterious things about a life is that a warning can be heeded only in retrospect: too late."
That this novel, first published in 1974, rings so true 43 years later, is an indicator that James Baldwin is indeed correct: the life of the black man in America is marked by constant belated warnings that leave our previous brothers marked as a target for the corrupt justice system that is intent on shackling us or killing us, or both.
The emotional center of everything that Baldwin has ever written is rage, and this novel is no different. He uses the novel in the same way that he uses his masterfully written essays: to plumb the depths of the human psyche, excavating all of the inner contradictions that are essentially what makes us human. He unapologetically critiques this country's racist foundations and through it all, manages to write in a beautiful style that could never be duplicated by any other writer.
While this novel is not as lyrical and evocative, or even as imaginative as what I consider Baldwin's two masterpieces--Giovanni's Room and Just Above My Head--to be, I must give a 5 star rating because of his ability to so beautifully tell a story of real human beings faced with obstacles that, against all odds, must be confronted and demolished, despite the throbbing anguish that the characters feel. -
I decided to reread If Beale Street Could Talk in anticipation of its movie adaptation hitting cinemas in Germany next week. I first read it back in April 2017, and already forgot much of the plot and outcome of the story. Now, as I did back then, I managed to read this wonderful novel within one day. Spanning only 197 pages that’s not the biggest achievement, but still: there aren’t many authors who can captivate me and keep my attention like Baldwin does. If Beale Street Could Talk is, as of right now, my favorite work of his; not least of all because it had an unmatched sense of urgency and relevancy to it.
The novel was written (if not revised for publication) by Baldwin in the 1950s, but ultimately published in 1974. It centers around the loving relationship between 19-year-old Tish and 22-year-old Fonny, and their struggle for justice as Fonny is put into jail for raping a Puerto Rican woman – a crime he didn’t commit. The only Black man in a police line-up, he is "identified" by the distraught, confused woman, whose testimony is partly shaped by a white policeman. His fiancee, Tish, is pregnant; the fact of her pregnancy is, at times, all that keeps them from utter despair.
The two of them grew up in the same run-down Black neighborhood in New York City, and fell in love in their late teens. Through flashbacks, Baldwin shows us their childhood and how they navigated through America, whilst inhabiting a Black body. The psychological aspect of racial segregation is the focus of this tale. How can Fonny become a man, when society denies him exactly that? We see children go to the dogs, waste away their lives on drugs, sell their bodies for some cash … It is not easy to keep your head up high and your morale intact when your possibilities in life are being purposefully limited. It is not easy to love, to truly love, in an environment like that. But somehow Tish and Fonny have found one another and they cling to each other to remain sane.I know. But I know some hustles and you know some hustles and these are our children and we got to set them free.
The reason I love this novel so much is the way in which Baldwin shows us the variety of family dynamics that shaped these two young adults in their rawest form. Tish has a great support system and can always lean on her mother, father and older sister. They are there for her through it all, through Fonny’s imprisonment, her pregnancy; they somehow find a way to make life bearable.
Fonny’s family, however, is another matter entirely. His father Frank is trying his best to support his son, but he is lost, has succumbed to alcohol and cannot count on his wife for support. Fonny’s light-skinned sisters have got it into their head to get out of the ghetto, and being there for their dark-skinned imprisoned brother won’t help them with that. As accusations fly and the families fight, Baldwin’s language oozes contempt and harshness. This novel is not for the faint of heart. It is tense and offensive and difficult … and ultimately, a forthright account of what it meant to be Black in America in the 1950s.“I have been in America a long time,” she says. “I hope I do not die here.”
As I mentioned before, I rarely read a novel that had such a sense of urgency to it. And even the second time around, I kept turning the pages because I needed to know if they would be able to get Fonny out of prison, if Tish would have enough strength to bring their baby into the world, if the families would somehow be able to reconcile … so many questions, so many wounds that Baldwin tore open with his writing, it’s nearly impossible to extract yourself from it.
I am incredibly happy that If Beale Street Could Talk features so many strong Black women. In the past, I have been frustrated with Baldwin’s lack of care for his female characters or his blatant ignorance when it comes to the plight of Women of Color (if you’re interested in that, read
his interview with Audre Lorde), but Beale Street reads almost like a love letter to Black women, their strength and resilience to push through hardships like nobody else.I know I can't help you very much right now – God knows what I wouldn't give if I could. But I know about suffering; if that helps. I know that it ends. I ain't going to tell you no lies, like it always ends for the better. Sometimes it ends for the worse. You can suffer so bad that you can be driven to a place where you can't ever suffer again: and that's worse. […] I know that a lot of our loved ones, a lot of our men, have died in prison: but not all of them. You remember that.
As the men in the family quickly despair over Fonny’s hopeless situation, Tish’s mom Sharon keeps the family together and does everything in her power to support her daughter, she even travels to Puerto Rico to confront the woman who has accused Fonny of raping her. Tish’s sister Ernestine is honestly my favorite character in this whole entire novel. She’s tough and intense and wonderful, and a true lioness when it comes to protecting her sister from harm. Ernestine truly is the one who keeps the whole investigation running, constantly pushing Fonny’s lawyer to make sure he’s doing his utmost to get Fonny out of jail. And Tish herself is a remarkable woman, too; all the times in which Fonny despaired and had to lean on her and she took it all with such grace, even though she, too, was feeling like shit. Absolutely admirable!
If Beale Street Could Talk is a moving and painful story. It is so vividly human and so obviously based upon reality, that it strikes us as timeless. A novel that is nearly impossible to put down; it's been a long time since I felt that an author's message was so urgent, so important, so deserving of being heard. -
This was a riveting read. Baldwin’s honest and emotion-laden writing grabs you from the start. He tells you a simple story of gross injustices inflicted on people of color in New York City in the 60s and 70s. Weaving into this narrative family love, passionate love between two young people, hope and despair, dogmatic prejudices and forgiveness, he transports you to a world that makes you throw your hands up in disbelief at the injustices and at the same time marvel at humanity.
Fonny and Tish from their respective black families fall in love and are about to get married. Fonny loves the art of sculpting, but for this passion he has to tolerate his mother’s and sisters’ scorn. Just as Tish discovers that she’s with child, Fonny is thrown into prison on a false charge of rape, because a white policeman is set on ruining him out of spite. Tish’s parents and elder sister rally to help Fonny get exonerated. Meanwhile, Tish and Fonny are sustained by their love for each other and the baby in Tish’s womb.
The beauty of the novel lies in the true-to-life characters that jump off the page. Each character is drawn vividly with his/her flaws and strengths and beliefs and idiosyncracies. Their dialogues and interaction makes it easy to believe they were the folks who walked the streets of New York in that time period.
I’m giving this novel 4.3 stars. -
In one of the more memorable lines of "To Kill a Mockingbird", Atticus Finch tells his daughter Scout to never judge a man until she's walked a mile in his shoes. The lesson, of course, is that it is not possible to walk a mile in another man's shoes (and therefore impossible to ever really know him), and therefore we should never judge.
So if it is impossible to walk in another man's shoes, as an author James Baldwin gets us as close to this as is possible. His writing of disenfranchised African-Americans in the middle-late years of the 20th century is simply stunning. I've yet to come across a character in any of his novels that are cardboard cutouts of the characters they are portraying, and in this sad tale of two black families in New York City during the early '60s, you feel like you are sitting in the homes of these people as their tragedy is played out.
This is the third Baldwin book I've read in the past year - I've thoroughly enjoyed all three. Amongst my well-read friends, however, Baldwin is an unknown and unread author. I hope the small sample size of my world is an anomaly, and that this talented writer is read the world over and not fading into a library's treasures hidden in plain sight. -
And from far away, but coming nearer, the baby cries and cries and cries and cries and cries and cries and cries and cries; cries like it means to wake the dead.
Make no mistake, this is grim, harrowing and hard-hitting - all the more so that though first published in 1974, almost 50 years later we're still struggling with the same issues of racial injustice and incarceration. Indeed, one of the technical flaws of the book is that acute analyses of structural/institutional racism have to be placed in the mouth of 19 year old Tish when it's clear that this is Baldwin's own voice speaking to us with clarity and lyrical power: 'the kids had been told they weren't worth shit and everything they saw around them proved it. They struggled, they struggled, but they fell, like flies, and they congregated on the garbage heaps of their lives, like flies.'
I couldn't help wondering whether this novel is intentionally a riposte to
To Kill a Mockingbird, another book about a poor Black man erroneously accused of rape, imprisoned and awaiting trial - though Baldwin's version, needless to say, has none of the twee cuteness of Scout's voice nor the romanticising 'white saviour' narrative, and puts Black characters at the heart of the story rather than pushing them to margins as Mockingbird does. The ending also made me think of
The Grapes of Wrath, a book focused on class and economic disparity rather than race but which ends with that 'milk of human kindness' scene where offering succour is also a form of defiant rebellion. The cry of the baby which ends Baldwin's text is a shriek of grief, fear, mourning, but also insolence and a refusal to be silenced.
The distressing story is countered, but also augmented, by the tender and visceral love between Tish and Fonny, a love that is robust and sexual; and the care of their friends and families - again, with enough coarse and rough-around-the-edges stuff to make it feel genuinely familial rather than saccharine. But there's no getting away from how distressing this book is: weighty, nerve-racking and leaving me feeling helpless and powerless. -
Το εν λόγω βιβλίο είναι το 4ο του Baldwin που διαβάζω.
Την ιστορία αφηγείται η Τις, μια δεκαεννιάχρονη μαύρη κοπέλα από την Νέα Υόρκη. Η Τις είναι ερωτευμένη με τον εικοσιδυάχρονο Φόνι και ο Φόνι μαζί της.
Στην αρχή του βιβλίου η Τις πηγαίνει να συναντήσει τον Φόνι για να του ανακοινώσει ότι είναι έγκυος. Του λέει τα νέα μιλώντας σε ένα ακουστικό τηλεφώνου και τους χωρίζει ένα τζάμι. Γιατί ο Φόνι βρίσκεται στη φυλακή κατηγορούμενος για τον βιασμό μιας Πορτορικανής, τον οποίο δεν διέπραξε. Παρακολουθούμε τον αγώνα της οικογένειας της Τις και του πατέρα του Φόνι να αποδείξουν την αθωότητα του για να τον απελευθερώσουν όσο το δυνατόν πιο γρήγορα. Οι συνθήκες δεν είναι ευνοϊκές και τα εμπόδια, όντας μαύροι, είναι υπερδιπλάσια. Παράλληλα παρακολουθούμε και τα γεγονότα πριν. Για την γνωριμία της Τις με τον Φόνι όταν ήταν μικροί, για τις οικογένειες τους, για τα σχέδια και τα όνειρα τους για το μέλλον καθώς μεγάλωναν, για το σπίτι που ήθελαν να φτιάξουν.
Ίσως να μην ήταν τόσο δυνατό όσο τα άλλα δικά του που διάβασα αλλά όπως και σε εκείνα έτσι και εδώ ο Baldwin μέσα από την Τις και τον Φόνι (και την ιστορία αγάπης τους) μιλάει για τον φυλετικό ρατσισμό, για το μίσος και τις αδικίες που προκαλούνται εξαιτίας του, για τις ζωές που καταστρέφει.
Και μιλάει και για τις οικογένειες, για τις σχέσεις μεταξύ των μελών, τις καλές και τις προβληματικές, για την αγάπη, την εμπιστοσύνη αλλά και την έλλειψη υποστήριξης.
Δεν έχει και το πιο εύκολο θέμα ενώ καθ’όλη τη διάρκεια του ο νους μου ήταν στο τέλος, στην κατάληξη που θα μπορούσε να έχει αυτό το δράμα, πέρασαν διάφορα κακά σενάρια από το μυαλό μου μέχρι να φτά��ω στις τελευταίες σελίδες. Και πολύ χαίρομαι που εν τέλει με ικανοποίησε.
Πολύ ωραίο, με ρεαλισμό και γεμάτο συναισθήματα.
Ελπίζω να μην αναγκάστηκε ποτέ κανείς να κοιτάξει κάποιον που αγαπάει μέσα από ένα τζάμι.
η άποψη μου και εδώ:
https://wordpress64426.wordpress.com/... -
I listened to this audiobook for several reasons. Joshua Greer said Bahni Turpin is one of his favorite narrators, James Baldwin is on my list of authors to finally read in 2020, and Audible is giving subscribers $20 in Amazon credit for finishing three books by a date in March. (I hope books we already owned count- update, they do.)
.
What is really amazing is how a novel from 1974 is practically a readalike to
An American Marriage by Tayari Jones, although the Jones has an extra twist. Suffice to say I believe if you liked one you would like the other, no matter which century you started in. A young black couple, an inequitable ruling, etc. The moments I liked best are when Baldwin writes Tish's father talking on the phone, a great capture of the era.
I feel like I need to read more Baldwin to get to his more autobiographical works but I did enjoy this short novel.
And later, I watched the movie version, which is pretty true to the original, but contains just a little bit too much open-faced mooning for my tastes. -
«Τώρα, μπορώ να το πω, γιατί τώρα πια είμαι σίγουρη, ότι η πόλη δεν μας αγαπούσε’ λέει η Τις. ‘Μας κοιτούσαν λες και ήμασταν ζέβρες – και, ξέρετε, κάποιοι συμπαθούν τις ζέβρες, κάποιοι τις αντιπαθούν. Όμως κανείς δεν ρωτάει τη ζέβρα πώς αισθάνεται».
"Οι άνθρωποι σε αναγκάζουν να πληρώσεις για την εμφάνισή σου,που επίσης αποτελεί την εικόνα που εσύ νομίζεις ότι δίνεις και αυτό που χαράζει ο χρόνος στο ανθρώπινο πρόσωπο είναι η ιστορική καταγραφή αυτής της σύγκρουσης."
Εντάξει ερωτεύτηκα. Ο james Baldwin είναι αδιαπραγμάτευτα ένας από τους πιο δεινούς αφηγητές και πιο ταλαντούχες πένες που διάβασα τελευταία. Πραγματικά αντί κριτικής το κείμενο μου θα μπορούσε να ήταν άνετα μια ωδή στη συγγραφική δεινότητα του συγγραφέα. Ευγλωττία, απλότητα, ειλικρίνεια, αμεσότητα μερικά από τα χαρακτηριστικά που θα συναντήσεις, χαρακτηριστικά για έναν συγγραφέα που συνειδητοποίησε από νωρίς ότι το μόνο του όπλο για ν’ αναδείξει το φυλετικό ρατσισμό ήταν να γίνει συγγραφέας. Επιλέγοντας τούτον εδώ τον τρόπο έκφρασης υπερασπίζεται με κάθε ειλικρίνεια και αλήθεια την αξιοπρέπεια των μαύρων. Συνθέτει μια μοναδική ιστορία αγάπης που είναι κάτι παραπάνω από μια ακόμα ιστορία αγάπης. Είναι μια ιστορία γεμάτη εκτός από αγάπη, τρυφερότητα και πίστη με πόνο και τη θλιβερή διαπίστωση για μια κοινωνία που ο μαύρος διαπράττει το κάθε έγκλημα και όταν αυτοί βρίσκονται πίσω από τα κάγκελα μιας φυλακης τότε η κοινωνία των λευκών μπορεί να κοιμάται ήσυχη. Κανέναν δεν ενδιαφέρει αν ο Φόνι ο κεντρικός ήρωας της ιστορίας μας είναι ο πραγματικός δράστης στο έγκλημα βιασμού που αδίκως κατηγορείται. Στη συνείδηση των λευκών η κοινωνία είναι ήσυχη και ασφαλής όταν οι μαύροι είναι στη φυλακή.
Πρωταγωνιστες της ιστορίας μας η Τις και ο Φόνι ένα ζευγάρι μαύρων που ζει στο Χάρλεμ. Ο έρωτας τους είναι αγνός και ξεκινά από την παιδική τους κιόλας ηλικία. Λίγο καιρό αφού η Τις μένει έγκυος, ο Φόνι κατηγορείται από έναν λευκό αστυνομικό για έναν βιασμό έγκλημα που δεν διέπραξε ποτέ. Με αφορμή το συγκεκριμένο γεγονός λοιπόν σε ένα αφημηματικό κρεσέντο ο Μπάλντουιν θα βρει την ευκαιρία να σκιαφγραφήσει μια ολόκληρη κοινωνία και ν’ αναδείξει ένα από τα βαθύτερα προβλήματα της που είναι η ευκολία με την οποία το χρώμα του δέρματος είναι αρκετό για μεγάλο μέρος της για να καταδικάσει έναν άνθρωπο, να τον απομονώσει, να τον εξευτελίσει.
Για το καλό του Φόνι δεν είναι μόνος. Σύμμαχος στην προσπάθεια ν’ αποδείξει την αθωότητα του είναι η οικογένεια του καθώς και η οικογένεια της αγαπημένης του. Κανείς τους δε θα σκύψει το κεφάλι παρόλο που η υπόθεση του φαντάζει χαμένη από χέρι.
«Το ίδιο πάθος που έσωσε τον Φόνι τον έβαλε σε μπελάδες και τελικά στη φυλακή. Γιατί, βλέπετε, είχε βρει τον πυρήνα του, τον δικό του πυρήνα, μέσα του : και αυτό φαινόταν. Δεν ήταν ο αράπης κανενός. Και αυτό είναι έγκλημα σε αυτή τη γαμημένη, ελεύθερη χώρα. Έχεις το καθήκον να είσαι ο αράπης κάποιου. Αν δεν είσαι ο αράπης κανενός, είσαι κακός αράπης : και σε αυτό κατέληξαν οι μπάτσοι, όταν ο Φόνι μετακόμισε στο κέντρο».
Συγκινητικό, γεμάτο πόνο, αγωνία για δικαιοσύνη με μοναδικό όπλο την πίστη στην αλήθεια. Ένα βιβλίο ενάντια στη διαφθορά της Αμερικανικής κοινωνίας, την αδικία. Ένας άνισος αγώνας υπό τους ήχους των μπλουζ. Αγάπησα.
Ενδεχομένως σε κάποιους να φανεί αρκετά μελοδραματικός ο συγγραφέας. Μπορεί και να είναι κατά μια έννοια αλλά με ένα τρόπο πολύ σεμνό χωρις οι ήρωες να θυμίζουν ήρωες κακοπαιγμένης σαπουνόπερας. -
[37th book of 2021.]
I recently read an article about Brandon Taylor, writer of Real Life, which was titled "I didn't write this book for the white gaze". In it, he is described as making an interesting point that I had never considered before but identify now as being true: "He hates when his work is called “raw” and “visceral”. Mostly because the work of black writers often receives these coded, confining labels, much as rap music is often called “urban” and black fashion is called “streetwear”." Why is that? It also reads: "These loaded comments show up when Taylor is compared to James Baldwin more frequently than contemporary writers such as Sally Rooney and Rachel Cusk, who also mine the lives of messy, overeducated twentysomethings."
So here we are, James Baldwin. I think it's true that Taylor is more identifiable with other writers like Rooney and Cusk, and funnily enough, I likened Taylor's novel in my own review to Normal People. I'm not giving myself points here, but merely realising how bizarre it is to compare Taylor to Baldwin when the former is a contemporary writer. But anyway.
I can't necessarily say why the same sorts of words come up around black writers: raw and visceral, as Taylor says, are ones I see often. The other one I see often, now that I am thinking about it, "unflinching". So, I'm not going to use any of those words here for Baldwin. The only word I want to use, because the novel is dripping with it, is the unfairness of it all, something which ripples through world media today—the unfairness of the justice system.
Baldwin's writing is sharp and easy to read. The novel is almost entirely scene-based, moving between the present, Fonny in prison and Tish pregnant, and the past, with Fonny and Tish's relationship budding. It's a slim novel, just 170-odd pages long, but I read it slowly over 3 days. It feels claustrophobic and even its hopefulness is sort of suffocating before our eyes. There are some beautiful little passages such as this:
I guess it can't be too often that two people can laugh and make love, too, make love because they are laughing, laugh because they're making love. The love and the laughter come from the place: but not many people go there.
But I often like to think of the one line, or one paragraph, that sums a novel up in its entirety. For me, the below encapsulates everything between these pages.
To do much is to have the power to place these people where they are [prison], and keep them where they are. There are murderers outside, and rapists, with their hands full with all they have to do, doing much; thieves, true perverts, college boys carrying attache cases, busy, busy, doing much. Torturers, doing much. Bishops, priests, and preachers, doing much. Statesmen, doing more. These captive men are the hidden price for a hidden and dreadful terror: the righteous must be able to locate the damned. To do much is to have the power and the necessity to dictate to the damned.
So I'll save the adjectives, anyway. I'm looking forward to reading more Baldwin.
