James Baldwin Quotes (1924-1987)

“The price one pays for pursuing any profession or calling is an intimate knowledge of its ugly side.”

“Nobody is more dangerous than he who imagines himself pure in heart; for his purity, by definition, is unassailable.”

“Money, it turned out, was exactly like sex. You thought of nothing else if you didn't have it and thought of other things if you did.”

“Money, it turned out, was exactly like sex. You thought of nothing else if you didn't have it and thought of other things if you did.”

“A place where I can find out again—where I am—and what I must do. A place where I can stop and do nothing in order to start again.”

“Any writer, I suppose, feels that the world into which he was born is nothing less than a conspiracy against the cultivation of his talent.”

“Children have never been very good at listening to their elders, but they have never failed to imitate them. They must, they have no other models.”

“I imagine one of the reasons people cling to their hates so stubbornly is because they sense, once hate is gone, they will be forced to deal with pain.”

“In the church in which I was raised you were supposed to bear witness to the truth. Now, later on, you wonder what in the world the truth is, but you do know what a lie is.”

“Passion is terrifying, it can rock you, change you, bring your head under, as when a wind rises from the bottom of the sea, and you're out there in the craft of your mortality, alone.”

“All over Harlem, Negro boys and girls are growing into stunted maturity, trying desperately to find a place to stand; and the wonder is not that so many are ruined but that so many survive.”

“If the word integration means anything, this is what it means: that we, with love, shall force our brothers to see themselves as they are, to cease fleeing from reality and begin to change it.”

“This may be why we appear to learn absolutely nothing from experience, or may, in other words, account for our incoherence: memory does not require that we reconstitute the event, but that we justify it.”

“Christianity has operated with an unmitigated arrogance and cruelty -- necessarily, since a religion ordinarily imposes on those who have discovered the true faith the spiritual duty of liberating the infidels.”

“Not everything that is faced can be changed. But nothing can be changed until it is faced.… Most of us are about as eager to change as we were to be born, and go through our changes in a similar state of shock.”

“Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion. Artists are here to disturb the peace.”

“The Negro's experience of the white world cannot possibly create in him any respect for the standards by which the white world claims to live. His own condition is overwhelming proof that white people do not live by these standards.”

“without love, pleasure withers quickly, becomes a foul taste on the palate, and pleasure’s inventions are soon exhausted. There must be a soul within the body you are holding, a soul which you are striving to meet, a soul which is striving to meet yours.”

“Words like "freedom," "justice," "democracy" are not common concepts; on the contrary, they are rare. People are not born knowing what these are. It takes enormous and, above all, individual effort to arrive at the respect for other people that these words imply.”

“Words like "freedom," "justice," "democracy" are not common concepts; on the contrary, they are rare. People are not born knowing what these are. It takes enormous and, above all, individual effort to arrive at the respect for other people that these words imply.”

“Perhaps I did not succumb to ideology … because I have never seen myself as a spokesman. I am a witness. In the church in which I was raised you were supposed to bear witness to the truth. Now, later on, you wonder what in the world the truth is, but you do know what a lie is.”

“What happened to the Negro in this country is not simply a matter of my memory or my history; it's a matter of American history and American memory. As a Negro, I cannot afford to deny or overlook it, but the white American necessity is precisely to deny, ignore and overlook it.”

“Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have.”

“When ... any white man in the world says “give me liberty, or give me death,” the entire white world applauds. When a black man says exactly the same thing, word for word, he is judged a criminal and treated like one and everything possible is done to make an example of this bad nigger so there won't be any more like him.”

“You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people.”

“The fear that I heard in my father’s voice, for example, when he realized that I really believed I could do anything a white boy could do, and had every intention of proving it, was not at all like the fear I heard when one of us was ill or had fallen down the stairs or strayed too far from the house. It was another fear, a fear that the child, in challenging the white world’s assumptions, was putting himself in the path of destruction.”

“Most of us, no matter what we say, are walking in the dark, whistling in the dark. Nobody knows what is going to happen to him from one moment to the next, or how one will bear it. This is irreducible. And it's true of everybody. Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion. Artists are here to disturb the peace.”

“The roles that we construct are constructed because we feel that they will help us to survive and also, of course, because they fulfill something in our personalities; and one does not, therefore, cease playing a role simply because one has begun to understand it. All roles are dangerous. The world tends to trap you in the role you play and it is always extremely hard to maintain a watchful, mocking distance between oneself as one appears to be and oneself as one actually is.”

“When I faced a congregation, it began to take all the strength I had not to stammer, not to curse, not to tell them to throw away their Bibles and get off their knees and go home and organize, for example, a rent strike. When I watched all the children, their copper, brown, and beige faces staring up at me as I taught Sunday school, I felt that I was committing a crime in talking about the gentle Jesus, in telling them to reconcile themselves to their misery on earth in order to gain the crown of eternal life. Were only Negroes to gain this crown? Was Heaven, then, to be merely another ghetto? Perhaps I might have been able to reconcile myself even to this if I had been able to believe that there was any loving-kindness to be found in the haven I represented. But I had been in the pulpit too long and I had seen too many monstrous things. I don’t refer merely to the glaring fact that the minister eventually acquires houses and Cadillacs while the faithful continue to scrub floors and drop their dimes and quarters and dollars into the plate. I really mean that there was no love in the church. It was a mask for hatred and self-hatred and despair. The transfiguring power of the Holy Ghost ended when the service ended, and salvation stopped at the church door.”

“I consider that I have many responsibilities, but none greater than this: to last, as Hemingway says, and get my work done. I want to be an honest man and a good writer.”

“The situations of the Wilmington 10, and the Charlotte 3, are very small symptoms of the monstrous and continuing wrong for which you, as the elected leader, are now responsible…I must add, in honor, that I write to you because I love our country: And you, in my lifetime, are the only president to whom I would have written.”

“When we marched on Montgomery, the Confederate flag was flying from the dome of the Capitol: this gesture can be interpreted as insurrection. But when Muhammad Ali decided to be true to his faith and refused to join the Army, the wrath of an entire Republic was visited on his head, he was stripped of his title, and was not allowed to work. In short, his countrymen decided to break him, and it is not their virtue that they failed. It is his virtue.”

“You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else can tell, what it is like to be alive.”

“Alex Haley's taking us back through time to the village of his ancestors is an act of faith and courage, but this book is also an act of love, and it is this which makes it haunting…"Roots" is a study of continuities, of consequences, of how a people perpetuate themselves, how each generation helps to doom, or helps to liberate, the coming one-the action of love, or the effect of the absence of love, in time. It suggests, with great power, how each of us, however unconsciously, can't but be the vehicle of the history which has produced us. Well, we can perish in this vehicle, children, or we can move on up the road.”

“the Progressive Party, with its extravagant claims, has, therefore, imposed on itself the considerable burden of proof. The only party within recent memory which made equally strident claims of fellowship were the Communists, who failed to survive this test; and the only politician of similar claims was, of course, Wallace's erstwhile master, Roosevelt, who did not after all, now that the magic of his voice is gone, succeed in raising the darker brother to the status of a citizen. This is the ancestry of the Wallace party, and it does not work wholly in its favor. It operates to give pause to even the most desperate and the most gullible.”

“[T]he Progressive Party, with its extravagant claims, has, therefore, imposed on itself the considerable burden of proof. The only party within recent memory which made equally strident claims of fellowship were the Communists, who failed to survive this test; and the only politician of similar claims was, of course, Henry Wallace's erstwhile master, Roosevelt, who did not after all, now that the magic of his voice is gone, succeed in raising the darker brother to the status of a citizen. This is the ancestry of the Wallace party, and it does not work wholly in its favor. It operates to give pause to even the most desperate and the most gullible.”

“Change does come, but not when or in the ways we want it to come. George Jackson, Malcolm X-now people all over the world were changed by them. Because they told the secret; now, the secret was out. (“And the secret?”) Put it this way. In 1968, along with Lord Caradon (British Delegate to the United Nations then), I addressed an assembly of the World Council of Churches in Switzerland on "white racism or world community?" When Lord Caradon was asked why the West couldn't break relations with South Africa, he brought out charts and figures that showed that the West would be bankrupt if they did that: the prosperity of the West is standing on the back of the South African miner. When he stands up, the whole thing will be over.”

“I don't think that the Negro problem in America can be even discussed coherently without bearing in mind its context; its context being the history, traditions, customs, the moral assumptions and preoccupations of the country; in short, the general social fabric. Appearances to the contrary, no one in America escapes its effects and everyone in America bears some responsibility for it. I believe this the more firmly because it is the overwhelming tendency to speak of this problem as though it were a thing apart. But in the work of Faulkner, in the general attitude and certain specific passages in Robert Penn Warren, and, most significantly, in the advent of Ralph Ellison, one sees the beginnings-at least-of a more genuinely penetrating search.”

“I don't think that the Negro problem in America can be even discussed coherently without bearing in mind its context; its context being the history, traditions, customs, the moral assumptions and preoccupations of the country; in short, the general social fabric. Appearances to the contrary, no one in America escapes its effects and everyone in America bears some responsibility for it. I believe this the more firmly because it is the overwhelming tendency to speak of this problem as though it were a thing apart. But in the work of Faulkner, in the general attitude and certain specific passages in Robert Penn Warren, and, most significantly, in the advent of Ralph Ellison, one sees the beginnings-at least-of a more genuinely penetrating search. Mr. Ellison, by the way, is the first Negro novelist I have ever read to utilize in language, and brilliantly, some of the ambiguity and irony of Negro life.”

“The presence of a man like Nixon in the White House is an unmitigated disaster, not only for black people in America, but for all the white hopes too, because it confirms, and makes official, and it seals an attitude that is essentially a racist attitude, but it is also, on a most sinister level, an attitude which is simply designed to turn the clock back; to hold back the sea. And you know, that can't be done. What people in power never understand is what people out of power are determined to do, and what people out of power are determined to do is, first of all, to survive you; to withstand you; and if they have to, kill you. And they have the advantage, because they have nothing to lose. The will of the American people, they believe, is like the voice of God. Well, the voice of God spoke out a couple of years ago, and put Nixon in the White House, and put Ronald Reagan in the governor's mansion, and it endures Spiro T. Agnew. And the effect on the American people of the presence of such men in high office is that they are justified in their bigotry, they are confirmed in their ignorance, they are all smaller or greater John Waynes.”

“Every time I read Langston Hughes I am amazed all over again by his genuine gifts-and depressed that he has done so little with them…Hughes, in his sermons, blues and prayers, has working for him the power and the beat of Negro speech and Negro music. Negro speech is vivid largely because it is private. It is a kind of emotional shorthand-or sleight-of-hand-by means of which Negroes express, not only their relationship to each other, but their judgment of the white world. And, as the white world takes over this vocabulary-without the faintest notion of what it really means the vocabulary is forced to change. The same thing is true of Negro music, which has had to become more and more complex in order to continue to express any of the private or collective experience. Hughes knows the bitter truth behind these hieroglyphics: what they are designed to protect, what they are designed to convey. But he has not forced them into the realm of art where their meaning would become clear and overwhelming. "Hey, pop!/Re-bop!/Mop!" conveys much more on Lenox Avenue than it does in this book, which is not the way it ought to be. Hughes is an American Negro poet and has no choice but to be acutely aware of it. He is not the first American Negro to find the war between his social and artistic responsibilities all but irreconcilable.”

“Uncle Tom's Cabin is a very bad novel, having, in its self-righteous, virtuous sentimentality, much in common with Little Women. Sentimentality, the ostentatious parading of excessive and spurious emotion, is the mark of dishonesty, the inability to feel; the wet eyes of the sentimentalist betray his aversion to experience, his fear of life, his arid heart and it is always, therefore, the signal of secret and violent inhumanity, the mask of cruelty. Uncle Tom's Cabin-like its multitudinous, hard-boiled descendants-is a catalogue of violence. This is explained by the nature of Mrs. Stowe's subject matter, her laudable determination to flinch from nothing in presenting the complete picture; an explanation which falters only if we pause to ask whether or not her picture is indeed complete; and what constriction or failure of perception forced her to so depend on the description of brutality-unmotivated, senseless-and to leave unanswered and unnoticed the only important question: what it was, after all, that moved her people to such deeds. But this, let us say, was beyond Mrs. Stowe's powers; she was not so much a novelist as an impassioned pamphleteer; her book was not intended to do anything more than prove that slavery was wrong; was, in fact, perfectly horrible. This makes material for a pamphlet but it is hardly enough for a novel; and the only question left to ask is why we are bound still within the same constriction. How is it that we are so loath to make a further journey than that made by Mrs. Stowe, to discover and reveal something a little closer to the truth?...Bigger (from Native Son by Richard Wright) is Uncle Tom's descendant, flesh of his flesh, so exactly opposite a portrait that, when the books are placed together, it seems that the contemporary Negro novelist and the dead New England woman are locked together in a deadly, timeless battle; the one uttering merciless exhortations, the other shouting curses.”

“The person who first moved me and still does is the late African-American author James Baldwin. I was 12 when I read his first book, Go Tell It On the Mountain, about his childhood in Harlem in the Thirties. He nailed the emotions I felt right on the head and I read all his subsequent books.”

“He gave up preaching four years later, but at heart, James Baldwin remains a Baptist preacher—note the titles of his books and the main quotations, all Biblical—prophesying hell and fire, relishing the idea of the day when all America will be "levelled": full of guilt at having become a commercial and literary success; anxious not to make his "private peace" with the establishment; and neurotic about not losing touch with the ordinary blacks. He is a tormented man, a state of mind he seems to enjoy. A true Baptist Christian indeed; not a Marxist revolutionary.”

“I’ve been inspired by the profound and timeless writings of James Baldwin, Frederick Douglass, Toni Morrison, and Nina Simone.”

“A straight-from-the-shoulder writer, writing about the troubled problems of this troubled earth with an illuminating intensity.”

“SWAT teams, battering rams, and no-knock warrants (immortalized by Gil Scott Heron and written about by James Baldwin), all predate contemporary hyper-militarized police forces.”

“In the 1940s James Baldwin, Robert Duncan, and Jo Sinclair published pioneering works affirming the homosexual’s humanity.”

“I was also influenced by James Baldwin because, although he wasn't a reporter per se, he wrote wonderful essays raising really important social questions in this accessible, literary, elegant style.”

“I am completely indebted to Jimmy Baldwin's prose. It liberated me as a writer. These poems overwhelm without competing with his prose, and I am grateful to have this collection.”

“The emergence of the Civil Rights movement in the sixties I remember as lifting me out of a sense of personal frustration and hopelessness. Reading James Baldwin's early essays in the fifties had stirred me with a sense that apparently "given" situations like racism could be analyzed and described and that this could lead to action, to change. Racism had been so utter and implicit a fact of my childhood and adolescence, had felt so central among the silences, negations, cruelties, fears, superstitions of my early life, that somewhere among my feelings must have been the hope that if Black people could become free of the immense political and social burdens they were forced to bear, I, too, could become free of all the ghosts and shadows of my childhood, named and unnamed. When "the movement" began, it felt extremely personal to me. And it was often Jews who spoke up for the justice of the cause, Jewish students and civil rights lawyers who travelled South; it was two young Jews who were found murdered with a young Black man in Mississippi: Schwerner, Goodman, Chaney.”

“Artists like Nina Simone and James Baldwin, who were able to create work that really spoke about the conditions facing Black people and work that would remain universal contributions to culture—something that would continue to shape generations.”

“Baldwin's non-fiction is not only beautiful but genuinely experimental in comparison (for example) with much Joyce- or Nabokov-derived modern work.”

“When I used to get blue years ago James Baldwin would say the same thing to me each time, 'This is the world you have made for yourself Nina, now you have to live in it.' Jimmy was always a man to see things as they really are and his gaze would never flinch no matter how unpleasant the things he saw were.”

“The Statue of Liberty is an extension of a tradition that seems to embody the contradictions in America's promise, and a reminder that its promises have not always been extended to us. As the narrator in James Baldwin's 1960 short story "This Morning, This Evening, So Soon" puts it, "I would never know what this statue meant to others, she had always been an ugly joke for me."”

“I enjoy teaching early Baldwin: I think students appreciate meeting a master at a moment when his style is still something of a hot mess. Also, Baldwin was so brave so young — it’s inspiring, to me as much as to my students.”

“In America and in the big beautiful world beyond, the gulf widens perversely, making a mockery of freedom, justice, democracy, and even mercy. James Baldwin said that we are not born knowing what these concepts mean, that they are neither common nor well defined. If we "individuals must make an enormous effort to arrive at the respect for other people that these words imply," as he wrote, then our communities must make a sustained and concentrated effort to create societies that reflect that same sense of respect and meaning.”

“Many articles in the house caught my attention, most notably the many paintings and pieces of sculpture, among them the colorful paintings of the late African-American expatriate painter Beauford Delaney, who had been one of Jimmy's best friends. There were two other pieces that I believed said very much about the political commitment of the man. One, a black pen-and-ink drawing of Nelson Mandela against an orange background, accompanied by a poem, was framed and hung over the dining-room fireplace, the most prominent place in the house.”

“The complexity of it all is perhaps revealed in a brief exchange which took place at a SNCC meeting between James Baldwin and Ella Baker. Someone had asked Baldwin about the role of whites in the movement. He replied, "A white man is a white man only if he says he is-but you haven't got to be white." Then Ella Baker added, "The place of the Negro is not as a Negro, but as a human being." And Baldwin said, "That's right."”