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James Baldwin on the Revelation That Taught Him How to Truly See

“He taught me how to see, and how to trust what I saw.”

James Baldwin on the Revelation That Taught Him How to Truly See

“The art of seeing has to be learned,” Marguerite Duras wrote in 1984. Many legendary artists can trace their creative path to a single moment of revelation in which they were suddenly able to see the invisible dimensions of the world — for what is art, after all, if not “a dynamic contemplation” and what is the task of the artist if not to see beyond the seeming realities of the world?

For Patti Smith, that revelation was a glimpse of a swan when she was a little girl; for Virginia Woolf, a gardening epiphany; for Pablo Neruda, a hand through the fence of his childhood home; for Albert Einstein, his first encounter with a compass.

Among the creative geniuses whose paths were illuminated by such a moment of revelation was James Baldwin (August 2, 1924–December 1, 1987).

In The Writer’s Chapbook: A Compendium of Fact, Opinion, Wit, and Advice from the 20th Century’s Preeminent Writers (public library) — the same magnificent 1989 Paris Review compendium that gave us Baldwin’s advice on writing — he recounts the revelation that taught him to see:

I remember standing on a street corner with the black painter Beauford Delaney down in the Village waiting for the light to change, and he pointed down and said, “Look.” I looked and all I saw was the water. And he said, “Look again,” which I did, and I saw oil on the water and the city reflected in the puddle. It was a great revelation to me. I can’t explain it. He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you’ve had that experience, you see differently.

Complement this particular fragment of the wholly fantastic Writer’s Chapbook with Annie Dillard on the two ways of looking and the art of seeing, then revisit Baldwin’s tremendous and timely conversation with Margaret Mead about race, identity, and power and forgiveness and the crucial difference between guilt and responsibility.

BP

James Baldwin’s Advice on Writing

“Talent is insignificant. I know a lot of talented ruins. Beyond talent lie all the usual words: discipline, love, luck, but most of all, endurance.”

James Baldwin’s Advice on Writing

In 1989, Paris Review founding editor and trailblazing interviewer George Plimpton edited a wonderful collection titled The Writer’s Chapbook: A Compendium of Fact, Opinion, Wit, and Advice from the 20th Century’s Preeminent Writers (public library). Among them was novelist, poet, essayist, and playwright James Baldwin (August 2, 1924–December 1, 1987), whom Plimpton had interviewed on two separate occasions in early 1984, half a century after Baldwin read his way out of Harlem and into the pantheon of literary greatness.

In a fantastic addition to the collected wisdom of celebrated writers, Baldwin looks back on his formidable career and shares what he has learned about the creative process, the psychological drivers of writing, and the habits of mind one must cultivate in order to excel at the craft.

James Baldwin writing

Reflecting on what motivates great writers to write — an enduring question also addressed beautifully by George Orwell, David Foster Wallace, Italo Calvino, and William Faulkner — Baldwin sides with Bukowski and argues that the supreme animating force of the writer is the irrepressible impossibility of not-writing:

Something that irritates you and won’t let you go. That’s the anguish of it. Do this book, or die. You have to go through that. Talent is insignificant. I know a lot of talented ruins. Beyond talent lie all the usual words: discipline, love, luck, but most of all, endurance.

Endurance, indeed, is perhaps the sole common denominator among successful authors. Any aspiring writer, he admonishes, should have no illusion about the endurance required but should want to write anyway. A generation after Jack Kerouac considered the vital difference between talent and genius, Baldwin notes:

If you are going to be a writer there is nothing I can say to stop you; if you’re not going to be a writer nothing I can say will help you. What you really need at the beginning is somebody to let you know that the effort is real.

James Baldwin with Shakespeare, 1969 (Photograph: Allan Warren)

In a sentiment reminiscent of Joan Didion’s observation that she writes in order to gain better access to her own mind, Baldwin speaks to the consciousness-clarifying function of the creative impulse:

When you’re writing, you’re trying to find out something which you don’t know. The whole language of writing for me is finding out what you don’t want to know, what you don’t want to find out. But something forces you to anyway.

Much of that self-revelation, Baldwin points out, happens not during the first outpour of writing but during the grueling process of rewriting. Echoing Hemingway’s abiding wisdom on the crucial art of revision, he adds:

Rewriting [is] very painful. You know it’s finished when you can’t do anything more to it, though it’s never exactly the way you want it… The hardest thing in the world is simplicity. And the most fearful thing, too. You have to strip yourself of all your disguises, some of which you didn’t know you had. You want to write a sentence as clean as a bone. That is the goal.

But as essential as that sense of incompleteness may be in guiding the revision process, it must be mediated by the awareness that completeness is a perennial mirage. (Decades later, Zadie Smith would observe in her ten rules of writing: “Resign yourself to the lifelong sadness that comes from never ­being satisfied.”) Baldwin offers:

When you’ve finished a novel, it means, “The train stops here, you have to get off here.” You never get the book you wanted, you settle for the book you get. I’ve always felt that when a book ended there was something I didn’t see, and usually when I remark the discovery it’s too late to do anything about it.

Adding to the endlessly fascinating daily rhythms of great writers, which reflect the wide range of differences in the cognitive conditions of the ideal writing routine, Baldwin shares his work habits:

I start working when everyone has gone to bed. I’ve had to do that ever since I was young — I had to wait until the kids were asleep. And then I was working at various jobs during the day. I’ve always had to write at night. But now that I’m established I do it because I’m alone at night.

Complement The Writer’s Chapbook — a treasure so wisdom-packed that it is a tragedy to see it fall out of print — with Joseph Conrad on what makes a great writer, Willa Cather on the life-changing advice that made her a writer, and Jane Kenyon on what remains the finest ethos to write and live by, then revisit Baldwin on the artist’s role in society and his terrifically timely conversation with Margaret Mead about race and identity.

BP

James Baldwin and Margaret Mead on Religion

“If any particular discipline … does not become a matter of your personal honor, your private convictions, then it’s simply a cloak which you can wear or throw off.”

NOTE: This is the fifth installment in a multi-part series covering Mead and Baldwin’s historic conversation. Part 1 focused on forgiveness and the crucial difference between guilt and responsibility; part 2 on identity, race, and the immigrant experience; part 3 on changing one’s destiny; part 4 on reimagining democracy for a post-consumerist culture.

“Fear is the basis of religious dogma,” Bertrand Russell wrote in his magnificent 1925 meditation on why religion exists. Nearly half a century later, two other intellectual titans considered the dark side of religion at the height of the civil rights and women’s liberation movements. In the summer of 1970, Margaret Mead and James Baldwin sat down for their remarkable public conversation, the transcript of which was eventually published as A Rap on Race (public library). For seven and a half hours over the course of two days, they discussed issues of astonishing timeliness today — including the injustice perpetrated in the name of religion.

Art by Wendy MacNaughton for Brain Pickings

In a sentiment that calls to mind Mark Twain on slavery and how religion is used to justify injustice, Baldwin tells Mead:

I remember the photographs of white women in New Orleans, several years ago, during the school integration crisis, who were standing with their babies in their arms, and in the name of Jesus Christ they were spitting on other women’s children, women who happened to be black, women with their babies in their arms. I have never been able to understand that at all. To put it in rather exaggerated primitive terms, I don’t understand at all what the white man’s religion means to him. I know that the white man’s religion has done to me. And so, I could — can — accuse the white Christian world of being nothing but a tissue of lies, nothing but an excuse for power, as being as removed as anything can possibly be from any sense of worship and, still more, from any sense of love. I cannot understand that religion. And I really mean that. I am not joking when I say I cannot understand it. I mean, I can have a fight with a bartender or I can have a fight with you, I think, but I can’t have a fight with a baby, with a child.

The last Warsaw Ghetto deportation, 1943
The last Warsaw Ghetto deportation, 1943

With his mind’s eye on one of the most iconic and heartbreaking photographs from the Holocaust, Baldwin adds:

There is a photograph from the Second World War which is haunting my memory — stays in my memory forever. It’s of a little Jewish boy about five or six, and by the time I saw this photograph he was dead. The Gestapo had just surrounded him. He was standing in a street looking down at his shoes: a beautiful little boy, and he looked the way little boys look when they’ve peed on themselves. You know, he just did not know what had happened to him. And they were going to take that little boy away and kill him because he was a Jew. And this is in the name of Christianity! I know that human beings do this all the time, but I never understood it.

When Mead protests that she doesn’t believe the Nazis perpetrated this atrocity “in the name of Christianity,” Baldwin — who was a preacher for three and a half years — counters:

BALDWIN: The first European power to sign a concordat with Hitler was the Pope. And I am old enough to remember the Italian-Ethiopian war, when the pope of that church which stands in Rome sent out white Italian boys with his blessings to rape Ethiopia.

MEAD: They also used to bless the Germans when they were going to rape the French, and the French when they were going to rape the Germans. You are dealing with a period where people blessed every army.

BALDWIN: What I am dealing with is the morality beneath all this.

The point, of course, isn’t to vilify any one religion — we live in a world of enough antagonism, and we have hard enough a time cultivating the capacity for true compassion in which, as Tolstoy and Gandhi agreed in their famous correspondence on why we hurt each other, our civilization’s only true salvation lies. The point — Baldwin’s point in saying this, and mine in resurfacing it after all these decades — is that religion is merely a technology of thought, and like any technology it can be used for noble purposes and it can be used for vile ones. The point, above all, is to remember that no doctrine or dogma will ever provide a shortcut for the critical thinking and moral wisdom for which each of us is responsible in how we contact this world.

And yet Mead argues that both she and Baldwin — people in America and most of the West, that is — got their sense of morality from the Christian tradition. She considers where the broader moral idea of universal brotherhood originated:

MEAD: Muslims don’t believe in loving everybody as brothers. They only love Muslims as brothers. They don’t really have an idea of universal brotherhood… You can find it in Buddhism, but you didn’t get it from Buddhism. Now, that’s the point. You and I, what we have in the belief in the brotherhood of man, of all men, of the power of love, we got out of the Christian tradition.

BALDWIN: Did we? I mean, I accept the premise. I know what you are saying. But at the risk of being difficult, did we? I wonder. It seems to me that there are lots of ways to read the New Testament, and in my experience no pope, except perhaps John XXIII, can possibly have read it… What I am trying to get at is if any particular discipline — whether it be Christianity, Buddhism or LSD, God forbid — does not become a matter of your personal honor, your private convictions, then it’s simply a cloak which you can wear or throw off.

A Rap on Race is a remarkably prescient read in its totality. More highlights from it can be found here. Complement this particular focal point with Dostoyevsky on why there are no bad people, Flannery O’Connor on dogma and the difference between belief and faith, and Isaac Asimov on religion versus humanism.

BP

James Baldwin and Margaret Mead on Reimagining Democracy for a Post-Consumerist Culture

“Democracy should not mean the leveling of everyone to the lowest common denominator. It should mean the possibility of everyone being able to raise himself to a certain level of excellence.”

NOTE: This is the fourth installment in a multi-part series celebrating Mead and Baldwin’s historic yet forgotten conversation. Part 1 focused on forgiveness and the crucial difference between guilt and responsibility; part 2 on identity, race, and the immigrant experience; part 3 on changing one’s destiny.

Three years before E.F. Schumacher laid out his seminal vision for a Buddhist approach to economics, urging us to stop prioritizing products over people and consumption over creative fulfillment, two other titans of thought shone their luminous intellects on the dark underbelly of capitalism and consumer culture. When Margaret Mead and James Baldwin sat down for their remarkable public conversation in August of 1970, the transcript of which was eventually published as A Rap on Race (public library), they explored with great insight and dimension the many factors that shape the forces of equality and inequality in our world — the world of 1970 and doubly so the world of today, for such was the prescience produced by cross-pollinating these two formidably fertile minds.

Art by Wendy MacNaughton for Brain Pickings

As Mead and Baldwin weave in and out of the subject of capitalism throughout the conversation, they reserve especial criticism for the mainstream models of success we’ve bought into — models that continue to shackle us to social Shoulds as we race on the hedonic treadmill of consumerism:

BALDWIN: I have never accepted the notion that you keep a Cadillac or a yacht or anything at all, except perhaps for convenience. I have always had a quarrel with this country not only about race but about the standards by which it appears to live. People are drowning in things. They don’t even know what they want them for. They are actually useless. You can’t sleep with a yacht. You can’t make love to a Cadillac, though everyone appears to be trying to… I think the great emotional or psychological or effective lack of love and touching is the key to the American or even the Western disease.

Mead considers the origin of this compulsive consumption and how the pursuit of privilege over happiness poisoned the American dream:

MEAD: But most people who came here were terribly poor and wanted things.

BALDWIN: To prove they existed.

MEAD: To prove they could get them all. They had been eating the black bread of poverty, so they came over here and they wanted to eat the white bread that was eaten in the castle. So they instead of eating good, nourishing, whole wheat bread —

BALDWIN: They started eating white bread. Yes, indeed, look at the results.

MEAD: They began eating too much sugar too; thats what the people in the castle had… Old Americans were frugal… I was brought up to untie each package carefully, untie the knots in the string and roll it up and put it away to use again.

BALDWIN: Yes, I still do that too. And I hate myself for it.

Having grown up in Bulgaria during communism, I too had an acute experience of this bread-as-status-symbol phenomenon, as well as of the conflicted self-loathing it produced and still produces. And yet, as Baldwin and Mead both acknowledge, such fallibility is a profoundly human reaction to the oppressive forces of adversity — a testament to the notion of force and counterforce:

BALDWIN: The dream of the starving is to be fed.

MEAD: Yes, that’s it. And the dream of the people who have nothing is to have things…

Echoing Martin Luther King’s famous proclamation that “injustice anywhere is a threat to justice everywhere [and] whatever affects one directly, affects all indirectly,” Baldwin adds:

BALDWIN: The great revolution … that one has dared… The dream of the starving is not only to be fed… One has got to arrive at the point where one realizes that if one man is hungry everyone is hungry.

Illustration from We Are All in the Dumps with Jack and Guy, Maurice Sendak’s darkest, most controversial, yet most hopeful children’s book

Indeed, this conversation took place at the height of the New Age movement and the hippie counterculture — a time when Alan Watts admonished that “Life and Reality are not things you can have for yourself unless you accord them to all others.” In this call for unity, Mead sees as a model for a better dream of our shared human future — a vision resurrected by the sustainability movement of our own age. Today, Mead’s vision seems remarkably prophetic as we enact a great many of her hopes and some of her fears:

MEAD: What I hope is going to happen in the world is a demand similar to the one in this country, the demand for a simpler form of life. Coming up from the kids of the affluent middle class who say, “We don’t want to live like this. We don’t want to over-capitalize the individual home this way. We want to make things much more collective.” Then maybe we can invent a style in this country that is viable for other countries. Because otherwise what is happening is that other countries are copying this style, so the few educated and elite can get themselves some Cadillacs and big houses. Then all of the rest of the people are miserable. Also we are bleeding the world of its resources and we can’t do that.

This, too, I experienced acutely while growing up in Bulgaria — my mother used to rinse out empty yogurt containers and even previously-used plastic bags, which she reused for various purposes. I was tremendously embarrassed by this practice, which didn’t signify resourcefulness but a lack of resources. And yet by the time I was in my twenties, reusing shopping bags became a status symbol for the conscientious consumer who could, but chose not to, afford disposability. Indeed, recycling today is primarily a political act of the privileged, not a coping mechanism of the poor.

Mead peers backward and forward in time to examine the origin and outcome of these cultural forces:

MEAD: So what is the American dream? The American dream has been the dream of the immigrant. The dream of old Commodore Vanderbilt. What did he borrow? Two hundred dollars from his mother and started bringing potatoes over from Staten Island — who ended up building palaces. But they were not palaces of kings. They were palaces of people who had had nothing and wanted things. And then I go back to my Manus people in New Guinea, who said, “When you have plenty, then you can afford to begin to think about human beings. And when you don’t have, you don’t think about human beings.”

BALDWIN: Well that is both true and not true. I don’t want to be sentimental about poverty, which is a hideous condition. I once flew from Istanbul to Switzerland. Istanbul is exceedingly poor. But the people will give you anything they have, and there is a kind of human warmth which you do not find on the streets of Lausanne.

MEAD: Where everybody is well off.

BALDWIN: Yes. And you wouldn’t dream of asking anybody for the time of day.

MEAD: Well, you can produce a kind of private-property-oriented society, where they also have the private property, where they don’t have any free energy for anyone else at all.

Illustration from We Are All in the Dumps with Jack and Guy Maurice Sendak’s darkest, most controversial, yet most hopeful children’s book

Later in the conversation, Mead and Baldwin revisit the general problem of capitalism and the particular problem of our consumerist dependence on cars, once again presaging the buildup of brokenness that would lead, decades later, to the success of solutions like Tesla:

BALDWIN: Mass production has made human life impossible.

MEAD: No, not really. We never could have things for everybody until we got mass production.

BALDWIN: And what are we going to do with it now?

MEAD: Well, something else. You know, just because the Ford car and the idea of Mr. Ford did give enormous freedom to people in this country, it doesn’t mean that we have to —

BALDWIN: It didn’t give them any freedom, it gave them tremendous mobility.

MEAD: Well, Americans think mobility and freedom are very close together. If you take Detroit, now… A study has just been made that compares somebody without a car only a few blocks away from somebody with a car. The one with a car is not twice as mobile, he is over ten times as mobile.

BALDWIN: This I discovered to my horror when I was living in Hollywood… Human feet have suddenly become obsolete. There’s no point in having feet, except to drive the car. I guess I am badly placed in this society, in many ways. But I see what you mean. I know we had to have these things, we had to have them. I know that it was at one point in human history a tremendous advance for the human race. But now mass production, the consumer society, seems to be one of the things that menace us the most, because we have become so dependent upon it.

MEAD: The automobile in its present shape is a monster. But to envisage a society without automobiles, with the number of people that we have, is also very difficult, We will have to make some new inventions.

BALDWIN: Then we have got to find a way to control this… this monster we have created.

MEAD: That’s right. We have to find different kinds of automobiles, set them up differently.

BALDWIN: And keep them out of the cities.

Illustration by Paul Rogers from the picture-book adaptation of Bob Dylan’s Forever Young

And yet changes of this magnitude, Mead and Baldwin agree, require that we unmoor ourselves from some of our most basic assumptions about how the world works. They consider the exploitive models upon which capitalism is built and envision a more just alternative:

BALDWIN: It is very difficult to ask people to give up the assumptions by which they have always lived, and yet that is the demand the world has got to make now of everybody.

[…]

One has been avoiding the word capitalism and one has been avoiding talking about matters on that level. But there is a very serious flaw in the profit system which is implicit in the phrase itself. And, in some way or another, one can even say at this moment, sitting in this room, that the Western economy is due to the fact that in a way every dime I earn, the system which earns it for me — I don’t mean the fact that I write books, but the way the system works, the base — is standing on the back of some black miner in South Africa, and he is going to stand up presently. Now, if we don’t anticipate that, we will be in terrible trouble. Because he is not going to be bending under his weight ten years from now. And if we don’t understand that and let him stand up, the whole thing is going to be a shambles.

MEAD: I agree. But I also think … that if the systems, whether they call themselves private power or public planning, don’t learn to think ahead further and include all human beings more, they are contributing to the shambles.

Ultimately, such a shift away from exploitive profit requires — then and, even more urgently so, now — that we reimagine what democracy itself might look like if all human beings are to be elevated and none exploited:

BALDWIN: It demands — especially here and now because we are here and now — a vast amount of passion and some courage to attack the forces which menace everybody’s life. The life of everybody on this planet is menaced by, to put it too simply, the extraordinary and even willful ignorance of people in high places. If the democratic notion has led us to where we now find ourselves, some kind of radical revision of the democratic notion is needed.

[…]

Democracy should not mean the leveling of everyone to the lowest common denominator. It should mean the possibility of everyone being able to raise himself to a certain level of excellence.

A Rap on Race is a tremendous read in its entirety. Explore other threads of this historic conversation in the three previousparts, then revisit Alan Watts on the difference between money and wealth.

BP

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