A look at James Baldwin's enduring influence on art and activism

Transcript

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Amna Nawaz: This month, the legendary writer and activist James Baldwin would have turned 100 years old.

Baldwin is best known for his novels and essays and as a moral voice addressing race, sexuality and the very fabric of American democracy. Nearly 40 years after his death, his words are more relevant than ever.

Jeffrey Brown looks at his enduring legacy for our series Art in Action, exploring the intersection of art and democracy, and our ongoing Canvas coverage.

James Baldwin, Writer: The inequality suffered by the American Negro population of the United States has hindered the American dream.

Jeffrey Brown: James Baldwin, novelist, essayist, civil rights activist, public intellectual, here debating William F. Buckley Jr. at the University of Cambridge in 1965.

Eddie Glaude Jr., Princeton University: He’s engaged in this ongoing work of self-creation, in this sustained reflection on the power of the American idea. He’s bringing the full weight of his intellect to bear on this project.

Jeffrey Brown: Eddie Glaude Jr. is a professor of African American studies at Princeton University and author of the 2020 book “Begin Again: James Baldwin’s America and Its Urgent Lessons for Our Own.”

Eddie Glaude Jr.: I think, if you read Baldwin closely, there is this underlying idea that we have yet to discover who we are, right, because the ghosts of the past in so many ways, not only blind us, but they have us by the throat.

Jeffrey Brown: James Arthur Baldwin was born in Harlem in 1924 and raised there by his mother and stepfather, a Baptist preacher. The oldest of nine children, he excelled in school and served as a junior minister.

A man on the margins, Black and queer, he spent years of his life abroad, much of it in France, beginning at age 24. He wrote novels, including “Go Tell It on the Mountain,” an autobiographical book about growing up in Harlem, and “Giovanni’s Room” about a tormented love affair between two men living in Paris, and powerful essays exploring race and American identity, including “Notes of a Native Son” and “The Fire Next Time.”

Eddie Glaude Jr.: He’s one of the greatest essayists we have ever produced, the world has ever produced I think, and his subject is us. But his vantage point, it’s not that of a victim. His vantage point is from those who’ve had to bear the burden of America’s refusal to look itself squarely in the face.

Jeffrey Brown: He was also a playwright and poet, an activist who marched and spoke out for civil rights, including on television, here on “The Dick Cavett Show” in 1969.

James Baldwin: And the word Negro in this country really is designed, finally, to disguise the fact that one is talking about another man, a man like you, who wants what you want.

And insofar as the American public wants to think there has been progress, they overlook one very simple thing. I don’t want to be given anything by you. I just want you to leave me alone, so I can do it myself.

Jeffrey Brown: Baldwin died in 1987, but he’s remained a powerful cultural presence, one that’s only grown in the past decade.

James Baldwin: There are days — this is one of them — when you wonder what your role is in this country and what your future is in it.

Jeffrey Brown: In the 2016 documentary “I Am Not Your Negro,” director Raoul Peck drew from Baldwin’s own words. As he told me then:

Raoul Peck, Director: He was already a classic, and he wrote those things 40, 50 years ago. And watching the film, you think that he would have — he wrote that in the morning, the morning before watching the film, because those words are so accurate, they are so prescient and so impactful, that you can’t do it better.

Jeffrey Brown: In 2018, Baldwin’s 1974 novel “If Beale Street Could Talk” was adapted by Oscar-winning director Barry Jenkins.

Barry Jenkins, Director: Whether I had won eight Oscars or no Oscars, it’s James damn Baldwin, you know? It’s James Baldwin. That’s pressure enough, in and of itself, because I wanted to honor his legacy in the way that I thought it should be honored.

Jeffrey Brown: And now a celebration of the centennial of his birth, including an exhibition at the National Portrait Gallery called This Morning, This Evening, So Soon: James Baldwin and the Voices of Queer Resistance, which takes its name from a short story he published in 1960, another at the Schomburg Center for Research in Black Culture titled Jimmy: Gods Black Revolutionary Mouth, presenting Baldwin’s archive of personal papers.

There’s a new album by singer-songwriter and bassist Meshell Ndegeocello called No More Water: The Gospel of James Baldwin, and reissues of seminal works with new introductions and artwork.

Cree Myles, Host, “The Baldwin 100”: What is the best lesson you have learned being in the spiritual community that you are in with James Baldwin?

Jeffrey Brown: Along with a podcast, “The Baldwin 100,” in which host Cree Myles talks with contemporary writers and thinkers.

What is his relevance today, especially when you think about younger people, younger readers, younger citizens?

Cree Myles: Despite the time that has passed, his amount of truth is still relatively radical. When I think about his novels and “Giovanni’s Room,” and we’re thinking about the ways that he grappled with, like, sexuality, those are things were still coming to terms with.

Jeffrey Brown: Acclaimed Irish novelist Colm Toibin contributed the new book “On James Baldwin.”

Colm Toibin, Author, “On James Baldwin”: I’m interested in him as, I suppose, someone who really found ways of dealing with individuality versus community, with being an artist in a difficult time.

But more than anything, more than anything, he wrote well.

Jeffrey Brown: Toibin saw connections to his own upbringing and told us how Baldwin has influenced him as writer and man.

Colm Toibin: It’s a question of engaging with this great intelligence and with the sensuous intelligence, with someone sort of thinking brilliantly and glittering sort of way.

But it is also, of course, developing strategies, which he did in relation to his family, in relation to Harlem, in relation to Black America, in relation to exile, in relation to attempting to being an artist in a time of flux, and also in a way of being a gay artist, a homosexual artist coming out of a world which is very conservative and very religious, and attempting also to build strategies around that that give you energy, rather than ones that take you down.

Jeffrey Brown: One deeply resonant thread through all the commemorations, Baldwin’s focus on the fragility of democracy itself.

Eddie Glaude Jr.: Baldwin’s exposing the lie that is the source of the suffering, that defines this fragile project, it seems to me. He’s committed to democracy. He’s committed to America. After all, we are deeply American. But, by virtue of that commitment, he has to relentlessly critique it.

James Baldwin: It comes as a great shock to discover the country, which is your birthplace and to which you owe your life and your identity, has not, in its whole system of reality, evolved any place for you.

Jeffrey Brown: A commitment, as Glaude puts it, to the complex experiment called America.

For the “PBS News Hour,” I’m Jeffrey Brown.