“Despite all this looking, few people, aside from Claudia, bear witness to much. To do so would be to think critically about the society that formed them and be moved to effect change.”
Hilton Als on Toni Morrison’s début novel, “The Bluest Eye.” New Yorker, 2020.
In essays and interviews Baldwin needed to unloose himself from easy categories, but it was also central to his procedures as an artist to share James’s interest in consciousness as shifting and unconfined but also hidden and secretive, and his concern with language as both pure revelation and mask. Baldwin was fascinated with eloquence itself, the soaring phrase, the rhythm pushed hard, the sharp and glorious ring of a sentence, as much as with the plain, declarative line.
[…]
For Baldwin, the past was bound up with place, and since his sense of place was bound up with displacement, the past did not come simply. What is strange is how stories from the past represent the very center of Go Tell It on the Mountain, enough to make it a novel about how the displacement caused by the Great Migration entered into the spirit of these characters and their relationships. The novel has a shadow world where the past happened, where the earlier generation came from, and where much that was unresolved had been left behind.
I imagine him waiting for the cover of darkness to let down his hinged drawbridge. He wanted, after so many protracted years of caution, to dance naked and nimble as a flame under the moon— even if dancing just once was all that the teeth of the forest would allow.
“With the success of medicine and public health initiatives, architecture seemingly no longer had a role to play, and its separation from health was consummated.” Reinier de Graaf
or—more simply—the speaking voice prompting the reader/witness/man who first sees the body in the thames to imagine adam—to try gobeyond the page/thames and understand who adam is.