DOCSLIB.ORG

The Devil Finds Work Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE DEVIL FINDS WORK PDF, EPUB, EBOOK James Baldwin | 144 pages | 13 Sep 2011 | VINTAGE | 9780307275950 | English | New York, NY, United States The Devil Finds Work PDF Book Baldwin has said all this before. Error rating book. He does cover some already tread-on territory of his own life, but the main focus is what these movies say about the societies they are depicting in regards to race and sexuality. Every trial, every beating, every drop of blood, every tear, were meant to be used by us for a day that was coming—for a day that was certainly coming, absolutely certainly, certainly coming: not for us, perhaps, but for our children. The One. That case is the case that Shakespeare makes for writing drama, or that Jane Austen makes for writing novels, or that Wallace Stevens makes for writing poetry, or Tarkovsky for making films. A pulp horror shocker becomes a meditation on how evil is displaced and denied—and on how denial of sin, personal and social, is central to evil. I disagree with only his I think that Baldwin, in love and in war with his society, suffers from the distance that he has put between himself and his beloved. And as an exercise in criticism, there's a lot to learn from Baldwin here. We want to hear what you think about this article. Henry Rollins. Why I Write. James Baldwin: The Last Interview. Over 45 too-short minutes, Baldwin and the black American comedian Dick Gregory address a predominantly Afro-Caribbean audience in London on the subject of the social situation for black people in Britain and the United States. Stephen Davis. View 2 comments. This Old Man. Ralph Ellison. I like The Exorcist considerably more than Baldwin does, but even so, I think it's indisputable that he transforms the film. While this was going to be an obvious critique, he focuses on the movie's crazed obsession with the idea that black people or more specifically mulattoes are happy and loyal in their place as long as they are not focused on self-respect, power or white women. And the black face, truthfully reflected, is not only no part of this dream, it is antithetical to it. Apr 13, Jack Herbert Christal Gattanella rated it it was amazing. Jul 23, B. Scandals of Classic Hollywood. Earn money by sharing your favorite books through our Affiliate program. The Devil Finds Work Writer James Baldwin offered a vital literary voice during the era of civil rights activism in the s and '60s. Oct 29, Vasja Volin rated it really liked it. His novels include Giovanni's Room , about a white American expatriate who must come to terms with his homosexuality, and Another Country , about racial and gay sexual tensions among New York intellectuals. Sep 17, ISBN As Baldwin aged, his on-camera contributions became more reflective and elegiac. The industry is compelled, given the way it is built, to present to the American people a self-perpetuating fantasy of American life. JB is not a fan of Blaxploitation movies, considering them to be industry gimmicks, that profit the system more than black filmmakers or actors. Whether he would've liked it or not, Baldwin is achieving new heights of mai I've been reading some of James Baldwin's fiction and nonfiction in recent years. He notes that the movie "is related to the black American experience in about the same way, and to the same extent that Princess Grace Kelly is related to the Irish potato famine: by courtesy. Tom Desavia and John Doe. Read it Forward Read it first. For, I have seen the devil, by day and by night, and have seen him in you and me He details the bewilderment of a child seeing Bette Davis for the first time on the screen and noticing that she was not beautiful but had pop-eyes like his own. Oct 17, Mehrsa rated it it was amazing. He does not levitate beds, or fool around with little girls: we do. But the themes were timeless. This book is different because it is primarily about films that he has seen over his lifetime. Now Baldwin has published a long essay, "The Devil Finds Work," the 17th book bearing his name, but the event does not call for rejoicing. I can't recommend this enough, everyone should understand what he shouts out here. Open Preview See a Problem? Stephen Davis. Here he completed the vivid, semi-autobiographical Go Tell It on the Mountain— about a day in the life of the teenage son of a fiery Pentecostal preacher—and promptly became a sui generis literary sensation. Go Tell It on the Mountain Baldwin went on to fearlessly broach complex and controversial subjects—entrenched American racism, cultural imperialism, homosexuality including his own, never disguised —in a string of novels and essays, all of which are distinguished by an instantly recognizable prose style of elaborately punctuated yet fluid sentences, and a tonal blend of grave realism, pulpit-style passion, and arch humor. We are lectured about the myth of brotherhood in "The Defiant Ones" and the differing reactions to it. I am having old lady issues with this technology. I wish I had read it in my twenties but hearing his voice ringing out so clearly through the prism of discussing black representation in film was exhilaratingly eyeopening. Radicals are skeptical of mainstream success. The devil has no need of any dogma—though he can use them all—nor does he need any historical justification, history being so largely his invention. The Devil Finds Work Reviews It's a critique of the racial politics of American and European film. The devil has no need of any dogma—though he can use them all—nor does he need any historical justification, history being so largely his invention. And better. Looking for More Great Reads? Stay in Touch Sign up. I've been looking for other works I have by Baldwin and cannot wait to read something else by him. Sign in My Account Subscribe. Available from:. Really the Blues. I love reading and writing film criticism. Radicals are skeptical of mainstream success. Ralph Ellison. James Arthur Baldwin was an American novelist, essayist, playwright, poet, and social critic. And one must be dismayed, finally, by the style of this book, which seems to be a rococo parody of his own work: "Every trial, every beating, every drop of blood, every tear were meant to be used by us for a day that was coming--for a day that was certainly coming, absolutely certainly, certainly coming. I was in Jobs side What starts off as a good read to put it as both a slight and a compliment to Baldwin, sub-par based on the standard to which I hold him begins to pull harder, to engross more, to elicit more investment. The Devil Finds Work was a fine example of this, and I look forward to digging into more. Neal Cassady. He does not pity Lawrence as much as the movie does which he considers an updated version of Gunga Din. He skewers the latter hilariously. In one memorable description of the McCarthy era midway through the essay, he marvels at "the slimy depths to which the bulk of white Americans allowed themselves to sink: noisily, gracelessly, flatulent and foul with patriotism. The points Baldwin makes throughout the essays are astute, but as he's developing a cumulative argument in the collection, the later essays necessarily read as more forceful and memorable. At the end of The Exorcist, the demon- racked little girl midfielders kisses the Holy Father, and she remembers nothing By Stanley Crouch. More filters. And so, "The Devil Finds Work" is disappointing because the author must repeat, from a distance, what he has been telling us for a long time, and what he knows we know that he knows. Baldwin was told during the movie, " 'So, we must be careful,' David said to me, 'lest we lose our faith--and become possessed. The grapes of wrath are stored in the cotton fields and migrant shacks and ghettoes of this nation, and in the schools and prisons, and in the eyes and hearts and perceptions of the wretched everywhere, and in the ruined earth of Vietnam, and in the orphans and the widows, and in the old men, seeing visions, and in the young men, dreaming dreams: these have already kissed the bloody cross and will not bow down before it again: and have forgotten nothing. The act is, in a way, four separate images coalescing into focus, and the image that results in his measured act of uniting those elements over time into a singular clarity is beyond splendid. My Reading Life. But he is certainly not the first writer to find this out, and he will, without doubt, not be the last. Michael Sokolove. I'll turn the rest of the review over to James Baldwin: " To encounter oneself is to encounter the other: and this is love. It's a memoir of Baldwin's life watching, or influenced by, or next to cinema. His first novel, Go Tell It on the Mountain, appeared in to excellent reviews, and his essay collections Notes of a Native Son and The Fire Next Time were bestsellers that made him an influential figure in the growing civil rights movement. Become an affiliate. The Devil Finds Work Read Online More Details The possible force, then, is scattered, willy-nilly, to the winds, and all that vision and moral weight that fortified a generation, become as disturbing as the memory of a hurricane on a placid summer's afternoon.
Recommended publications
  • I Am Not Your Negro

    I Am Not Your Negro

    Magnolia Pictures and Amazon Studios Velvet Film, Inc., Velvet Film, Artémis Productions, Close Up Films In coproduction with ARTE France, Independent Television Service (ITVS) with funding provided by Corporation for Public Broadcasting (CPB), RTS Radio Télévision Suisse, RTBF (Télévision belge), Shelter Prod With the support of Centre National du Cinéma et de l’Image Animée, MEDIA Programme of the European Union, Sundance Institute Documentary Film Program, National Black Programming Consortium (NBPC), Cinereach, PROCIREP – Société des Producteurs, ANGOA, Taxshelter.be, ING, Tax Shelter Incentive of the Federal Government of Belgium, Cinéforom, Loterie Romande Presents I AM NOT YOUR NEGRO A film by Raoul Peck From the writings of James Baldwin Cast: Samuel L. Jackson 93 minutes Winner Best Documentary – Los Angeles Film Critics Association Winner Best Writing - IDA Creative Recognition Award Four Festival Audience Awards – Toronto, Hamptons, Philadelphia, Chicago Two IDA Documentary Awards Nominations – Including Best Feature Five Cinema Eye Honors Award Nominations – Including Outstanding Achievement in Nonfiction Feature Filmmaking and Direction Best Documentary Nomination – Film Independent Spirit Awards Best Documentary Nomination – Gotham Awards Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Arianne Ayers Ryan Werner Rene Ridinger George Nicholis Emilie Spiegel Shelby Kimlick Magnolia Pictures Cinetic Media MPRM Communications (212) 924-6701 phone [email protected] [email protected] [email protected] [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House.
  • “He Gave Me the Words”: an Interview with Raoul Peck

    “He Gave Me the Words”: an Interview with Raoul Peck

    INTERVIEW “He Gave Me the Words”: An Interview with Raoul Peck Leah Mirakhor Yale University Abstract I Am Not Your Negro (2016) takes its direction from the notes for a book enti- tled “Remember this House” that James Baldwin left unfinished, a book about his three friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their intertwining legacies. The film examines the prophetic shadow Baldwin’s work casts on twentieth- and twenty-first-century American politics and culture. Peck compiles archival material from Baldwin’s interviews on The Dick Cavett Show, his 1965 Cambridge lecture, and a series of banal images indexing the American dream. Juxtaposed against this mythology is footage of Dorothy Counts walking to school, the assassination of black leaders and activists, KKK rallies, and the different formations of the contemporary carceral state. Our conversation examines Peck’s role as a filmmaker and his relationship with the Baldwin estate. Additionally, we discussed a series of aesthetic choices he fought to include in the film’s final cut, directing Samuel L. Jackson as the voice for the film, the similarities and shifts he wanted to document in American culture since the 1960s, and some of the criticism he has received for not emphasizing more Baldwin’s sexuality. Keywords: James Baldwin, Gloria Baldwin Karefa-Smart, race, film, America, The Devil Finds Work, “Remember this House,” violence, sexuality, Patrice Lumumba, film I Am Not Your Negro (2016) is a work that has been a lifetime in the making for Raoul Peck. Before he met James Baldwin’s younger sister, Gloria Baldwin Karefa-Smart, a decade ago at her home in Washington D.C.
  • Beauford Delaney & James Baldwin

    Beauford Delaney & James Baldwin

    BEAUFORD DELANEY & JAMES BALDWIN: THROUGH THE UNUSUAL DOOR selected timeline Beauford Delaney 1940 Meets Delaney for the first time 1961 While traveling by boat across 1970 Buys a home at Saint-Paul-de- James Baldwin at the artist’s 181 Greene Street studio. the Mediterranean to Greece, jumps Vence, in the South of France. 1941 Spends Christmas with his fam- overboard in a suicide attempt and is 1971 Travels to London to appear with 1901 Born Knoxville, Tennessee, ily in Knoxville. Appears in Delaney’s rescued by a fisherman. Friends pay poet/activist Nikki Giovanni on the on December 30 to Delia Johnson art for the first time in Dark Rapture for his return to Paris and hospitaliza- television program Soul. At his new Delaney and the Reverend John Samuel (James Baldwin). tion. Second essay collection, Nobody home, he is visited frequently by an Delaney, 815 East Vine Avenue. Knows My Name, published by Dial. 1942 Graduates from DeWitt Clinton increasingly unstable Delaney, who 1919 Father dies on April 30. Rioting Makes first trip to Istanbul, where he High School. sees Baldwin’s home as a refuge. breaks out in August after an African finishes writing his third novel, Another 1972 Publishes No Name in the Street, American man, Maurice Franklin Mays, 1943 Stepfather David Baldwin dies. Country. his fourth book of non-fiction, and is accused of murdering a white woman 1944 Appears in Delaney’s pastel 1962 Moves to 53 Rue Vercingetorix dedicates it to Delaney. in what would later become known as Portrait of James Baldwin. in Montparnasse.
  • Sonny's Blues Study Guide

    Sonny's Blues Study Guide

    Sonny's Blues Study Guide © 2018 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary The narrator, a teacher in Harlem, has escaped the ghetto, creating a stable and secure life for himself despite the destructive pressures that he sees destroying so many young blacks. He sees African American adolescents discovering the limits placed on them by a racist society at the very moment when they are discovering their abilities. He tells the story of his relationship with his younger brother, Sonny. That relationship has moved through phases of separation and return. After their parents’ deaths, he tried and failed to be a father to Sonny. For a while, he believed that Sonny had succumbed to the destructive influences of Harlem life. Finally, however, they achieved a reconciliation in which the narrator came to understand the value and the importance of Sonny’s need to be a jazz pianist. The story opens with a crisis in their relationship. The narrator reads in the newspaper that Sonny was taken into custody in a drug raid. He learns that Sonny is addicted to heroin and that he will be sent to a treatment facility to be “cured.” Unable to believe that his gentle and quiet brother could have so abused himself, the narrator cannot reopen communication with Sonny until a second crisis occurs, the death of his daughter from polio.
  • I Am Not Your Negro's Queer Poetics of Identity and Omission

    I Am Not Your Negro's Queer Poetics of Identity and Omission

    I Am Not Your Negro’s Queer Poetics of Identity and Omission Forthcoming chapter in the Docalogue (series) book on Raoul Peck’s I Am Not Your Negro (eds. Jaime Baron and Kristen Fuchs) from Routledge Press. Courtney R. Baker I Am Not Your Negro is a cinematic journey, prompted by its subject’s quest to make sense of his life in the wake of three earth-shattering deaths. As James Baldwin narrates his friendship with and admiration of the civil rights leaders Medgar Evers, Malcolm X, and Martin Luther King, Jr., the film explores Baldwin’s relationship to the current conditions of blackness in the United States which have been informed by the legacies left by all four of those men. Authorized by Baldwin’s unfinished manuscript, the film plays with time and the utterance to supply a complex but necessary study of the relationship between identity and history. While the film does not announce itself to be particularly invested in Baldwin’s queerness or even in the more expansive albeit academic discursivity of “queer Baldwin,”1 it nevertheless adopts what might be termed a queer cinema poetics to reflect the fluidity of Baldwin’s thoughts and writings. These poetics, rooted in the cinematic vocabulary of the shot and the cut, supply a dynamic, radically unbounded vision of US race relations as they play out on screen. Attending to but not determined by historical events, I Am Not Your Negro cruises the dystopia of American antiblackness in order to reflect upon Baldwin’s insights on race, selfhood, 1 Matt Brim explains that “[t]he queer Baldwin is not simply the liberatory or the visionary or the multiple Baldwin but rather the paradoxical Baldwin.” Matt Brim, James Baldwin and the Queer Imagination (Ann Arbor: The University of Michigan Press, 2017) 2.
  • James Baldwin, Performance Theorist, Sings the Blues for Mister Charlie | 33

    James Baldwin, Performance Theorist, Sings the Blues for Mister Charlie | 33

    -DPHV%DOGZLQ3HUIRUPDQFH7KHRULVW6LQJVWKH%OXHV IRU0LVWHU&KDUOLH Koritha Mitchell American Quarterly, Volume 64, Number 1, March 2012, pp. 33-60 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/aq.2012.0009 For additional information about this article http://muse.jhu.edu/journals/aq/summary/v064/64.1.mitchell.html Access provided by The Ohio State University (2 Sep 2014 22:11 GMT) James Baldwin, Performance Theorist, Sings the Blues for Mister Charlie | 33 James Baldwin, Performance Theorist, Sings the Blues for Mister Charlie Koritha Mitchell any American studies scholars consider James Baldwin one of the nation’s most important authors and most incisive cultural critics. MIn a forty-year career, spanning 1947 to 1987, he relentlessly cri- tiqued U.S. capitalism and the alienation created by its sustaining ideologies, especially racism and (hetero)sexism. Working during the same decades in which American studies built its foundation, Baldwin shared the concerns of the field’s early practitioners, but he also anticipated the directions that succeeding generations would deem necessary. He examined the meaning of “Americanness,” but immediately found it to be inflected by race, class, gender, and sexuality.1 Baldwin argued that Americans’ self-conceptions relied on mythology that ignored the violence and injustice of the nation’s past and present. Namely, fair play seemed to be a guiding principle only because many were seduced by national fantasies. The American artist and critic therefore needed to expose those myths and urge citizens to relinquish them. Only by facing reality, Baldwin maintained, could Americans grapple with the injustice of social hierarchies and thereby recognize their connection to one another.
  • James Baldwin on My Shoulder

    James Baldwin on My Shoulder

    DISPATCH The Disorder of Life: James Baldwin on My Shoulder Karen Thorsen Abstract Filmmaker Karen Thorsen gave usJames Baldwin: The Price of the Ticket, the award-winning documentary that is now considered a classic. First broadcast on PBS/American Masters in August, 1989—just days after what would have been Baldwin’s 65th birthday—the film premiered at the Sundance Film Festival in 1990. It was not the film Thorsen intended to make. Beginning in 1986, she and Baldwin had been collaborating on a very different film project: a “nonfiction fea- ture” about the history, research, and writing of Baldwin’s next book, Remember This House. It was also going to be a film about progress: how far we had come, how far we still had to go, before we learned to trust our common humanity. The following memoir explores how and why their collaboration began. This recollec- tion will be serialized in two parts, with the second installment appearing in James Baldwin Review’s seventh issue, due out in the fall of 2021. Keywords: The Price of the Ticket, Albert Maysles, James Baldwin, film, screen- writing After two months of phone calls and occasional faxes, I sat down facing the entrance to wait for James Baldwin. It was April 1986, and this was The Ginger Man: the fabled watering hole across from Lincoln Center named after J. P. Don- leavy’s 1955 novel of the same name—a “dirty” book by an expatriate author that was banned in Ireland, published in Paris, censored in the U.S., and is now consid- ered a classic.

  • James Baldwin on My Shoulder

    DISPATCH The Disorder of Life: James Baldwin on My Shoulder Karen Thorsen Abstract Filmmaker Karen Thorsen gave usJames Baldwin: The Price of the Ticket, the award-winning documentary that is now considered a classic. First broadcast on PBS/American Masters in August, 1989—just days after what would have been Baldwin’s 65th birthday—the film premiered at the Sundance Film Festival in 1990. It was not the film Thorsen intended to make. Beginning in 1986, she and Baldwin had been collaborating on a very different film project: a “nonfiction fea- ture” about the history, research, and writing of Baldwin’s next book, Remember This House. It was also going to be a film about progress: how far we had come, how far we still had to go, before we learned to trust our common humanity. The following memoir explores how and why their collaboration began. This recollec- tion will be serialized in two parts, with the second installment appearing in James Baldwin Review’s seventh issue, due out in the fall of 2021. Keywords: The Price of the Ticket, Albert Maysles, James Baldwin, film, screen- writing After two months of phone calls and occasional faxes, I sat down facing the entrance to wait for James Baldwin. It was April 1986, and this was The Ginger Man: the fabled watering hole across from Lincoln Center named after J. P. Don- leavy’s 1955 novel of the same name—a “dirty” book by an expatriate author that was banned in Ireland, published in Paris, censored in the U.S., and is now consid- ered a classic.

  • Framing, Transposing, and Celebrating James Baldwin: an Analysis of Raoul Peck’S

    Framing, Transposing, and Celebrating James Baldwin: An Analysis of Raoul Peck’s Adaptation Techniques in I Am Not Your Negro BA Thesis English Language & Culture, Utrecht University Renée Vermeeren 4293673 Supervisor: Anna Poletti 30 October 2017 Vermeeren 2 Table of Contents . Introduction ……………………………………………………………………….....p.3 . Chapter 1: Narration and Intertitles: Bringing Baldwin’s Words and Concerns Directly to a New Generation …………………...……………………………...…....…….…p.10 . Chapter 2: Celebrating and Framing: Use of Different Types of Footage..….....…...p.17 . Conclusion…………………………………………………………………………...p.23 . Works Cited………………………………….………………………………………p.25 Vermeeren 3 Introduction In February this year, the documentary I Am Not Your Negro by filmmaker Raoul Peck was released. The Oscar-nominated film focusses on James Baldwin’s life and writing, since Peck based the film on Baldwin’s unfinished and unpublished memoir Remember This House , in which he writes about his memories and thoughts about the murders of Medgar Evers, Malcolm X, and Martin Luther King Jr. This thesis will argue that I Am Not Your Negro is framed to make the viewer reflect on the present state of racial relations in America and to celebrate Baldwin as an important thinker and writer. A key strength of the documentary is that it brings Baldwin’s writing directly to the viewers by transposing his words to the screen and proving its fidelity to Baldwin’s work, which allows the viewer to form their own opinion of Baldwin’s relevance to the present state of racial relations in the U.S. To provide arguments to support this thesis statement, I will present a close reading of three aspects of the documentary which are central to this aim: the use of a narrator and intertitles to adapt Baldwin’s writing to the screen; Peck’s choice to include Baldwin’s spoken voice by adding footage of his interviews and speeches; and Peck’s use of modern footage, such as the images of African-American children who died between 2010-2014.
  • James Baldwin Biography - Life, Children, Name, School, Son, Old, Information, Born, Movie, Time

    James Baldwin Biography - Life, Children, Name, School, Son, Old, Information, Born, Movie, Time

    3/5/2020 James Baldwin Biography - life, children, name, school, son, old, information, born, movie, time World Biography (../in… / Ba-Be (index.html) / James Baldwin Bi… James Baldwin Biography Born: August 2, 1924 New York, New York Died: November 30, 1987 Saint-Paul-de-Vance, France African American author and playwright The author James Baldwin achieved international recognition for his expressions of African American life in the United States. During the 1960s he was one of the most outspoken leaders of the civil rights movement. Early life James Arthur Baldwin, the son of Berdis Jones Baldwin and the stepson of David Baldwin, was born in Harlem, New York City, on August 2, 1924. He was the oldest of nine children and from an early age loved to read. His father was a preacher in the Pentecostal church, and at the age of fourteen Baldwin also became a preacher. At eighteen he graduated from DeWitt Clinton High School, where he had written for a magazine put out by the school. Baldwin then realized that he wanted to write for a living. In 1944 Baldwin met another writer named Richard Wright (1908–1960), who helped Baldwin secure a fellowship (a writing award) that provided him with enough money to devote all of his time to literature. By 1948 Baldwin had decided that he could get more writing done in a place where there was less prejudice, and he went to live and work in Europe with money from another fellowship. While overseas Baldwin completed the books Go Tell It on the Mountain (1953), Notes of a Native Son (1955), and Giovanni's Room (1956).
  • Queering I Am Not Your Negro: Or Why We Need James Baldwin More Than Ever

    Queering I Am Not Your Negro: Or Why We Need James Baldwin More Than Ever

    Trinity College Trinity College Digital Repository Faculty Scholarship 2017 Queering I Am Not Your Negro: or Why We Need James Baldwin More Than Ever Robert J. Corber Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/facpub Part of the Film and Media Studies Commons DISPATCH Queering I Am Not Your Negro: or Why We Need James Baldwin More Than Ever Robert J. Corber Trinity College Abstract The author reviews Raoul Peck’s 2016 film,I Am Not Your Negro, finding it a remarkable achievement as a documentary that breaks with cinematic conven- tions and emphasizes the importance of listening as much as looking. The director has singled out Baldwin as the writer whose work spoke most directly to his own identity and experience during his peripatetic childhood in Haiti and Africa, and in I Am Not Your Negro, Peck aims to ensure that Baldwin’s words will have a similar effect on audiences. However, even as it succeeds in reanimating Baldwin’s voice for a new political era, I Am Not Your Negro inadvertently exposes the diffi- culty of fully capturing or honoring the writer’s complex legacy. As scholars have long noted, interest in Baldwin’s life and work tends to divide along racial and sexual lines, and Peck’s documentary is no exception. The filmmaker privileges Baldwin’s blackness over his queerness by overlooking the parts of The Devil Finds Work and No Name in the Street in which the writer’s queerness figures prominently. Keywords: I Am Not Your Negro, Raoul Peck, The Devil Finds Work, James Baldwin, sexuality, blackness, queer, movies In The Devil Finds Work (1976), a masterpiece of film criticism in which he explored the racial politics of Hollywood cinema starting with the Great Depression, James Baldwin bemoaned the difficulties screenwriters faced when tasked with adapting a written text for the movies.
  • James Baldwin Residence Multiple Property Listing: No Other Names/Site Number 2

    James Baldwin Residence Multiple Property Listing: No Other Names/Site Number 2

    NPS Form 10-900 OMB No. 1024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations of eligibility for individual properties or districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials and areas of significance, enter only categories and subcategories listed in the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name James Baldwin Residence multiple property listing: no other names/site number 2. Location street & number 137 West 71st Street not for publication city or town New York vicinity state New York code NY county New York code 061 zip code 10023 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I certify that this x nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property x meets does not meet the National Register criteria. I recommend that this property be considered significant x nationally statewide locally.