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The Cage of Reality: Nuancing Processes of Identity in James Baldwin's Fiction

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The Cage of Reality: Nuancing Processes of Identity in James Baldwin's Fiction The Cage of Reality Nuancing Processes of Identity in James Baldwin’s Fiction Regine Lundevall Bergersen A Thesis Presented to the Department of Literature, Area Studies, and European Languages UNIVERSITY OF OSLO In partial fulfillment of the requirements for the Master’s of Arts Degree SPRING 2017 I II The Cage of Reality Nuancing Processes of Identity in James Baldwin’s Fiction Regine Lundevall Bergersen III Copyright Regine Lundevall Bergersen 2017 The Cage of Reality: Nuancing Processes of Identity in James Baldwin’s Fiction Regine Lundevall Bergersen http://www.duo.uio.no Trykk: Reprosentralen, Universitetet i Oslo IV Abstract This thesis explores issues and processes of identity in three pieces of James Baldwin’s fiction: “Going to Meet the Man” (1965), Giovanni’s Room (1956), and Another Country (1962). The point of departure is Baldwin’s concept of “the cage of reality,” a term used to describe the ways in which society traps the individual in a mold of assigned identity, and from which one cannot escape, but can hope to be free from through acknowledgement. The processes of acknowledging or ignoring the cage of reality is what this thesis explores in central characters in these three works, and this study finds that American society is riddled with a trait Baldwin calls “preservation of innocence,” translatable to a willful ignorance of the cage of reality, which explains the persistence of harmful identity norms. The key to overcoming the cage of reality is, according to Baldwin, to take responsibility, and accept that all individuals exist in a “web of ambiguity.” This thesis uses critical race theory and some psychoanalytical approaches to the short story “Going to Meet the Man,” and a selection of existentialist terms in the readings of Giovanni’s Room and Another Country. V VI Acknowledgements To my supervisor Bruce Barnhart, for introducing me to the joys of James Baldwin, as well as his thorough comments and feedback on the work with this thesis. I am grateful. To Fredrik, my friends, and my family, for supporting me always. I could not have done this without you. And lastly, to James Baldwin. It has been my great pleasure to work with you. VII VIII Table of contents Introduction .............................................................................................................................. 1 1 Fear and Pleasure: Identity, Race, and Violence in “Going to Meet the Man” ....... 11 1.1 American identity: Whiteness and binaries .................................................................... 14 1.2 Misnaming: Subject/object ............................................................................................... 17 1.3 Fear and pleasure: Psychoanalysis .................................................................................. 19 1.4 Dark gods: Repression, conclusion .................................................................................. 24 2 Innocence, Authenticity, Escape: Morality and Maturity in Giovanni’s Room ....... 26 2.1 Shunning metamorphosis: Preservation of innocence ................................................... 28 2.2 Giovanni’s Room ............................................................................................................... 38 2.2.1 Innocence and escape ...................................................................................................... 39 2.2.2 Responsibility and self-deceit ......................................................................................... 44 2.2.3 Home, America, and Americans ..................................................................................... 50 3 American Relationality and Mature Love in Another Country ................................. 54 3.1 Immaturity: Richard as safe and boyish ......................................................................... 59 3.2 Struggle: Vivaldo as torn and insecure ............................................................................ 66 3.3 Love: Eric as authentic and accomplished ...................................................................... 76 Conclusion .............................................................................................................................. 81 Works cited ............................................................................................................................. 83 IX X Introduction We take our shape, it is true, within and against that cage of reality bequeathed us at our birth; and yet it is precisely through our dependence on this reality that we are most endlessly betrayed.1 The universality of James Baldwin’s talent is still being discovered by new generations today. In 2016 alone, two Baldwin-related works were released: The Academy Award- nominated documentary I Am Not Your Negro, compiled from Baldwin’s unpublished notes and edited by director Raoul Peck, and the essay collection The Fire This Time, edited by author Jesmyn Ward and inspired by Baldwin’s essay collection The Fire Next Time (1962). In addition to this, a 2015 memoir named Between the World and Me gained its author, Ta- Nehisi Coates, praise by none other than Nobel laureate Toni Morrison herself as the new James Baldwin.2 What these three releases have in common is their focus on the black experience in U.S. society, and more specifically, the importance of James Baldwin as voice and representative for the black citizens of America. What these releases lack, however, is a sufficient acknowledgement of the almost unlimited spectrum of Baldwin’s identities. As critic Robert J. Corber notes: “Baldwin’s emphasis on the contradictory and refractory nature of sexuality makes his classification by critics as a gay, an African American, or even a gay African American writer deeply problematic. At the very least, such categories gloss over the complexity of his life and work” (168). Baldwin’s complexity encompassed more than just race and sexuality, but Corber’s point that this is problematic is, as I see it, still valid today. The fact of the matter is that Baldwin’s identity was so complex and nuanced that it will always be reductive to limit a reading of him to only one or two labels. The problematic nature of categorization touches upon my own personal experience with Baldwin: I was first exposed to Baldwin as a young and naïve student in my second year of university, reading Giovanni’s Room for my “Homotextuality” course. I remember looking up the author only after completing the novel, and to my subsequent surprise realized that it had been written by a black man. I was immediately arrested by my reaction, and it spurred my fascination for Baldwin: Why had I been surprised of the color of the author’s skin? Had I thought that an author’s ethnicity would decide the characters they could and could not write? 1 Baldwin: “Everybody’s Protest Novel.” p. 16. 2 The quote reads: “I’ve been wondering who might fill the intellectual void that plagued me after James Baldwin died. Clearly it is Ta-Nehisi Coates.” The full quote can be found on the book jacket of Between the World and Me, as well as in the 2015 article by Benjamin Wallace-Wells. 1 From that moment on, my approach to literature changed, and I began to question my assumptions which turned out to be both rewarding and productive. So, when this much beloved author became a name of renewed interest in 2016, I was thrilled, only to become slightly disappointed by the narrowness of the representation he got in mainstream media. It is a difficult line to walk, because his nonfiction, which inspired all three works above, was highly political, and highly focused on the black experience and racial tensions in U.S. society. I do not in any way wish to retract from that. I do, however, wish to examine his fiction, where I find a complex and nuanced presentation of the difficulties inherent in the processes of identity formation for all individuals, and particularly individuals in U.S. society. As my surprise stemmed from the eloquence with which Baldwin portrayed even the white characters in his fiction, I became fascinated with the idea of exploring the ways in which Baldwin diagnoses and portrays the reasons for the “white straight male’s” processes of identity formation. I will show that Baldwin’s fiction identifies a trait inherent in American individuals, called “preservation of innocence,” which can help explain the persistence of harmful identity norms. This trait stems from the concept of the “cage of reality,” a term used to describe the way all individuals are born into a society from whose rules and norms they cannot escape. This cage labels all individuals, and it is a tool of oppression meant to maintain the status quo of white supremacy and heteronormativity. Baldwin poses the conscious and authentic individual’s acknowledgement of this cage as the only way we might hope for a betterment of the cage of reality. In this thesis, then, I have selected three pieces of fiction that I believe present a good representation of these traits in Baldwin’s white characters. For the first chapter, I have chosen the short story “Going to Meet the Man” (1965), a story that allows me to set the scene of my study. In it, I find a wide but concise coverage of what I call the “status quo” of U.S. society, as well as an example of how the cage of reality destroys not only the underprivileged categories of individuals, but also the individuals it is supposed to favor, seen in the white straight male supremacist Jesse. This status quo is then challenged
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