Discerning readers of this issue will note that once again we have focused on a single topic—screenwriting in this case. It is the second time we have done a “theme” issue, last fall’s number being entirely devoted to humor—poems, short stories, interviews, commentaries. Obviously, such a comprehensive offering is impossible with screenwriting — hardly a subject to be tackled by poets or short-story writers. Nonetheless, the three interviews (with Richard Price, Billy Wilder and John Gregory Dunne) are applicable, and so is the new feature, “The Man in the Back Row Has a Question.” As is a feature on Truman Capote’s work as a screenwriter of Beat the Devil. Lastly, a number of pages have been set aside for a portfolio on the work of the late Terry Southern — a screenwriter of first rank (Easy Rider, Dr. Strangelove, The Cincinnati Kid) as well as a distinguished novelist and short-story writer (Red Dirt Marijuana, The Magic Christian, Texas Summers). He was a longtime friend of this ma…
Suggested Reading
The Language of Lava Lamps
By Nora Claire Miller“A lava lamp, then, is a perfect poem. A liquid hourglass of light, it measures out time in stanzaic blobs.”
The Daily
The Review’s Review
The Art of Fiction No. 78
By James Baldwin
James Baldwin in Hyde Park, London. Photograph by Allan Warren, The Paris Review No. 129.
This interview was conducted in the two places dearest to James Baldwin’s struggle as a writer. We met first in Paris, where he spent the first nine years of a burgeoning career and wrote his first two novels, Go Tell It on the Mountain and Giovanni’s Room, along with his best-known collection of essays, Notes of a Native Son. It was in Paris, he says, that he was first able to come to grips with his explosive relationship with himself and America. Our second talks were held at Baldwin’s poutres-and-stone villa in St. Paul de Vence, where he has made his home for the past ten years. We lunched on an August weekend, together with seasonal guests and his secretary. Saturday, a storm raged amid intolerable heat and humidity, causing Baldwin’s minor case of arthritis to pain his writing hand (left) and wrist. Erratic power shortages caused by the storm interrupted the tape machine by our side. During the blackouts we would discuss subjects at random or wait in silence while sipping our drinks.
Returning Sunday at Baldwin’s invitation, the sun was shining and we were able to lunch outdoors at a picnic table, shaded by a bower that opened onto property dotted with fruit trees and a spectacular view of the Mediterranean littoral. Baldwin’s mood had brightened considerably since the previous day, and we entered the office and study he refers to as his “torture chamber.”
Baldwin writes in longhand (“you achieve shorter declarative sentences”) on the standard legal pad, although a large, old Adler electric sits on one end of his desk—a rectangular oak plank with rattan chairs on either side. It is piled with writing utensils and drafts of several works-in-progress: a novel, a play, a scenario, essays on the Atlanta child murders, these last compiled in The Evidence of Things Not Seen. His most recent work includes The Devil Finds Work, an attack on racial bias and fear in the film industry, and a novel, Just Above My Head, which draws on his experiences as a civil-rights activist in the 1960s.
INTERVIEWER
Would you tell us how you came to leave the States?
JAMES BALDWIN
I was broke. I got to Paris with forty dollars in my pocket, but I had to get out of New York. My reflexes were tormented by the plight of other people. Reading had taken me away for long periods at a time, yet I still had to deal with the streets and the authorities and the cold. I knew what it meant to be white and I knew what it meant to be a nigger, and I knew what was going to happen to me. My luck was running out. I was going to go to jail, I was going to kill somebody or be killed. My best friend had committed suicide two years earlier, jumping off the George Washington Bridge.
When I arrived in Paris in 1948 I didn’t know a word of French. I didn’t know anyone and I didn’t want to know anyone. Later, when I’d encountered other Americans, I began to avoid them because they had more money than I did and I didn’t want to feel like a freeloader. The forty dollars I came with, I recall, lasted me two or three days. Borrowing money whenever I could—often at the last minute—I moved from one hotel to another, not knowing what was going to happen to me. Then I got sick. To my surprise I wasn’t thrown out of the hotel. This Corsican family, for reasons I’ll never understand, took care of me. An old, old lady, a great old matriarch, nursed me back to health after three months; she used old folk remedies. And she had to climb five flights of stairs every morning to make sure I was kept alive. I went through this period where I was very much alone, and wanted to be. I wasn’t part of any community until I later became the Angry Young Man in New York.
INTERVIEWER
Why did you choose France?
BALDWIN
It wasn’t so much a matter of choosing France—it was a matter of getting out of America. I didn’t know what was going to happen to me in France but I knew what was going to happen to me in New York. If I had stayed there, I would have gone under, like my friend on the George Washington Bridge.
INTERVIEWER
You say the city beat him to death. You mean that metaphorically.
BALDWIN
Not so metaphorically. Looking for a place to live. Looking for a job. You begin to doubt your judgment, you begin to doubt everything. You become imprecise. And that’s when you’re beginning to go under. You’ve been beaten, and it’s been deliberate. The whole society has decided to make you nothing. And they don’t even know they’re doing it.
INTERVIEWER
Has writing been a type of salvation?
BALDWIN
I’m not so sure! I’m not sure I’ve escaped anything. One still lives with it, in many ways. It’s happening all around us, every day. It’s not happening to me in the same way, because I’m James Baldwin; I’m not riding the subways and I’m not looking for a place to live. But it’s still happening. So salvation is a difficult word to use in such a context. I’ve been compelled in some ways by describing my circumstances to learn to live with them. It’s not the same thing as accepting them.
INTERVIEWER
Was there an instant you knew you were going to write, to be a writer rather than anything else?
BALDWIN
Yes. The death of my father. Until my father died I thought I could do something else. I had wanted to be a musician, thought of being a painter, thought of being an actor. This was all before I was nineteen. Given the conditions in this country to be a black writer was impossible. When I was young, people thought you were not so much wicked as sick, they gave up on you. My father didn’t think it was possible—he thought I’d get killed, get murdered. He said I was contesting the white man’s definitions, which was quite right. But I had also learned from my father what he thought of the white man’s definitions. He was a pious, very religious and in some ways a very beautiful man, and in some ways a terrible man. He died when his last child was born and I realized I had to make a jump—a leap. I’d been a preacher for three years, from age fourteen to seventeen. Those were three years which probably turned me to writing.
INTERVIEWER
Were the sermons you delivered from the pulpit very carefully prepared, or were they absolutely off the top of your head?
BALDWIN
I would improvise from the texts, like a jazz musician improvises from a theme. I never wrote a sermon—I studied the texts. I’ve never written a speech. I can’t read a speech. It’s kind of give-and-take. You have to sense the people you’re talking to. You have to respond to what they hear.
INTERVIEWER
Do you have a reader in your mind when you write?
BALDWIN
No, you can’t have that.
INTERVIEWER
So it’s quite unlike preaching?
BALDWIN
Entirely. The two roles are completely unattached. When you are standing in the pulpit, you must sound as though you know what you’re talking about. 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.
INTERVIEWER
Is that one of the reasons you decided to be a writer—to find out about yourself?
BALDWIN
I’m not sure I decided. It was that or nothing, since in my own mind I was the father of my family. That’s not quite the way they saw it, but still I was the oldest brother, and I took it very seriously, I had to set an example. I couldn’t allow anything to happen to me because what then would happen to them? I could have become a junkie. On the roads I traveled and the streets I ran, anything could have happened to a boy like me—in New York. Sleeping on rooftops and in the subways. Until this day I’m terrified of the public toilet. In any case . . . my father died, and I sat down and figured out what I had to do.
INTERVIEWER
When did you find time to write?
BALDWIN
I was very young then. I could write and hold a few jobs. I was for a time a waiter . . . like George Orwell in Down and Out in Paris and London. I couldn’t do it now. I worked on the Lower East Side and in what we now call Soho.
From the Archive, Issue 91
Interview
Aisha Sabatini Sloan
Episode 22: “Form and Formlessness”
In an essay specially commissioned for the podcast, Aisha Sabatini Sloan describes rambling around Paris with her father, Lester Sloan, a longtime staff photographer for Newsweek, and a glamorous woman who befriends them. In an excerpt from The Art of Fiction no. 246, Rachel Cusk and Sheila Heti discuss how writing her first novel helped Cusk discover her “shape or identity or essence.” Next, Allan Gurganus’s reading of his story “It Had Wings,” about an arthritic woman who finds a fallen angel in her backyard, is interspersed with a version of the story rendered as a one-woman opera by the composer Bruce Saylor. The episode closes with “Dear Someone,” a poem by Deborah Landau.
Rachel Cusk photo courtesy the author.
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