A stunning love story about a young Black woman whose life is torn apart when her lover is wrongly accused of a crime—"a moving, painful story, so vividly human and so obviously based on reality that it strikes us as timeless" (The New York Times Book Review). "One of the best books Baldwin has ever written—perhaps the best of all." —The Philadelphia Inquirer Told through the eyes of Tish, a nineteen-year-old girl, in love with Fonny, a young sculptor who is the father of her child, Baldwin’s story mixes the sweet and the sad. Tish and Fonny have pledged to get married, but Fonny is falsely accused of a terrible crime and imprisoned. Their families set out to clear his name, and as they face an uncertain future, the young lovers experience a kaleidoscope of emotions—affection, despair, and hope. In a love story that evokes the blues, where passion and sadness are inevitably intertwined, Baldwin has created two characters so alive and profoundly realized that they are unforgettably ingrained in the American psyche.

"Chronology. Notes.

Demonstrating the intimate connections among our public, political, and personal lives, these essays by Robert Cantwell explore the vernacular culture of everyday life. A keen and innovative observer of American culture, Cantwell casts a broad and penetrating intelligence over the cultural functioning of popular texts, artifacts, and performers, examining how cultural practices become performances and how performances become artifacts endowed with new meaning through the transformative acts of imagination. Cantwell's points of departure range from the visual and the literary--a photograph of Woody Guthrie, or a poem by John Keats--to major cultural exhibitions such as the World's Columbian Exposition. In all these domains, he unravels the implications for community and cultural life of a continual migration, transformation, and reformulation of cultural content.

A major work of American literature from a major American writer that powerfully portrays the anguish of being Black in a society that at times seems poised on the brink of total racial war. "Baldwin is one of the few genuinely indispensable American writers." —Saturday Review At the height of his theatrical career, the actor Leo Proudhammer is nearly felled by a heart attack. As he hovers between life and death, Baldwin shows the choices that have made him enviably famous and terrifyingly vulnerable. For between Leo's childhood on the streets of Harlem and his arrival into the intoxicating world of the theater lies a wilderness of desire and loss, shame and rage. An adored older brother vanishes into prison. There are love affairs with a white woman and a younger black man, each of whom will make irresistible claims on Leo's loyalty. Tell Me How Long the Train's Been Gone is overpowering in its vitality and extravagant in the intensity of its feeling.

James Baldwin’s final novel is “the work of a born storyteller at the height of his powers” (The New York Times Book Review). “Not everything is lost. Responsibility cannot be lost, it can only be abdicated. If one refuses abdication, one begins again.” The stark grief of a brother mourning a brother opens this stunning, unforgettable novel. Here, in a monumental saga of love and rage, James Baldwin goes back to Harlem, to the church of his groundbreaking novel Go Tell It on the Mountain, to the forbidden passion of Giovanni’s Room, and to the political fire that enflames his nonfiction work. Here, too, the story of gospel singer Arthur Hall and his family becomes both a journey into another country of the soul and senses—and a living contemporary history of black struggle in this land.

James Baldwin’s Later Fiction examines the decline of Baldwin’s reputation after the middle 1960s, his tepid reception in mainstream and academic venues, and the ways in which critics have often mis-represented and undervalued his work. Scott develops readings of Tell Me How Long the Train’s Been Gone, If Beale Street Could Talk, and Just Above My Head that explore the interconnected themes in Baldwin’s work: the role of the family in sustaining the arts, the price of success in American society, and the struggle of black artists to change the ways that race, sex, and masculinity are represented in American culture. Scott argues that Baldwin’s later writing crosses the cultural divide between the 1950s and 1960s in response to the civil rights and black power movements. Baldwin’s earlier works, his political activism and sexual politics, and traditions of African American autobiography and fiction all play prominent roles in Scott’s analysis.

First published in 1963, James Baldwin's A Fire Next Time stabbed at the heart of America's so-called ldquo;Negro problemrdquo;. As remarkable for its masterful prose as it is for its uncompromising account of black experience in the United States, it is considered to this day one of the most articulate and influential expressions of 1960s race relations. The book consists of two essays, ldquo;My Dungeon Shook mdash; Letter to my Nephew on the One Hundredth Anniversary of Emancipation,rdquo; and ldquo;Down At The Cross mdash; Letter from a Region of My Mind.rdquo; It weaves thematic threads of love, faith, and family into a candid assault on the hypocrisy of the so-say ldquo;land of the freerdquo;, insisting on the inequality implicit to American society. ldquo;You were born where you were born and faced the future that you facedrdquo;, Baldwin writes to his nephew, ldquo;because you were black and for no other reason.rdquo; His profound sense of injustice is matched by a robust belief in ldquo;monumental dignityrdquo;, in patience, empathy, and the possibility of transforming America into ldquo;what America must become.rdquo;