James Baldwin Quotes

You read something which you thought only happened to you, and you discover that it happened 100 years ago to Dostoyevsky. This is a very great liberation for the suffering, struggling person, who always thinks that he is alone. This is why art is important.

Perhaps everybody has a garden of Eden, I don't know; but they have scarcely seen their garden before they see the flaming sword. Then, perhaps, life only offers the choice of remembering the garden or forgetting it. Either, or: it takes strength to remember, it takes another kind of strength to forget, it takes a hero to do both. People who remember court madness through pain, the pain of the perpetually recurring death of their innocence; people who forget court another kind of madness, the madness of the denial of pain and the hatred of innocence; and the world is mostly divided between madmen who remember and madmen who forget. Heroes are rare.

I often wonder what I'd do if there weren't any books in the world.

Most of us are about as eager to be changed as we were to be born, and go through our changes in a similar state of shock.

The paradox of education is precisely this - that as one begins to become conscious one begins to examine the society in which he is being educated.

People who believe that they are strong-willed and the masters of their destiny can only continue to believe this by becoming specialists in self-deception. Their decisions are not really decisions at all — a real decision makes one humble, one knows that it is at the mercy of more things than can be named — but elaborate systems of evasion, of illusion, designed to make themselves and the world appear to be what they and the world are not.

I don't know, now, when I first looked at Hella and found her stale, found her body uninteresting, her presence grating. It seemed to happen all at once — I suppose that only means that it had been happening for a long time.

I imagine that one of the reasons people cling to their hates so stubbornly is because they sense, once hate is gone, that they will be forced to deal with pain.

Most of us, no matter what we say, are walking in the dark, whistling in the dark. Nobody knows what is going to happen to him from one moment to the next, or how one will bear it. This is irreducible. And it's true of everybody. Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion. Artists are here to disturb the peace. (p. 21)

"Many have given up. They stay home and watch the TV screen, living on the earnings of their parents, cousins, bothers, or uncles, and only leave the house to go to the movies or to the nearest bar. "How're you making it?" on may ask, running into them along the block, or in the bar. "Oh, I'm TV-ing it"; with the saddest, sweetest, most shamefaced of smiles, and from a great distance. This distance one is compelled to respect; anyone who has traveled so far will not easily be dragged again into the world. There are further retreats, of course, than the TV screen or the bar. There are those who are simply sitting on their stoops, "stoned," animated for a moment only, and hideously, by the approach of someone who may lend them the money for a "fix." Or by the approach of someone from whom they can purchase it, one of the shrewd ones, on the way to prison or just coming out."

I imagine one of the reasons people cling to their hates so stubbornly is because they sense, once hate is gone, they will be forced to deal with pain.

All the western nations are caught in a lie, the lie of their pretended humanism: this means that their history has no moral justification, and that the West has no moral authority.

The roles that we construct are constructed because we feel that they will help us to survive and also, of course, because they fulfill something in our personalities; and one does not, therefore, cease playing a role simply because one has begun to understand it. All roles are dangerous. The world tends to trap you in the role you play and it is always extremely hard to maintain a watchful, mocking distance between oneself as one appears to be and oneself as one actually is.

A change, a real change is brought about when the people make a change. The poet or the revolutionary is there to articulate the necessity, but until the people themselves apprehend it, nothing can happen. When the people have taken the necessity, when the movement starts moving, then the world moves. Perhaps, it can't be done without the poet, but, it certainly can't be done without the people. The poet and the people get on generally very badly, and yet they need each other. The poet knows it sooner than the people do. The people usually know it after the poet is dead; but, that's all right. The point is to get your work done, and your work is to change the world. (1973)

Some moments in a life, and they needn’t be very long or seem very important, can make up for so much in that life; can redeem, justify, that pain, that bewilderment, with which one lives, and invest one with the courage not only to endure it, but to profit from it; some moments teach one the price of the human connection: if one can live with one’s own pain, then one respects the pain of others, and so, briefly, but transcendentally, we can release each other from pain.