“ Mountain ,” Baldwin said, “is the book I had to write if I was ever going to write anything else.” Go Tell It on the Mountain , originally published in 1953, is Baldwin’s first major work, a novel that has established itself as an American classic. With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy’s discovery one Saturday in March of 1935 of the terms of his identity as the stepson of the minister of a Pentecostal storefront church in Harlem. Baldwin’s rendering of his protagonist’s spiritual, sexual, and moral struggle toward self-invention opened new possibilities in the American language and in the way Americans understand themselves.

“With vivid imagery, with lavish attention to details, Mr. Baldwin has told his feverish story.” —The New York Times
 
“Brutal, objective and compassionate.” —San Francisco Chronicle
 
“It is written with poetic intensity and great narrative skill.” —Harper’s
 
“Strong and powerful.” —Commonweal
 
“A sense of reality and vitality that is truly extraordinary. . . . He knows Harlem, his people, and the language they use.” —Chicago Sun-Times
 
“This is a distinctive book, both realistic and brutal, but a novel of extraordinary sensitivity and poetry.” —Chicago Sunday Tribune

Autorentext

JAMES BALDWIN was born on August 2, 1924, and educated in New York. His first novel, Go Tell It on the Mountain, appeared in 1953 to excellent reviews and immediately was recognized as establishing a profound and permanent new voice in American letters. "Mountain is the book I had to write if I was ever going to write anything else," he remarked. Baldwin's play The Amen Corner was first performed at Howard University in 1955 (it was staged commercially in the 1960s), and his acclaimed collection of essays Notes of a Native Son, was published the same year. A second collection of essays, Nobody Knows My Name, was published in 1961 between his novels Giovanni's Room (1956) and Another Country (1961).

The appearance of The Fire Next Time in 1963, just as the civil rights movement was exploding across the American South, galvanized the nation and continues to reverberate as perhaps the most prophetic and defining statement ever written of the continuing costs of Americans' refusal to face their own history. It became a national bestseller, and Baldwin was featured on the cover of Time magazine. Critic Irving Howe said that The Fire Next Time achieved "heights of passionate exhortation unmatched in modern American writing." In 1964 Blues for Mister Charlie, his play based on the murder of a young black man in Mississippi, was produced by the Actors Studio in New York. That same year, Baldwin was made a member of the National Institute of Arts and Letters and collaborated with the photographer Richard Avedon on Nothing Personal, a series of portraits of America intended as a eulogy for the slain Medger Evers. A collection of short stories, Going to Meet the Man, was published in 1965, and in 1968, Tell Me How Long the Train's Been Gone, his last novel of the 1960s appeared.

In the 1970s he wrote two more collections of essays and cultural criticism: No Name in the Street (1972) and The Devil Finds Work (1976). He produced two novels: the bestselling If Beale Street Could Talk (1974) and Just Above My Head (1979) and also a children's book Little Man, Little Man: A Story of Childhood (1976). He collaborated with Margaret Mead on A Rap on Race (1971) and with the poet-activist Nikki Giovanni on A Dialogue (1973). He also adapted Alex Haley's The Autobiography of Malcolm X into One Day When I Was Lost.

In the remaining years of his life, Baldwin produced a volume of poetry, Jimmy's Blues (1983), and a final collection of essays, The Price of the Ticket. Baldwin's last work, The Evidence of Things Not Seen (1985), was prompted by a series of child murders in Atlanta. Baldwin was made a Commander of the French Legion of Honor in June 1986. Among the other awards he received are a Eugene F. Saxon Memorial Trust Award, a Rosenwald fellowship, a Guggenheim fellowship, a Partisan Review fellowship, and a Ford Foundation grant.

James Baldwin died at his home in Saint-Paul-de-Vence in France on December 1, 1987.

Klappentext

James Baldwin’s bestselling first novel—a coming-of-age story that depicts incredible resilience in pursuit of self-invention, now hailed as an American classic

“A novel of extraordinary sensitivity and poetry.”—Chicago Tribune

Originally published in 1953, Go Tell It on the Mountain was James Baldwin’s first major work, based in part on his own childhood in Harlem. With lyrical precision, psychological directness, resonating symbolic power, and a rage born of compassion, Baldwin chronicles a fourteen-year-old boy’s discovery of the terms of his identity as the stepson of the minister of a Pentecostal storefront church in Harlem. Baldwin’s rendering of a young person’s spiritual, sexual, and moral struggle opened new possibilities in the American language and in the way Americans understood themselves.

Leseprobe
I looked down the line,
And I wondered.

Everyone had always said that john would be a preacher when he grew up, just like his father. It had been said so often that John, without ever thinking about it, had come to believe it himself. Not until the morning of his fourteenth birthday did he really begin to think about it, and by then it was already too late.

His earliest memories—which were in a way, his only memories—were of the hurry and brightness of Sunday mornings. They all rose together on that day; his father, who did not have to go to work, and led them in prayer before breakfast; his mother, who dressed up on that day, and looked almost young, with her hair straightened, and on her head the close-fitting white cap that was the uniform of holy women; his younger brother, Roy, who was silent that day because his father was home. Sarah, who wore a red ribbon in her hair that day, and was fondled by her father. And the baby, Ruth, who was dressed in pink and white, and rode in her mother's arms to church.

The church was not very far away, four blocks up Lenox Avenue, on a corner not far from the hospital. It was to this hospital that his mother had gone when Roy, and Sarah, and Ruth were born. John did not remember very clearly the first time she had gone, to have Roy; folks said that he had cried and carried on the whole time his mother was away; he remembered only enough to be afraid every time her belly began to swell, knowing that each time the swelling began it would not end until she was taken from him, to come back with a stranger. Each time this happened she became a little more of a stranger herself. She would soon be going away again, Roy said—he knew much more about such things than John. John had observed his mother closely, seeing no swelling yet, but his father had prayed one morning for the "little voyager soon to be among them," and so John knew that Roy spoke the truth.

Every Sunday morning, then, since John could remember, they had taken to the streets, the Grimes family on their way to church. Sinners along the avenue watched them—men still wearing their Saturday-night clothes, wrinkled and dusty now, muddy-eyed and muddy-faced; and women with harsh voices and tight, bright dresses, cigarettes between their fingers or held tightly in the corners of their mouths. They talked, and laughed, and fought together, and the …