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d South； where all of John’s family came from in search of a new life。 This wasBaldwin’s primary milieu： the Harlem of migrant black Americans； bringing with them the storiesof their fathers and mothers； one generation away from slavery。
This Northerness was important to Baldwin。 It was the world he knew from his childhoodand the world he cared most about。 He had a feeling for the hopes that were invested in the journeyNorth – ‘North；’ where； as Gabriel’s mother says； ‘wickedness dwelt and Death rode mightythrough the streets’。 In one of his essays； ‘A Fly in the Buttermilk’； Baldwin wrote of anotherSoutherner’s contempt for the North； a man he tried to interview for a piece on the progress ofCivil Rights： ‘He forced me to admit； at once； that I had never been to college； that NorthernNegroes lived herded together； like pigs in a pen； that the campus on which we met was a tribute tothe industry and determination of Southern Negroes。 “Negroes in the South form a munity。” ’
Baldwin’s sensibility； his talent for moral ambivalence； his taste for the terrifying patternsof life； the elegant force of his disputatious spirit； as much Henry James as Bessie Smith； was notalways to find favour with his black contemporaries。 Langston Hughes called Go Tell It to theMountain ‘a low…down story in a velvet bag’。 ‘A Joan of Arc of the cocktail party’ was AmiriBaraka’s ment on Baldwin。 Some of this could be constructed as standard resentment –reminiscent of the kind expressed by Gabriel towards John for not hating whites enough – andsome was a reaction against Baldwin’s popularity with the white literary establishment。 But thatwasn’t all。 By the time he was writing novels； and writing these essays – works of magical powerand directness – Baldwin had e to feel that the black ‘protest’ novel was breathlesslyredundant。 In a recent essay about Baldwin’s writing； the novelist Darryl Pinckney ments onBaldwin’s rejection of Richard Wright； the author of Native Son：
In retrospect Baldwin praises Wright’s work for its dry； savage folkloric humour andfor how deeply it conveys what life was like on Chicago’s South Side。 The climate that hadonce made Wright’s work read like a racial manifesto had gone。 Baldwin found whenreading Wright again that he did not think of the 1930s or even of Negroes； because Wright’scharacters and situations had universal meanings。
In ‘Alas； Poor Richard’； an essay in the collection Nobody Knows My Name； Baldwin concludesthat Wright was not the polemical firebrand he took himself to be。 Many of Baldwin’s blackcontemporaries hated this view。
Baldwin’s first novel； in respect of all this； demonstrates a remarkable unit of form andcontent； the style of the novel makes clear the extent to which he was turning away from hisliterary forefathers。 It may be sensible to see the novel as a farewell not only the Harlem of hisfather； but to the literary influence of Richard Wright and Uncle Tom’s Cabin。 Baldwin was unremitting on this point； and these several goodbyes； offered from his Paris exile； became thecreed of his early writing。 ‘In most of the novels written by Negroes until today；’ he wrote； ‘thereis a great space where sex ought to be； and what usually fills this space is violence。’
Go Tell It on the Mountain is a very sensual novel； a book soaked in the Bible and theblues。 Spiritual song is there in the sentences； at the head of chapters； and it animates the voices onevery side during the ‘ing through’ of John Grimes。 As he steps up to the altar John issuddenly aware of the sound of his own prayers – ‘trying not to hear the words that he forcedoutwards from his throat’。 Baldwin’s language has the verbal simplicity of the Old Testament； aswell as its metaphorical boldness。 The rhythms of the blues； a shade of regret； a note of pain risingout of experience； are deeply inscribed in the novel； and they travel freely along the lines ofdialogue。 There is a kind of metaphorical； liturgical energy in some novels – in Faulkner’s TheSound and the Fury； in Joyce’s Portrait of the Artist as a Young Man； in Elizabeth Smart’s ByGrand Central Station I Sat Down and Wept； in Toni Morrison’s Beloved – which is utterlyessential to the art。 It may seem at first overpowering； to waft in the air like perfume； or to have thetexture of Langston Hughes’s velvet bag； but it is； in each of the cases； and especially in the caseof Baldwin’s first novel； a matter of straightforward literary integrity。 Every word is necessary。
Every image runs clear in the blood of the novel。
Take John’s mother Elizabeth。 Look at the shape of her thoughts on the page； as broughtout in Baldwin’s third…person narrative：
‘I sure don’t care what God don’t like； or you； either；’ Elizabeth heart replied。 ‘I’mgoing away from here。 He’s going to e and get me； and I’m going away from here。’
‘He’ was her father； who never came。 As the years passed she replied only： ‘I’m goingaway from here。’ And it hung； this determination； like a heavy jewel between her breasts； itwas written in fire on the dark sky of her mind。 But； yes – there was something she hadoverlooked。 Pride goeth before destruction； and a haughty spirit before a fall。 She had notknown this： she had not imagined that she could fall。
When reading this novel I am always aware of the charge that sex gives to religion； a bond thenovel explores and confirms。 We think of Baldwin as a figure of the 1960s； a literary embodimentof outrage in the face of American segregation； but actually； Baldwin； in his novels； writes more ofsex and sin than he does of Civil Rights。 Gabriel； a preacher speaking fiery words from the pulpit；is actually a secret sinner； fallen in ways that are known to his sister Florence； and known to hiswife Elizabeth too。 When younger； ‘he drank until hammers rang in his distant skull； he cursed hisfriends and his enemies； and fought until blood ran down； in the morning he found himself in mud；in clay； in strange beds； and once or twice in jail； his mouth sour； his clothes in rags； from all ofhim rising the stink of his corruption’。
The novel tells the story of how John es to know this。 Gabriel uses the church not toraise but to conceal his true character： his hypocrisy is everywhere around him； and nowhere morethan in the minds of the women who had suffered him； and increasingly； too； in the mind of John；his ‘bastard’ son。 Florence’s lover Frank was similarly corrupt； yet he； at least； in ‘the brutality of his penitence’； tried to make it up to Florence。 It is John’s terrible fate – and everyone else’s – thatGabriel can neither inspire forgiveness nor redeem himself。 He goes on with his lying。 He inspiredfear。 He is hated。
Novels about the sins of men often turn out to be novels about the courage of women。
Florence； Elizabeth； Deborah； and the tragic Esther； who is made pregnant by Gabriel and sentaway to die； are the novel’s moral retainers； keeping faith with humanity； whilst all around themFaith rides on his dark horse； cutting down hope and charity。 Florence says something for all thewomen in the novel； and for James Baldwin； one suspects； contemplating the fate of the women inhis early life； when she looks at the face of Frank。 ‘It sometimes came to her；’ Baldwin writes；‘that all women had been cursed from the cradle’； all； in one fashion or another； being given thesame cruel destiny； born to suffer the weight of men。’ Florence remembers the beginning of herown cruel destiny。 It began with the birth of Gabriel。 After this her future was ‘swallowed up’； andhe life was over： ‘There was only one future in that house； and it was Gabriel’s – to which； sinceGabriel was a man…child； all else must be sacrificed。’
Baldwin is unusual – and controversial； for more traditional black writers； as well as thecountercultural ones ahead of him – in making the African…American bid for freedom plicated。
For Florence； and for her nephew John Grimes； ‘free at last’ would have to mean several things；not only free from the Old South； or free from the evils of segregation； but the freedom to enter theworld outside； and freedom from the hatreds of the family kitche