Nobody Knows my Name

by James Baldwin

Book Overview

Told with Baldwin's characteristically unflinching honesty, this collection of illuminating, deeply felt essays -- passionate, probing, controversial (The Atlantic) -- examines topics ranging from... This description may be from another edition of this product.

• Format: Mass Market Paperback
• Language: English
• ISBN: B000BC1P7E
• Release Date: January 1963
• Publisher: Dell
• Length: 190 Pages
• Weight: 0.25 lbs.
• Dimensions: 0.3" x 4.2" x 6.3"

Customer Reviews

More Notes of a Native Son

Bearing the subtitle "More Notes of a Native Son," "Nobody Knows My Name" is a follow-up to Baldwin's earlier, more famous book. Originally published in national magazines between 1954 and 1961, these essays are more mature, if less biting, than his first collection--and they are certainly just as witty. With one notable exception, they are timeless and trenchant commentaries on racial and cultural issues. The first group of eight essays focuses on the political and social divides in the United States. The opening article reiterates the discovery he made in "Notes of a Native Son": that by living in Europe he paradoxically discovered what it means to be an American. Others examine the despicable inhumanity of a Harlem public housing project ("cheerless as a prison"), the success of the student movement and the rise of Muslim power in black politics ("a very small echo of the black discontent now abroad in the world"), and the first efforts to integrate Southern public schools ("the entire nation has spent a hundred years avoiding the question of the place of the black man in it"). The two most memorable essays detail the daily bravery, trauma, and humiliations of a schoolboy who is the first black in an all-white school and respond to Faulkner's despicable remarks on race (which were made when Faulkner was seemingly drunk and which were later repudiated when he was atypically sober). The only disappointing essay is "Princes and Power," an account of Le Congres des Ecrivains et Artistes Noirs (Conference of Negro-African Writers and Artists). The internal disputes and lofty goals of this gathering--convened to consider "the history of Euro-African relations" and the postcolonial "cultural inventory"--did not lack for interest, and Baldwin ably relates the tensions between and cross-purposes of American blacks and Africans. But, overall, he seems to be just phoning it in, muffling the obvious passions of the conference participants and highlighting instead the abstract academic tone. The second and final group of five essays highlight cultural subjects. He follows a speech detailing the outline for an imaginary novel with biographical appraisals of Andre Gide, Ingmar Bergman, Richard Wright, and Normal Mailer. His eulogy for Wright, initially composed and published in three disparate parts, simultaneously expresses regret for Baldwin's youthful criticism of the older author that resulted in the irreparable destruction of their friendship and recounts Wright's sad social decline: "he had managed to estrange himself from almost all of the younger American Negro writers in Paris ... [who] had discovered that Richard did not really know much about the present dimensions and complexity of the Negro problem here, and, profoundly, did not want to know." But the gem of the collection is "The Black Boy Looks at the White Boy," Wright's tongue-in-cheek account of his friendship with Normal Mailer, written both as not-so-subtle payback for Mailer's criti

More Notes of a Native Son

Bearing the subtitle "More Notes of a Native Son," "Nobody Knows My Name" is a follow-up to Baldwin's earlier, more famous book. Originally published in national magazines between 1954 and 1961, these essays are more mature, if less biting, than his first collection--and they are certainly just as witty. With one notable exception, they are timeless and trenchant commentaries on racial and cultural issues. The first group of eight essays focuses on the political and social divides in the United States. The opening article reiterates the discovery he made in "Notes of a Native Son": that by living in Europe he paradoxically discovered what it means to be an American. Others examine the despicable inhumanity of a Harlem public housing project ("cheerless as a prison"), the success of the student movement and the rise of Muslim power in black politics ("a very small echo of the black discontent now abroad in the world"), and the first efforts to integrate Southern public schools ("the entire nation has spent a hundred years avoiding the question of the place of the black man in it"). The two most memorable essays detail the daily bravery, trauma, and humiliations of a schoolboy who is the first black in an all-white school and respond to Faulkner's despicable remarks on race (which were made when Faulkner was seemingly drunk and which were later repudiated when he was atypically sober). The only disappointing essay is "Princes and Power," an account of Le Congres des Ecrivains et Artistes Noirs (Conference of Negro-African Writers and Artists). The internal disputes and lofty goals of this gathering--convened to consider "the history of Euro-African relations" and the postcolonial "cultural inventory"--did not lack for interest, and Baldwin ably relates the tensions between and cross-purposes of American blacks and Africans. But, overall, he seems to be just phoning it in, muffling the obvious passions of the conference participants and highlighting instead the abstract academic tone. The second and final group of five essays highlight cultural subjects. He follows a speech detailing the outline for an imaginary novel with biographical appraisals of Andre Gide, Ingmar Bergman, Richard Wright, and Normal Mailer. His eulogy for Wright, initially composed and published in three disparate parts, simultaneously expresses regret for Baldwin's youthful criticism of the older author that resulted in the irreparable destruction of their friendship and recounts Wright's sad social decline: "he had managed to estrange himself from almost all of the younger American Negro writers in Paris ... [who] had discovered that Richard did not really know much about the present dimensions and complexity of the Negro problem here, and, profoundly, did not want to know." But the gem of the collection is "The Black Boy Looks at the White Boy," Baldwin's tongue-in-cheek account of his friendship with Normal Mailer, written both as not-so-subtle payback for Mailer's crit

Nobody Knows My Name Is Timeless

For my humanities class I was instructed to read an autobiography of my choice. Through shuffling through the library for an autobiography that I can actually read and appreciate I stumbled across this great James Baldwin title. Nobody Knows My Name is a collection of his writing while he was self exiled in Europe. I opened the book with excitment and urgency. As the words regestired in my head I began to realize that the experiences he described articulated exactly how I feel as a black man in American society. Each essay discussing another aspect of society or the life of a black man in the world I grasped with utter enthusasim. His observations and theories were articulate critical and insightful. James Baldwin's tales of another continent are intising and informative of where our society was and how it is still the same in many ways. If you are interested in Baldwin's previous writings or African American authors and perspective I know you will enjoy this combiation of essays.

Great esssays from one of America's best authors

This collection of essays show James Baldwin as he strives to figure out who he is as a writer, as an American and as a black man. Beginning with his self-imposed exile to Paris in the 1950's, he calls his own identity as both a black man and an American into question. The Conference of Negro-African Writers and Artists which met in 1956 showed him just how different Europeans and Africans viewed cultural identity and hinted at ostracizing the American contingent. And he felt distinctly American in that crowd. Through his essays about returning to Harlem, his criticisms of William Faulkner ("Faulkner and Desegregation"), his review of a work by André Gide, his dealings with author Richard Wright, his friendship with author Norman Mailer ("The Black Boy Looks At the White Boy"), and his interview with Swedish director Ingmar Bergman, Baldwin displays his own feelings at finding his own identity as both man and writer in a world that tries to both accet and to reject him at the same time.Powerful essays from one of America's best authors.

Honest, Critical, Sincere, Moving, Black, Human!!!

what i love about baldwin is that he does not have delusions of grandeur about himself - unlike many blacks in the public sphere. this book of essays on society and his personal experiences in the US and abroad is majestic b/c baldwin has a way of writing about complexities of people and societal issues in an introspective yet practical way. although i was impressed with every essay, his essay on richard wright was mindblowing. BUT YOU HAVE TO READ IT FOR YOURSELF! i think it is a great book for black and latin men to read. in doing so many bruhs - if they are honest - will find that they are as similar baldwin as we like to believe are are to malcolm x. either way, you do not go wrong as both were great human beings. in short, i was totally edified by this text. It will easily make my top 10 list - which is very, very, very difficult.