Review
With the exception of "The Man Child," a macabre, faintly Lawrentian study of repressed love between two white men in the rural South, all of Baldwin's tales here deal in one form or another with the Negro problem. Technically, a good portion of the work is crude and unconvincing. "Come Out the Wilderness" and "Previous Condition," for example, rest on slight themes: the first concerning a Negro girl's hapless involvement with an opportunistic white Village artist, and the second presenting the frustrations of a Negro actor when he is denied lodgings in a white neighborhood. "This Morning, This Evening, So Soon" is an ironic mood piece, a chronicle of a Negro expatriate in Paris: on the verge of fame and fearful of returning to the states, the singer discovers that his friend, a Tunisian outcast, is not above stealing from people of his own race. "Sonny's Blues" is an over-long, over-loud lament of a doomed jazz musician who becomes a junkie, ending on a muted moment of recognition between himself and his square brother. "The Rockpile" is a brief , bitter account of children blighted by Harlem family life. The title story is reminiscent of Baldwin's recent play Blues for Mr. Charlie; the white protaganist, a deputy sheriff, is momentarily impotent until aroused by a terrible memory: as a boy, he witnessed, along with his gloating parents and other adults, the brutal castration and burning of an uppity Negro. All of these tales have an undeniable urgency, power and anger, yet only "The Outing" achieves true artistry, probably because it is the most personal and not melodramatic at all. Symphonic in structure, mixing religious and sexual motifs, encompassing various shades of characters and situations against the background of a boat trip up the Hudson, "The Outing" is memorable in every sense; funny, sad, colorful, it is a triumphant performance. (Kirkus Reviews)
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Product Description
"There's no way not to suffer. But you try all kinds of ways to keep from drowning in it." The men and women in these eight short fictions grasp this truth on an elemental level, and their stories, as told by James Baldwin, detail the ingenious and often desperate ways in which they try to keep their head above water. It may be the heroin that a down-and-out jazz pianist uses to face the terror of pouring his life into an inanimate instrument. It may be the brittle piety of a father who can never forgive his son for his illegitimacy. Or it may be the screen of bigotry that a redneck deputy has raised to blunt the awful childhood memory of the day his parents took him to watch a black man being murdered by a gleeful mob.
By turns haunting, heartbreaking, and horrifying--and informed throughout by Baldwin's uncanny knowledge of the wounds racism has left in both its victims and its perpetrators--Going to Meet the Man is a major work by one of our most important writers.
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