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In their own words

James Baldwin quotes

316 quotations, each verified against its source and credited to the work it comes from — the wording as James Baldwin wrote or said it, not as the internet passes it around. Page 9 of 13.

Illustrated portrait of James Baldwin

Notes of a Native Son

The story of the Negro in America is the story of America—or, more precisely, it is the story of Americans. It is not a very pretty story: the story of a people is never very pretty.
James Baldwin, “Many Thousands Gone,” Notes of a Native Son (1955)
There is not a Negro alive who does not have this rage in his blood—one has the choice, merely, of living with it consciously or surrendering to it.
James Baldwin, “Notes of a Native Son,” Notes of a Native Son (1955)
I saw nothing very clearly but I did see this: that my life, my real life, was in danger, and not from anything other people might do but from the hatred I carried in my own heart.
James Baldwin, “Notes of a Native Son,” Notes of a Native Son (1955)
The dead man mattered, the new life mattered; blackness and whiteness did not matter; to believe that they did was to acquiesce in one’s own destruction. Hatred, which could destroy so much, never failed to destroy the man who hated and this was an immutable law.
James Baldwin, “Notes of a Native Son,” Notes of a Native Son (1955)
I want to be an honest man and a good writer.
James Baldwin, “Autobiographical Notes,” Notes of a Native Son (1955)
This was his legacy: nothing is ever escaped.
James Baldwin, “Notes of a Native Son,” Notes of a Native Son (1955)
From the vantage point of Europe he discovers his own country.
James Baldwin, “A Question of Identity,” Notes of a Native Son (1955)
I think that the past is all that makes the present coherent, and further, that the past will remain horrible for exactly as long as we refuse to assess it honestly.
James Baldwin, “Autobiographical Notes,” Notes of a Native Son (1955)
But our humanity is our burden, our life; we need not battle for it; we need only to do what is infinitely more difficult—that is, accept it.
James Baldwin, “Everybody’s Protest Novel,” Notes of a Native Son (1955)
Sentimentality, the ostentatious parading of excessive and spurious emotion, is the mark of dishonesty, the inability to feel; the wet eyes of the sentimentalist betray his aversion to experience, his fear of life, his arid heart; and it is always, therefore, the signal of secret and violent inhumanity, the mask of cruelty.
James Baldwin, “Everybody’s Protest Novel,” Notes of a Native Son (1955)
Our passion for categorization, life neatly fitted into pegs, has led to an unforeseen, paradoxical distress; confusion, a breakdown of meaning. Those categories which were meant to define and control the world for us have boomeranged us into chaos; in which limbo we whirl, clutching the straws of our definitions.
James Baldwin, “Everybody’s Protest Novel,” Notes of a Native Son (1955)
It must be remembered that the oppressed and the oppressor are bound together within the same society; they accept the same criteria, they share the same beliefs, they both alike depend on the same reality.
James Baldwin, “Everybody’s Protest Novel,” Notes of a Native Son (1955)
Our dehumanization of the Negro then is indivisible from our dehumanization of ourselves: the loss of our own identity is the price we pay for our annulment of his.
James Baldwin, “Many Thousands Gone,” Notes of a Native Son (1955)
Negroes are Americans and their destiny is the country’s destiny. They have no other experience besides their experience on this continent and it is an experience which cannot be rejected, which yet remains to be embraced.
James Baldwin, “Many Thousands Gone,” Notes of a Native Son (1955)
This laughter is the laughter of those who consider themselves to be at a safe remove from all the wretched, for whom the pain of the living is not real.
James Baldwin, “Equal in Paris,” Notes of a Native Son (1955)
The time has come to realize that the interracial drama acted out on the American continent has not only created a new black man, it has created a new white man, too.
James Baldwin, “Stranger in the Village,” Notes of a Native Son (1955)
They emerge for what they are: a mirror of our confusion, dishonesty, panic, trapped and immobilized in the sunlit prison of the American dream.
James Baldwin, “Everybody’s Protest Novel,” Notes of a Native Son (1955)
He had lived and died in an intolerable bitterness of spirit and it frightened me, as we drove him to the graveyard through those unquiet, ruined streets, to see how powerful and overflowing this bitterness could be and to realize that this bitterness now was mine.
James Baldwin, “Notes of a Native Son,” Notes of a Native Son (1955)
It began to seem that one would have to hold in the mind forever two ideas which seemed to be in opposition. The first idea was acceptance, the acceptance, totally without rancor, of life as it is, and men as they are: in the light of this idea, it goes without saying that injustice is a commonplace.
James Baldwin, “Notes of a Native Son,” Notes of a Native Son (1955)
Perhaps it now occurs to him that in this need to establish himself in relation to his past he is most American, that this depthless alienation from oneself and one’s people is, in sum, the American experience.
James Baldwin, “Encounter on the Seine: Black Meets Brown,” Notes of a Native Son (1955)
They are charmed by the reflection that Paris is more than two thousand years old, but it escapes them that the Parisian has been in the making just about that long, and that one does not, therefore, become Parisian by virtue of a Paris address.
James Baldwin, “A Question of Identity,” Notes of a Native Son (1955)
I know, in any case, that the most crucial time in my own development came when I was forced to recognize that I was a kind of bastard of the West; when I followed the line of my past I did not find myself in Europe but in Africa.
James Baldwin, “Autobiographical Notes,” Notes of a Native Son (1955)
In overlooking, denying, evading his complexity—which is nothing more than the disquieting complexity of ourselves—we are diminished and we perish; only within this web of ambiguity, paradox, this hunger, danger, darkness, can we find at once ourselves and the power that will free us from ourselves.
James Baldwin, “Everybody’s Protest Novel,” Notes of a Native Son (1955)
The failure of the protest novel lies in its rejection of life, the human being, the denial of his beauty, dread, power, in its insistence that it is his categorization alone which is real and which cannot be transcended.
James Baldwin, “Everybody’s Protest Novel,” Notes of a Native Son (1955)
It is not simply the relationship of oppressed to oppressor, of master to slave, nor is it motivated merely by hatred; it is also, literally and morally, a blood relationship, perhaps the most profound reality of the American experience, and we cannot begin to unlock it until we accept how very much it contains of the force and anguish and terror of love.
James Baldwin, “Many Thousands Gone,” Notes of a Native Son (1955)

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