
The Fire Next Time
Published a year earlier, and the book that made Baldwin famous enough for a collaboration like this one to be commissioned.
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by James Baldwin, Richard Avedon
James Baldwin and the photographer Richard Avedon had been at the same Bronx high school. Thirty years later they made a book about what America looked like in 1964.
A collaboration between James Baldwin and Richard Avedon, published by Atheneum in 1964 as a large slipcased volume. Avedon supplied fifty-four portraits made between 1954 and 1964; Baldwin wrote a four-part essay to run with them. The sitters range from Dwight Eisenhower and Billy Graham to Malcolm X, George Wallace, Marilyn Monroe, a naked Allen Ginsberg and William Casby, who had been born into slavery. Between them are couples marrying at City Hall, young civil rights workers, and a series made inside a Louisiana mental hospital.
The two men were classmates at DeWitt Clinton High School in the Bronx in the 1930s and worked on the school literary magazine together. Baldwin became a novelist, Avedon the most commercially successful portrait photographer in the country, and this is the only book they made.
It came out in 1964, months after the Civil Rights Act passed and less than a year after Kennedy was shot, and neither man treated the moment as an occasion for reassurance. The essay is in four parts and does not caption or explain the photographs; it runs alongside them.
Avedon's portraits are the ones people know — Monroe looking away, Casby's face filling the frame, Ginsberg with his wife — but the section that makes the book hard is the one photographed in a state hospital, printed without names.
It went out of print for decades. Taschen reproduced the whole book in 2017 with an essay by Hilton Als, and Beacon Press published Baldwin's text on its own in 2021.
Baldwin spent his career arguing about what Americans looked like to themselves. Here the argument is printed next to fifty-four faces and has to survive the comparison.
A four-part essay of about a hundred pages in the Beacon edition. It is the least demanding way to read late-period Baldwin.
If you can find the Taschen facsimile, take it over the text-only edition. The book was designed as a single thing and the essay was written to run beside the pictures.
1963
Avedon and Baldwin, classmates thirty years earlier at DeWitt Clinton High School, begin work on the book.
1964
Atheneum publishes Nothing Personal, months after the Civil Rights Act and less than a year after Kennedy's assassination.
2017
Taschen reissues the complete book with an essay by Hilton Als.
2021
Beacon Press publishes Baldwin's text alone, with a foreword by Imani Perry and an afterword by Eddie S. Glaude Jr.


Published a year earlier, and the book that made Baldwin famous enough for a collaboration like this one to be commissioned.
Read our take
The other book where Baldwin writes about pictures and what Americans want from them.
Read our take
The long essay from eight years later, covering the years this book stands at the front of.
Read our takeA 1964 collaboration between the writer James Baldwin and the photographer Richard Avedon. Avedon contributed fifty-four portraits taken between 1954 and 1964; Baldwin wrote a four-part essay to accompany them. It was published by Atheneum as a large slipcased volume.
Among others: Dwight Eisenhower, Billy Graham, Malcolm X, George Wallace, Marilyn Monroe, Allen Ginsberg, and William Casby, who had been born into slavery. There are also couples being married at City Hall, young civil rights workers, and a series photographed inside a Louisiana mental hospital.
They were classmates at DeWitt Clinton High School in the Bronx in the 1930s and worked on the school's literary magazine together. Nothing Personal is the only book they made.
Taschen's 2017 facsimile if you want the book as it was designed, with the photographs. Beacon Press's 2021 edition if you only want Baldwin's essay; it runs 104 pages and adds a foreword by Imani Perry and an afterword by Eddie S. Glaude Jr., but contains none of Avedon's pictures.
It is short and has circulated mainly through the two editions of this book. Readers who want Baldwin's non-fiction in bulk should start with The Price of the Ticket, his own selection of thirty-seven years of essays.
It is the ordinary American phrase used to soften a refusal or a firing. Baldwin and Avedon applied it to a country, and the book is an argument about how little of what happens there is impersonal.