James Baldwin's "The Amen Corner"

James Baldwin's 1954 play The Amen Corner was slated to be presented by the Shakespeare Theater Company in Washington DC, just before the pandemic shut the city down. I attended some of the rehearsal and later attended a discussion under the auspices of the production's director. Here is my report of this experience.

2 February 2020

Well, I went to the open rehearsal today, the first rehearsal on the stage where the play will be performed. Never got through the play, as two scenes were rehearsed over and over for three hours. However, seeing the characters perform is superior to reading the actual play. But also the disconnect between all that carrying on in church and the actual conflicts and behavior of the church people is even more palpable. The first scene is singing and carrying on and preaching. The second scene sets up all the conflicts in the play, and what's really going on behind all that piety.

My concern is that when all is done, the impact of all that getting happy will obscure Baldwin's message of the limited mentality and the cramped lives that feed that religious fanaticism.

This was, I think, Baldwin's first major enterprise after the publication of his first novel Go Tell It on the Mountain, which also has an ambiguous ending, and has a couple characters interested in something other than praising Jesus 24-7. Whereas this play has David taking his musical talent out of the church into the world of music developing in the 'sinful' outside world.

17 February 2020:

Yesterday I attended an interview with the director and a scholar of James Baldwin's play The Amen Corner at the Shakespeare Theatre [in Washington DC]. I came in with some skepticism, but I was pleased at the insightful commentary of the speakers (two Black women interviewed by a white guy), which also gave me a more positive view of the play as well as an understanding of just how innovative it was in 1954, though it has been comparatively neglected in Baldwin's oeuvre.

I started off the Q & A with my excellent intervention. The director was thrilled by my observations and questions. I inquired: given your understanding of the complexity of the play, have you found that the audiences and critics of 1954 and today appreciate the ambiguous position that Baldwin presents (comparable to that of his first novel Go Tell It on the Mountain, which I also characterized)? Were you worried that the audience might be so distracted by the feelgood singing and dancing and carrying on that they would overlook Baldwin's negative attitude towards the Black church?

To my surprise, the director responded with a resounding yes. She said that when she first started rehearsing, she was afraid the story would turn into a musical, so she had to tone it down so that the complexity of Baldwin's play would not be obscured. The Baldwin scholar added information about the first performance of the play at Howard University in 1954, as well as other contextualizing information.

The director emphasized that the play would be just as controversial today for Black audiences exposing the dirty laundry in the church. In response to a question about problems with white reviewers (viz. a current controversy), the director said that since a negative review can destroy a play and the author's career, lazy and insensitive reviewers present a serious problem, but the very nature of theater is to reach out to everybody, so it's a risk she believes in taking.

I didn't get to talk with the interviewees afterward, but a Black guy came up to me and said he really liked what I had to say.

I am the best.

22 February 2020:

I've just re-read James Baldwin's The Amen Corner, and I like it much better this time around. Now I'm inclined to think Baldwin takes his criticism of the Black church another step or two beyond his first novel Go Tell It on the Mountain. It would not be long before he would reveal his separation from Christianity, though not his religious sensibility, in his essays.

Also, the more I think about his struggle with his upbringing, the more I think I understand part of the basis for his attacks on Richard Wright, who never showed the slightest sympathy for Black religion. Baldwin before the end of his life admitted he was wrong about Wright. Here is a conclusion of a talk he gave which I transcribed from a tape:

"Richard went to Paris in 1946, when I was 22, he was 38. Now, it took me a long time; I had to get to be much older to realize something. I didn't realize it that day at all. I was not born in Mississippi; I was born in New York. And I did not leave Mississippi to go to Chicago. And endure all that. I was much too young to realize what I was looking at really. But, that's a journey. To go from Mississippi to Chicago to New York to Paris in 38 years is amazing. You might as well have walked all that distance, it's almost that remarkable."

— James Baldwin on Richard Wright, Yale University, 2 November 1983

Richard Wright vs Sun Ra

This is only a hypothetical confrontation to have taken place in the 1950s, or posthumously in the '60s. I recently came across an untitled poem that I wrote the same day I wrote this:

UFO (Haiku for Richard Wright)

In a rootless cosmopolitan way, Wright also belongs to Afrofuturism, maybe not so much Afro-....

"I have no religion in the formal sense of the word .... I have no race except that which is forced upon me. I have no country except that to which I'm obliged to belong. I have no traditions. I'm free. I have only the future."

-- Richard Wright, Pagan Spain

My haiku was prompted by a conversation about flying saucers buried in Wright's novel The Outsider. Both Wright and Sun Ra were hot to escape the confines of the Jim Crow South, taking different routes. Both are admirable for different reasons. Sun Ra was a musical genius and quite a charismatic character, but having listened to his blather in person, I could only take so much. So this is what I must have been thinking when I wrote the following, to which I must now give a title in addition to some slight editing and rearrangement:

Richard Wright to Sun Ra From the Tomb

Shaking hands with the ether,
Knowing Natchez was a pile of shit
Spewn over the globe.

Faith in articulate waves
broadcast into the galaxy . . .
and not your crank etymologies
concocted in the Magic City.

Bluesman in Paris
did not settle down,
Hallucinating into the future
And abruptly cut down.

(4 August 2011)

Fyodor Dostoevsky: Notes from Underground (10): Richard Wright & Ralph Ellison

‘Are the underground men in the works of Wright and Ellison given the same psychological dimensions as those Dostoevsky achieves for his underground figure? The answer is “No,” because the latter two writers borrowed only those characteristics from the pioneer that would serve their purposes. Thus, while Dostoevsky’s undergrounder makes a strong case against the dictates of reason and the laws of nature, the underground men of Wright and Ellison welcome both in their attempt to find meaning in their existence.’

SOURCE: Hayes, Floyd W., III. “The Paradox of the Ethical Criminal in Richard Wright’s Novel The Outsider: A Philosopical Investigation,” Black Renaissance Noire, vol. 13, issue 1, Spring/Summer 2013, pp. 162-171. (Revision of paper prepared for the International Centennial Conference, Celebrating 100 Years of Richard Wright, The American University of Paris, Paris, France, June 19-21, 2008.)

See also:

• Dostoevsky’s Underground, Ideology, Reception: A Very Select Bibliography
• Richard Wright's "The Man Who Lived Underground": Annotated Bibliography 

Fyodor Dostoevsky: Notes from Underground (9)

My running commentary on Dostoevsky reflects what I have assimilated at the moment of writing and my perspective changes with what I learn. My latest podcast was a rush job in which I sought to synthesize a lot of my diverse reading into an overall picture of intellectual and ideological history, in which Dostoevsky plays a part as one of those pivotal figures of the 19th century.

The 14th installment of my radio series “Studies in a Dying Culture,” recorded on 18 November 2017, has both a recording and a written-out text which approximates but is not identical to the actual podcast and has supplementary links and comments. The written text is here:

Dialectic and Dystopia: A Century Before and After the Russian Revolution Through Literature (podcast transcript) by R. Dumain

Listen or download here. [39:40 min.]

DESCRIPTION: November 7 marked the 100th anniversary of the Russian Revolution. I commemorate this crucial historical event in an oblique manner by examining the works of key creative writers and other thinkers from the 19th century up through the aftermath of World War I and the Russian Revolution who confronted modernity’s essential philosophical and existential issues. Writers discussed include Mary Shelley, Charles Fourier, Friedrich Engels, George Eliot, Herman Melville, Imre Madách, Jules Verne, Fyodor Dostoevsky, György Lukács, Leon Trotsky, and Yevgeny Zamyatin, with mentions of others and with Theodor Adorno and Richard Wright as a coda. All of this is to illustrate the historical failure to render irrational society rational and, with respect to world views, the unresolved dialectic of reason and unreason in the modern world.

Fyodor Dostoevsky: Notes from Underground (7)

My understanding of Notes from Underground and its context has developed since I finished reading it. There are a number of factors to consider, among them: (1) Dostoevsky's opposition to Nikolay Chernyshevsky’s What Is to Be Done? and the radical, Westernizing Russian intelligentsia, (2) criticism of the "bookishness" and formulaic expressions of the intelligentsia in relation to real life, (3) the Underground Man's indictment of his social milieu and himself, (4) the Underground Man as unreliable narrator, (5) the divergence between the Underground Man and Dostoevsky, (6) the philosophy of the Underground Man (and of Dostoevsky) in part 1, (7) the relationship of the actions in part 2 to the philosophical position of part 1.

I had equated the Underground Man with Dostoevsky himself, whereas the relationship between the two, as well as the relationship between the stated philosophy and lived reality is more complex in the work. The Underground Man's rebellion against rationalism is a failure, though some self-awareness is achieved where his narrative is broken off, and the entire Russian intelligentsia stands accused along with his self-accusation. Dostoevsky himself has an agenda for attacking rationalism and the intelligentsia. Where does it lead? His alienation leads to authoritarianism, reaction, and Christian apologetics, his torment to the justification of torment.

The reception of Dostoevsky's work, not only in Russia and the Soviet Union but abroad in very different contexts, is also eye-opening.

From this rush of research I compiled the following bibliography, with web links where feasible:

Dostoevsky’s Underground, Ideology, Reception: A Very Select Bibliography

I note briefly the relevance of these references to my projects. Joseph Frank is especially useful for mapping the conceptual structure of the novel. Let me call attention to two other references, which branch out into the big picture:

Carroll, John. Break-Out from the Crystal Palace: The Anarcho-Psychological Critique: Stirner, Nietzsche, Dostoevsky. 2^nd ed. London; New York: Routledge, 2010. (Orig. pub. 1974.)

I loathe anarchists, and I prefer Paul Thomas's Karl Marx and the Anarchists, but this book embarks upon a detailed analysis of Dostoevsky's irrationalism, his relationship to Stirner and Nietzsche, and the opposition to the rationalist "crystal palace" utopia celebrated in Nikolay Chernyshevsky’s What Is to Be Done?.

Jacoby, Russell. Dialectic of Defeat: Contours of Western Marxism. Cambridge; New York: Cambridge University Press, 1981. See esp. Introduction.

Jacoby says nothing about Dostoevsky here, but his book is relevant to the issues, as Jacoby highlights the 'defeated' perspectives of dissident Marxists and reactionary thinkers who analyzed modernity’s underbelly obscured by the scientistic orientation of orthodox Marxism. The Introduction lays out his perspective.

All of this is to fit into the historical puzzle of the interlocking struggle and inseparability of the contradictions of the modern world, the capitalist world (which includes Stalinism), abstractly designated by positivism vs. irrationalism, or scientism vs Romanticism.

Fyodor Dostoevsky: Notes from Underground (6)

I shall have a lot more to say, plus add additional references. First, let me link to pages on my web site that engage Dostoevsky:

Georg Lukács on Dostoevsky & the future of the novel

Stavrogin’s Confession by Georg Lukács

C. P. Snow on the ‘Two Cultures’: Literary Modernism, Irrationalism & Reactionary Politics

Richard Wright's "The Man Who Lived Underground": Notes for Discussion by R. Dumain

Richard Wright's "The Man Who Lived Underground": Annotated Bibliography by R. Dumain

Gary Saul Morson: Genre, Utopia, Sideshadowing, Tempics, Prosaics, Parody, Misanthropology, Philosophy, Literary Theory, Borges: Select Bibliography by R. Dumain

The Richard Wright connection is key to my future exploration of this topic.

Fyodor Dostoevsky: Notes from Underground (1)

I have finished Part I of Fyodor Dostoevsky's Notes from Underground (1864) by Fyodor Dostoevsky and have begun Part II, for the second time. I was supposed to have it read for a book club, but I have missed a meeting for the umpteenth time. I read it once before some years ago, but it didn't register then. At the time I was interested because of its alleged influence on Richard Wright. I found Wright's "The Man Who Lived Underground" much more interesting. But this time I'm getting what Dostoevsky wrote.

I'm not buying the world view that I think this is expressing, but there are multiple implications of what is presented. It immediately reminds me of a cultural/ideological crisis perceptible in the mid-19th century, fueled by the social changes I need not summarize coupled with--crucially--the rising dominance of the scientific, naturalistic world view and the displacement of the supernatural conception of man’s place in the cosmos. Dostoevsky radically disrupts the prospective of social progress and the triumph of a rational social order (utopian) via the (underground) recognition of man's irrational drives and stubborn will that at every juncture violates submission to natural law (let alone order) and even mathematical truth (2 + 2 = 4).

This can be taken two ways; both are probably intended at once. One can of course see this as the mushrooming of reactionary irrationalism that one finds in Kierkegaard and Nietzsche, and on the other hand, as positivism's antagonist, complement, blood brother, and black sheep of the family. Wikipedia, which never lies, tells me that this work is a riposte to Nikolai Chernyshevsky’s What Is To Be Done? (1863). But this recognition of unconscious drives, of existentialist displacement, of the diremption of the conscious individual and the social collective remains an ineliminable problem regardless of the ideology of its proponents. Pre-Marxist Lukács, having passed through Kierkegaard and Nietzsche, at one point saw Dostoevsky as the most advanced proponent of this sensibility and orientation to society, and would not relinquish him as he relinquished the other two.

I am leaving out the other major feature of the work, which is the public self-humiliation of the Underground Man and his total ineffectuality in society, which makes this work unique. But first, I note the philosophical configuration of the work, which remarkably, looks to my semi-educated mind as a phenomenon that erupted in several European nations and in the USA about the same time, as the implications of modernity, crisis, and naturalism were coming into focus, with Imre Madách (The Tragedy of Man, 1861), Jules Verne (his early unpublished 1863 novel Paris in the Twentieth Century), George Eliot, and Herman Melville (Moby-Dick, 1851). As for the crisis of world view, Engels saw what was coming in his 1844 critique of Carlyle.

Existentialism in America: black, white, left, right

On Richard Wright and Kierkegaard, an anecdote which C.L.R. James used to relate:

"Kierkegaard is one of the great writers of today. He is one of the men who, during the last twenty or thirty years, modern civilization has recognized as a man whose writings express the modern temperament and the modern personality. And Dick assured me that he was reading Kierkegaard because everything he read in Kierkegaard he had known before. What he was telling me was that he was a black man in the United States and that gave him an insight into what today is the universal opinion and attitude of the modern personality. I believe that is a matter that is not only black studies, but is white studies too. I believe that that is some form of study which is open to any university: Federal City College, Harvard, etc. It is not an ethnic matter. I knew Wright well enough to know that he meant it. I didn’t ask him much because I thought he meant me to understand something. And I understood it. I didn’t have to ask him about that. What there was in Dick’s life, what there was in the experience of a black man in the United States in the 1930s that made him understand everything that Kierkegaard had written before he had read it and the things that made Kierkegaard the famous writer that he is today? That is something that I believe has to be studied."

—— C.L.R. James, "Black Studies and the Contemporary Student" (1969)

Richard Wright and C.L.R. James were great thinkers of the modern condition in the mid-20th century. Their understandings became highlighted in the 1990s, notably by the Black British scholar Paul Gilroy (The Black Atlantic: Modernity and Double Consciousness, 1993). Constance Webb, James's second wife and a remarkable personality in her own right, also recognized this about Wright in the 1940s.

Another major theme of James was the difference between "the old world and the new", i.e. Europe and the Americas. He did not cast this exclusively in racial terms, but as you can see, it is one factor he addressed. (A difference can also be argued regarding the appropriation of surrealism in the Caribbean and Latin America.)

But even within the United States, the appropriation of European thought has been widely differentiated, especially between left and right. This work is especially illuminating in this regard:

Cotkin, George. Existential America. Baltimore: Johns Hopkins University Press, 2003.

Contents: The "drizzly November" of the American soul -- Kierkegaard comes to America -- A Kierkegaardian age of anxiety -- The vogue of French existentialism -- New York intellectuals and French existentialists -- The canon of existentialism -- Cold rage : Richard Wright and Ralph Ellison -- Norman Mailer’s existential errand -- Robert Frank’s existential vision -- Camus’s rebels -- Existential feminists : Simone de Beauvoir and Betty Friedan -- Conclusion: Existentialism today and tomorrow.

Here is a review I cited back in 2006:

Adamowski, T.H. "Out on Highway 61: Existentialism in America," University of Toronto Quarterly, Volume 74, Number 4, Fall 2005, pp. 913-933.

In Cotkin's book we can learn of the reactionary role played by the appropriation of Kierkegaard in the 1940s.  Here is one taste from Adamowski's review:

Cotkin never forgets the religious sources of existentialism, and thus Lowrie exists in his book as more than translator and editor. He had grown weary of the vapid ‘social gospel’ of 1920s and 1930s America, with its assumption that one might be virtuous and close to God merely because one held progressive social views. What does God care whether one is a progressive? Kierkegaard’s supreme indifference towards social moralizing offered escape from the anodyne social gospel, and Lowrie took up his own scholarly place in a tradition that would come to include, in Europe, Karl Barth’s The Epistle to the Romans (1968), as well as, in America, Reinhold Niebuhr’s The Children of Light and the Children of Darkness (1945) and The Irony of American History (1952).

This is quite different from the leftist engagement with Camus and Sartre in the 1950s and '60s.  Existentialism was popular among black as well as white intellectuals in this period.  But then consider black existentialism in the 1940s, in particular Wright's engagement with Kierkegaard. I actually got some "oral history" (actually in correspondence) from Constance Webb on Wright's engagement with existentialism, which I will have to publish one day. I don't think anyone has made a study of Wright's appropriation of Kierkegaard compared to the generally reactionary role Kierkegaard's thought played in the USA in the 1940s. Wright comes to quite different conclusions in his 1953 novel The Outsider.

For more on Richard Wright, see my web sites:

Richard Wright Study Guide

The Richard Wright Connection (The C.L.R. James Institute)

Interestingly, the Richard Wright quotes collected in Wikipedia draw substantially on my work as a source:

Richard Wright - Wikiquote

Richard Wright's Outsider vs. the priest

Cross's anxieties now condensed themselves into an attitude of sullenness toward the priest. He disliked most strongly all men of religion because he felt that they could take for granted an interpretation of the world that his sense of life made impossible. The priest was secure and walked the earth with a divine mandate, while Cross's mere breathing was an act of audacity, a confounding wonder at the daily mystery of himself. He felt that the attitude of the priest was predicated upon a scheme of good and evil ordained by a God whom he was constrained out of love and fear to obey; and Cross therefore regarded him as a kind of dressed-up savage intimidated by totems and taboos that differed in kind but not in degree from those of the most primitive of peoples. Cross had to discover what was good or evil through his own actions which were more exacting than the edicts of any God because it was he alone who had to bear the brunt of their consequences with a sense of absoluteness made intolerable by knowing that this life of his was all he had and would ever have. For him there was no grace or mercy if he failed.

SOURCE: Wright, Richard. The Outsider (1953). Restored text: Works. Volume 2. Later Works: Black Boy (American Hunger); The Outsider. New York: Library of America, 1991. (The Library of America; no. 56) Excerpt from Book Two: Dream, p. 494.

UFO (Haiku for Richard Wright)

"The Visions of Eternity, by reason of narrowed perceptions,
Are become weak Visions of Time & Space, fix'd into furrows of death;
Till deep dissimulation is the only defence an honest man has left"

  — William Blake, Jerusalem The Emanation of The Giant Albion, 49.23; E198

"Reason has always existed, but not always in a reasonable form."

  — Karl Marx, Letter to Arnold Ruge, Kreuznach, September 1843

---

      UFO
  (Haiku for Richard Wright)

    by Ralph Dumain

Whirling in the sky,
  the truth is over their heads
    in more ways than one.

  (4 August 2011)

---

Haiku for Richard Wright

by Ralph Dumain

The Outsider read               summons purple-flowered fields        contrasting the doom.

(Written 11 Feb. 1995)

---

  A Divine Image

Cruelty has a Human Heart
And Jealousy a Human Face
Terror, the Human Form Divine
And Secrecy, the Human Dress

The Human Dress, is forged Iron
The Human Form, a fiery Forge.
The Human Face, a Furnace seal'd
The Human Heart, its hungry Gorge.

  — William Blake, Songs of Experience

The first stanza of this poem prefaces Richard Wright's The Outsider.

Anthony B. Pinn: Remembering African American Humanism

From the Humanist Network News:

Remembering African American Humanism

A noteworthy statement by Anthony B. Pinn. I am puzzled though by his final statement, whose meaning I find unclear:

"That is to say, rather than simply acknowledging the diversity of our movement, we might take the next step and make diversity—difference—the hallmark of our movement . . . "

I think the words "diversity" and "difference" miss the mark, that they actually reinforce what Pinn apparently seeks to transcend, i.e. mere diversity. There's actually a stronger argument to be made.

I can't read Pinn's mind, but my reasoning goes like this: if there is an argument to be made about what goes beyond the mere acknowledgment of difference, it's the centrality of the black experience to the understanding of American history, but even this is too bloodless a way of stating it. Various black thinkers and writers have stated that the black experience crystallizes all the tendencies and social forces of the modern world. The implication is that no one's historical experience can be understood without the black experience being addressed. In one way or another, this has been stated by Richard Wright, Ralph Ellison, Duke Ellington, James Baldwin, and C.L.R. James. This way of looking at things, which may have dropped out of popular consciousness for a few decades, was resuscitated in Paul Gilroy's 1993 book The Black Atlantic.

Religion & Hate (1)

In preparation for a discussion this evening (22 Feb) on religion and hate, I sketched the following bulletin points. In a subsequent post I will list the bullet points of what was actually discussed.


(1) I always have a problem with the question of religion & causality, since religion itself is an expression of social (& psychological) forces.

(2) I think we have to go behind religion & begin with its origins in magical thinking, and thus the connection with dependency, fear & violence, beginning with the experience of violence in nature.

(3) As much as I dislike René Girard as a Christian apologist, his views adumbrated in  Violence and the Sacred should be examined, particularly the notion of ritual sacrifice as a substitute for unregulated violence.

(4) I think religion has to be historically divided at least into 3 stages: (1) primitive magic & tribal religion; (5) religion in pre-modern class societies, wherein all the "great" religions took shape; (6) religion in the modern world, & the inability to digest modernity, in which magical thinking proliferates in both religious & secular ideologies.

(5) Without understanding the cultural reinforcements of hate, violence, oppression & paranoia, I don't see how we could understand religion's connection to hate, or in some cases, religion's rebellion against hate. There is even one religion or two which is mostly benign, the Bahai's, for example.

(6) And then there's the question of self-hate. Why do the victimized think they have done something wrong?  Richard Wright addressed this question symbolically in his brilliant 1942 story, "The Man Who Lived Underground."

(7) References given here address different historical stages of superstitious / magical / paranoiac thinking. Girard addresses primitive religion. Edmund D. Cohen's The Mind of the Bible-Believer addresses the genesis and psychological mechanisms of thought control behind Christianity.  Consult the LABELS on this blog for more on both of these authors. For an example of modern paranoiac thinking, consult reviews of Stephen Eric Bronner's A Rumor about the Jews: Antisemitism, Conspiracy, and the Protocols of Zion.