Notes of a Native Son is a collection of essays published previously in various periodicals. Though not originally written to be published together, they share Baldwin’s concerns over the resolution of the United States’ racial dilemma and the question of American identity.
The first group of essays focuses on the black person as artist and on his or her image within the cultural canon. In “Everybody’s Protest Novel,” Baldwin, once an enthusiastic fan of Harriet Beecher Stowe, labels her an “impassioned pamphleteer” and criticizes Uncle Tom’s Cabin and other “protest novels,” including Richard Wright’s Native Son, for falling short of their lofty aims, abusing language, and overtaxing credibility. Baldwin goes on in the second essay, “Many Thousands Gone,” to recognize Native Son as a literary landmark but questions its actual power, given the depersonalization and mythification of blacks as Uncle Tom and Aunt Jemima. In essence, the “native son” is a monster created by American history, and it is American history that must confront and re-create him. The third essay in the group, “Carmen Jones: The Dark Is Light Enough,” criticizes an all-black production of a theatrical standard for perpetuating racial stereotypes.
The second group focuses on the sociopolitical scene. “The Harlem Ghetto,” the earliest of the essays, documents the congestion and claustrophobia of 1948 Harlem. Baldwin considers token civic improvements—playgrounds and housing projects—to be at best superficial and at worst injurious. The position of black leaders is impossible, the black press merely models itself on downtown counterparts, and the popularity of churches only reflects the pervasive hopelessness.
This hopelessness is evidenced in “Journey to Atlanta,” which recounts the experiences of a group of black singers, including Baldwin’s brother David, as guests of the Progressive Party in Atlanta. The Melodeers, anticipating a week of open...
(The entire section is 831 words.)