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- W2217604169 abstract "When James Baldwin's third novel, Another Country, was published in 1962, it was met with outrage and disappointment by nearly every major reviewer in the New York literary scene. Another Country, most reviewers felt, failed to fulfill the promise of Baldwin's first novel, Go Tell It on the Mountain (1952), and his by then famous essays on race relations in the United States. 1 (His second novel, Giovanni's Room [1956], was to most critics so foreign in location and so aberrant in subject matter that it practically did not count in an assessment of his reputation.) 2 To many reviewers in the mainstream press, the new novel seemed too unforgiving in its judgment of white, middle-class liberalism, too shrill and dogmatic in its presentation of racism, and too ready to endorse alternative, bohemian--especially homosexual--lifestyles. To African-American critics, the novel was neither sufficiently focused on black experience nor compelling as political analysis, for it appeared more interested in the salvation of individual characters than radical social change. 3 Baldwin wrote from the unique position of a Harlem boy become literary celebrity, a critic of American social relations expatriated to France, an unabashedly gay man in a culture apprehensive about unorthodox sexuality. From his dissident perspective on American society, Baldwin composed a novel which so threatened and offended reviewers that many thought him to have lost his artistic gifts. The critics were unprepared to accept the novel's radical presentation of race and sexuality in contemporary America, yet faced with a work whose style and setting they could easily assimilate (in some cases even identify with), they could not entirely dismiss this promising writer. 4 What the reviewers for the most part failed to notice was that the novel itself had already anticipated the racial and sexual terms in which their most persistent critiques were leveled. For the story proceeds through an unfolding series of crises, self-consciously staging conflicts among characters in terms of structural and social power relations, principally along axes of gender, race, and sexuality. Another Country not only maps its characters against these social indices but, more remarkably, also explores the ways in which vectors of power elations themselves interact--crosscutting, supporting, contradicting, and displacing one anotherwin constituting the relationships among individual characters. For all his attention to the social categories that structure personal relationships, however, Baldwin onetheless maintains a liberal faith in the power of individuals to overcome external forces such as racial or sexual conflict. A" @default.
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- W2217604169 date "2012-02-27" @default.
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- W2217604169 title "Liberalism, Libido, Liberation: Baldwin's Another Country" @default.
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