Джеймс Болдуин цитаты

страница 3

мусор
Источник: романы

Источник: Giovanni's Room

No Name in the Street (1972)

No Name in the Street (1972)
Контексте: Well, if one really wishes to know how justice is administered in a country, one does not question the policemen, the lawyers, the judges, or the protected members of the middle class. One goes to the unprotected — those, precisely, who need the law's protection most! — and listens to their testimony. Ask any Mexican, any Puerto Rican, any black man, any poor person — ask the wretched how they fare in the halls of justice, and then you will know, not whether or not the country is just, but whether or not it has any love for justice, or any concept of it. It is certain, in any case, that ignorance, allied with power, is the most ferocious enemy justice can have.

Источник: The Fire Next Time

Источник: Sonny's Blues

Источник: Collected Essays: Notes of a Native Son / Nobody Knows My Name / The Fire Next Time / No Name in the Street / The Devil Finds Work / Other

Источник: Giovanni's Room

Источник: Nobody Knows My Name

Источник: No Name in the Street

Источник: The Fire Next Time

"The Black Boy Looks at the White Boy" in Esquire (May 1961); republished in Nobody Knows My Name: More Notes of a Native Son (1961)

Источник: Giovanni's Room

As quoted in &quot;Doom and glory of knowing who you are&quot; by Jane Howard, in LIFE magazine, Vol. 54, No. 21 (24 May 1963), p. 89 https://books.google.com/books?id=mEkEAAAAMBAJ; a part of this statement has often been quoted as it was paraphrased in The New York Times (1 June 1964): <br class="br">Контексте: You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else can tell, what it is like to be alive.

Источник: Giovanni's Room

Источник: Giovanni's Room

for the lack of it.' Pt. 1, Ch. 3 - p.51
Источник: Giovanni's Room (1956)

Источник: The Fire Next Time

Источник: "Faulkner and Desegregation" in Partisan Review (Fall 1956); republished in Nobody Knows My Name: More Notes of a Native Son (1961)
Контексте: Any real change implies the breakup of the world as one has always known it, the loss of all that gave one an identity, the end of safety. And at such a moment, unable to see and not daring to imagine what the future will now bring forth, one clings to what one knew, or dreamed that one possessed. Yet, it is only when a man is able, without bitterness or self-pity, to surrender a dream he has long cherished or a privilege he has long possessed that he is set free — he has set himself free — for higher dreams, for greater privileges.