The Devil Finds Work Read online

  Praise for James Baldwin’s

  The Devil Finds Work

  “His instructive comments reveal what a black child and black audiences in general perceive in white-produced movies, particularly those with biracial parts.… Typical Baldwin eloquence tinged with religious fervor.”

  —Booklist

  “It is James Baldwin testifying honestly to his own experience at the movies. It is his experience and as such it either makes us see a point of view we are unlikely to have seen before (if we happen to be white) or confirms a way of looking at things for which we are unlikely to have gotten public affirmation (if we happen to be black).”

  —Christopher Lehmann-Haupt, The New York Times

  “Moralistic fervor, a high literary seriousness, the authority of the survivor, of the witness—these qualities made Baldwin unique.”

  —The New York Review of Books

  “A provocative discussion.”

  —Saturday Review

  FIRST VINTAGE INTERNATIONAL EDITION, SEPTEMBER 2011

  Copyright © 1976 by James Baldwin

  All rights reserved. Published in the United States by Vintage Books, a division of Random House LLC, a Penguin Random House Company, New York, and in Canada by Random House of Canada Limited, Toronto. Originally published in hardcover in the United States by The Dial Press, New York, in 1976.

  Vintage is a registered trademark and Vintage International and colophon are trademarks of Random House, Inc.

  Grateful acknowledgment is made to the following for permission to reprint previously published material:

  Alfred Music Publishing Co. Inc. and Hal Leonard Corporation: Lyrics from “The Man That Got Away” from the motion picture A Star Is Born, lyrics by Ira Gershwin, music by Harold Arlen, copyright © 1954 (Renewed) by Harwin Music Co. and Ira Gershwin Music. All rights on behalf of Ira Gershwin Music administered by WB Music Corp. All rights reserved. Reprinted by permission of Alfred Music Publishing Co. Inc. and Hal Leonard Corporation. Countdown Media: Lyrics from “Sing Sing Blues” by Joseph Kuhn. Reprinted by permission of Countdown Media.

  The Library of Congress has cataloged the Dial Press edition as follows:

  Baldwin, James.

  The devil finds work : an essay / by James Baldwin.

  p. cm.

  1. Baldwin, James, 1924–1987—Knowledge—Performing arts.

  2. Motion picture plays, American—History and criticism.

  3. African Americans in motion pictures.

  PS3552.A45 Z515

  791.43/09/73

  76000028

  eISBN: 978-0-8041-4968-6

  Cover design by Helen Yentus

  Cover photograph © Karl Bissinger

  www.vintagebooks.com

  v3.1

  For

  PAULA-MARIA, on her birthday,

  and JOHN LATHAM

  and brother, DAVID MOSES

  Contents

  Cover

  Title Page

  Copyright

  Dedication

  Epigraph

  Chapter One: Congo Square

  Chapter Two: Who Saw Him Die? I, Said the Fly

  Chapter Three: Where the Grapes of Wrath are Stored

  About the Author

  Other Books by This Author

  For our God is a consuming fire.

  HEBREWS 12:29

  ONE

  Congo Square

  JOAN CRAWFORD’S STRAIGHT, narrow, and lonely back. We are following her through the corridors of a moving train. She is looking for someone, or she is trying to escape from someone. She is eventually intercepted by, I think, Clark Gable.

  I am fascinated by the movement on, and of, the screen, that movement which is something like the heaving and swelling of the sea (though I have not yet been to the sea): and which is also something like the light which moves on, and especially beneath, the water.

  I am about seven. I am with my mother, or my aunt. The movie is Dance, Fools, Dance.

  I don’t remember the film. A child is far too self-centered to relate to any dilemma which does not, somehow, relate to him—to his own evolving dilemma. The child escapes into what he would like his situation to be, and I certainly did not wish to be a fleeing fugitive on a moving train; and, also, with quite another part of my mind, I was aware that Joan Crawford was a white lady. Yet, I remember being sent to the store sometime later, and a colored woman, who, to me, looked exactly like Joan Crawford, was buying something. She was so incredibly beautiful—she seemed to be wearing the sunlight, rearranging it around her from time to time, with a movement of one hand, with a movement of her head, and with her smile—that, when she paid the man and started out of the store, I started out behind her. The storekeeper, who knew me, and others in the store who knew my mother’s little boy (and who also knew my Miss Crawford!) laughed and called me back. Miss Crawford also laughed and looked down at me with so beautiful a smile that I was not even embarrassed. Which was rare for me.

  Tom Mix, on his white horse. Actually, it was Tom Mix’s hat, a shadow in the shadow of the hat, a kind of rocky background (which, again, was always moving) and the white horse. Tom Mix was a serial. Every Saturday, then, if memory serves, we left Tom Mix and some bleakly interchangeable girl in the most dreadful danger—or, rather, we left the hat and the shadow of the hat and the white horse: for the horse was not interchangeable and the serial could not have existed without it.

  The Last of the Mohicans: Randolph Scott (a kind of fifteenth-rate Gary Cooper) and Binnie Barnes (a kind of funky Geraldine Fitzgerald), Heather Angel (a somewhat more bewildered Olivia de Havilland) and Philip Reed (a precursor of Anthony Quinn). Philip Reed was the Indian, Uncas, whose savage, not to say slavish adoration of Miss Angel’s fine blonde frame drives her over a cliff, headlong, to her death. She has chosen death before dishonor, which made perfect sense. The erring Uncas eventually pays for his misguided lust with his life, and a tremulous, wet-eyed, brave couple, Randolph Scott and Binnie Barnes, eventually, hand in hand, manage to make it out of the wilderness. Into America, or back to England, I really do not remember, and I don’t suppose that it matters.*

  20,000 Years in Sing Sing: Spencer Tracy and Bette Davis. By this time, I had been taken in hand by a young white schoolteacher, a beautiful woman, very important to me. I was between ten and eleven. She had directed my first play and endured my first theatrical tantrums and had then decided to escort me into the world. She gave me books to read and talked to me about the books, and about the world: about Spain, for example, and Ethiopia, and Italy, and the German Third Reich; and took me to see plays and films, plays and films to which no one else would have dreamed of taking a ten-year-old boy. I loved her, of course, and absolutely, with a child’s love; didn’t understand half of what she said, but remembered it; and it stood me in good stead later. It is certainly partly because of her, who arrived in my terrifying life so soon, that I never really managed to hate white people—though, God knows, I have often wished to murder more than one or two. But Bill Miller—her name was Orilla, we called her Bill—was not white for me in the way, for example, that Joan Crawford was white, in the way that the landlords and the storekeepers and the cops and most of my teachers were white. She didn’t baffle me that way and she never frightened me and she never lied to me. I never felt her pity, either, in spite of the fact that she sometimes brought us old clothes (because she worried about our winters) and cod-liver oil, especially for me, because I seemed destined, then, to be carried away by whooping cough.

  I was a child, of course, and, therefore, unsophisticated. I don’t seem ever to have had any innate need (or, indeed, any innate ability) to distrust people: and so I took Bill Miller as she was, or as she appeared to be to me. Yet,
the difference between Miss Miller and other white people, white people as they lived in my imagination, and also as they were in life, had to have had a profound and bewildering effect on my mind. Bill Miller was not at all like the cops who had already beaten me up, she was not like the landlords who called me nigger, she was not like the storekeepers who laughed at me. I had found white people to be unutterably menacing, terrifying, mysterious—wicked: and they were mysterious, in fact, to the extent that they were wicked: the unfathomable question being, precisely, this one: what, under heaven, or beneath the sea, or in the catacombs of hell, could cause any people to act as white people acted? From Miss Miller, therefore, I began to suspect that white people did not act as they did because they were white, but for some other reason, and I began to try to locate and understand the reason. She, too, anyway, was treated like a nigger, especially by the cops, and she had no love for landlords.

  My father said, during all the years I lived with him, that I was the ugliest boy he had ever seen, and I had absolutely no reason to doubt him. But it was not my father’s hatred of my frog-eyes which hurt me, this hatred proving, in time, to be rather more resounding than real: I have my mother’s eyes. When my father called me ugly, he was not attacking me so much as he was attacking my mother. (No doubt, he was also attacking my real, and unknown, father.) And I loved my mother. I knew that she loved me, and I sensed that she was paying an enormous price for me. I was a boy, and so I didn’t really too much care that my father thought me hideous. (So I said to myself—this judgment, nevertheless, was to have a decidedly terrifying effect on my life.) But I thought that he must have been stricken blind (or was as mysteriously wicked as white people, a paralyzing thought) if he was unable to see that my mother was absolutely beyond any question the most beautiful woman in the world.

  So, here, now, was Bette Davis, on that Saturday afternoon, in close-up, over a champagne glass, pop-eyes popping. I was astounded. I had caught my father, not in a lie, but in an infirmity. For, here, before me, after all, was a movie star: white: and if she was white and a movie star, she was rich: and she was ugly. I felt exactly the same way I felt, just before this moment, or just after, when I was in the street, playing, and I saw an old, very black, and very drunk woman stumbling up the sidewalk, and I ran upstairs to make my mother come to the window and see what I had found: You see? You see? She’s uglier than you, Mama! She’s uglier than me! Out of bewilderment, out of loyalty to my mother, probably, and also because I sensed something menacing and unhealthy (for me, certainly) in the face on the screen, I gave Davis’s skin the dead-white greenish cast of something crawling from under a rock, but I was held, just the same, by the tense intelligence of the forehead, the disaster of the lips: and when she moved, she moved just like a nigger. Eventually, from a hospital bed, she murders someone, and Tracy takes the weight, to Sing Sing. In his arms, Davis cries and cries, and the movie ends. “What’s going to happen to her now?” I asked Bill Miller. “We don’t know,” said Bill, conveying to me, nevertheless, that she would probably never get over it, that people pay for what they do.

  I had not yet heard Bessie Smith’s “why they call this place the Sing Sing?/Come stand here by this rock pile, and listen to these hammers ring,” and it would be seven years before I would begin working on the railroad. It was to take a longer time than that before I would cry; a longer time than that before I would cry in anyone’s arms; and a long long long long time before I would begin to realize what I myself was doing with my enormous eyes—or vice versa. This had nothing to do with Davis, the actress, or with all those hang-ups I didn’t yet know I had: I had discovered that my infirmity might not be my doom; my infirmity, or infirmities, might be forged into weapons.

  For, I was not only considered by my father to be ugly. I was considered by everyone to be “strange,” including my poor mother, who didn’t, however, beat me for it. Well, if I was “strange”—and I knew that I must be, otherwise people would not have treated me so strangely, and I would not have been so miserable—perhaps I could find a way to use my strangeness. A “strange” child, anyway, dimly and fearfully apprehends that the years are not likely to make him less strange. Therefore, if he wishes to live, he must calculate, and I knew that I had to live. I very much wanted my mother to be happy and to be proud of me, and I very much loved my brothers and my sisters, who, in a sense, were all I had. My father showed no favoritism, he did not beat me worse than the others because I was not his son. (I didn’t know this then, anyway, none of the children did, and by the time we all found out, it became just one more detail of the peculiar journey we had made in company with each other.) I knew, too, that my mother depended on me. I was not always dependable, for no child can be, but I tried: and I knew that I might have to prepare myself to be, one day, the actual head of my family. I did not actually do this, either, for we were all forced to take on our responsibilities each for the other, and to discharge them in our different ways. The eldest can be, God knows, as much a burden as a help, and is doomed to be something of a mystery for those growing up behind him—a mystery when not, indeed, an intolerable exasperation. I, nevertheless, was the eldest, a responsibility I did not intend to fail, and my first conscious calculation as to how to go about defeating the world’s intentions for me and mine began on that Saturday afternoon in what we called the movies, but which was actually my first entrance into the cinema of my mind.

  I read Uncle Tom’s Cabin over and over and over again—this is the first book I can remember having read—and then I read A Tale of Two Cities—over and over and over again. Bill Miller takes me to see A Tale of Two Cities, at the Lincoln, on 135th Street. I am twelve.

  I did not yet know that virtually every black community in America contains a movie house, or, sometimes, in those days, an actual theater, called the Lincoln, or the Booker T. Washington, nor did I know why; any more than I knew why The Cotton Club was called The Cotton Club. I knew about Lincoln only that he had freed the slaves (in the South, which made the venture remote from me) and then had been shot, dead, in a theater, by an actor; and a movie I was never to see, called The Prisoner of Shark Island, had something to do with the murder of Lincoln. How I knew this, I do not remember precisely. But I know that I read everything I could get my hands on, including movie advertisements, and Uncle Tom’s Cabin had had a tremendous impact on me, and I certainly reacted to the brutal conjunction of the words, prisoner, and shark, and island. I may have feared becoming a prisoner, or feared that I was one already; had never seen a shark—I hoped: but I was certainly trapped on an island. And, in any case, the star of this film, Warner Baxter, later, but during the same era, made a film with the female star of A Tale of Two Cities, called Slave Ship: which I did not see, either.

  I knew about Booker T. Washington less than I knew about my father’s mother, who had been born a slave, and who died in our house when I was little: a child cannot make the connection between slave and grandmother, and it was to take me a while (mainly because I had discovered the Schomburg collection at the 135th Street Library) to read Up From Slavery: but, when I read it, I no longer knew which way was up. As for The Cotton Club, I knew only that it was a dance hall which gave out free Thanksgiving dinners every Thanksgiving (!) for which my brother, George, and I, stood in line. Which means that I knew that I was poor, and knew that I was black, but did not yet know what being black really meant, what it meant, that is, in the history of my country, and in my own history. Bill could instruct me as to how poverty came about and what it meant and what it did, and, also, what it was meant to do: but she could not instruct me as to blackness, except obliquely, feeling that she had neither the right nor the authority, and also knowing that I was certain to find out. Thus, she tried to suggest to me the extent to which the world’s social and economic arrangements are responsible for (and to) the world’s victims. But a victim may or may not have a color, just as he may or may not have virtue: a difficult, not to say unpopular notion, for nearly everyo
ne prefers to be defined by his status, which, unlike his virtue, is ready to wear.

  The 1936 Metro-Goldwyn-Mayer production of A Tale of Two Cities ends with this enormity sprawled across the screen:

  I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live; and he that believeth in me shall never die.

  I had lived with this text all my life, which made encountering it on the screen of the Lincoln Theater absolutely astounding: and I had lived with the people of A Tale of Two Cities for very nearly as long. I had no idea what Two Cities was really about, any more than I knew what Uncle Tom’s Cabin was really about, which was why I had read them both so obsessively: they had something to tell me. It was this particular child’s way of circling around the question of what it meant to be a nigger. It was the reason that I was reading Dostoevsky, a writer—or, rather, for me, a messenger—whom I would have had to understand, obviously, even less: my relentless pursuit of Crime and Punishment made my father (vocally) and my mother (silently) consider the possibility of brain fever. I was intrigued, but not misled, by the surface of these novels—Sydney Carton’s noble renunciation of his life on the spectacular guillotine, Tom’s forbearance before Simon Legree, the tracking down of Raskolnikov: the time of my time was to reduce all these images to the angel dancing on the edge of the junkie’s needle: I did not believe in any of these people so much as I believed in their situation, which I suspected, dreadfully, to have something to do with my own.

  And it had clearly escaped everyone’s notice that I had already been bull-whipped through the Psalms of David and The Book of Job, to say nothing of the arrogant and loving Isaiah, the doomed Ezekiel, and the helplessly paranoiac Saint Paul: such a forced march, designed to prepare the mind for conciliation and safety, can also prepare it for subversion and danger. For, I was on Job’s side, for example, though He slay me, yet will I trust Him, and I will maintain mine own ways before Him—You will not talk to me from the safety of your whirlwind, never—and, yet, something in me, out of the unbelievable pride and sorrow and beauty of my father’s face, caused me to understand—I did not understand, perhaps I still do not understand, and never will, caused me to begin to accept the fatality and the inexorability of that voice out of the whirlwind, for if one is not able to live with so crushing and continuing a mystery, one is not able to live.