Prime Ministers Series, Baldwin was at the helm during the General Strike and the Abdication.
Originally written in the late 1900¿s and then periodically revised, A History of the Baldwin Locomotive Works chronicles the origins and growth of one of America¿s greatest industrial-era corporations. Founded in the early 1830¿s by Philadelphia jeweler Matthais Baldwin, the company built a huge number of steam locomotives before ceasing production in 1949. These included the 4-4-0 American type, 2-8-2 Mikado and 2-8-0 Consolidation. Hit hard by the loss of the steam engine market, Baldwin soldiered on for a brief while, producing electric and diesel engines. General Electric¿s dominance of the market proved too much, and Baldwin finally closed its doors in 1956. By that time over 70,500 Baldwin locomotives had been produced. This high quality reprint of the official company history dates from 1920. The book has been slightly reformatted, but care has been taken to preserve the integrity of the text.
This new collection of essays presents a critical reappraisal of James Baldwin's work, looking beyond the commercial and critical success of some of Baldwin's early writings such as Go Tell it on the Mountain and Notes of a Native Son. Focusing on Baldwin's critically undervalued early works and the virtually neglected later ones, the contributors illuminate little-known aspects of this daring author's work and highlight his accomplishments as an experimental writer. Attentive to his innovations in style and form, Things Not Seen reveals an author who continually challenged cultural norms and tackled matters of social justice, sexuality, and racial identity. As volume editor D. Quentin Miller notes, "what has been lost is a complete portrait of [Baldwin's] tremendously rich intellectual journey that illustrates the direction of African-American thought and culture in the late twentieth century." This is an important book for anyone interested in Baldwin's work. It will engage readers interested in literature and African-American Studies. Author note: D. Quentin Miller is Assistant Professor of English at Gustavus Adolphus College, Saint Peter, MN.
"James Baldwin's relationship with black Christianity, and especially his rejection of it, exposes the anatomy of a religious heritage that has not been wrestled with sufficiently in black theological and religious studies. In James Baldwin's God: Sex, Hope, and Crisis in Black Holiness Culture, Clarence Hardy demonstrates that Baldwin is important not only for the ways he is connected to black religious culture, but also for the ways he chooses to disconnect himself from it. Despite Baldwin's view that black religious expression harbors a sensibility that is often vengeful and that its actual content is composed of illusory promises and empty theatrics, he remains captive to its energies, rhythms, languages, and themes. Baldwin is forced, on occasion, to acknowledge that the religious fervor he saw as an adolescent was not simply an expression of repressed sexual tension but also a sign of the irrepressible vigor and dignified humanity of black life." "In one of his later extended essays, James Baldwin remembered how his stepfather, David Baldwin, a one-time Baptist minister, died because of his "unreciprocated love for the Great God Almighty," James Baldwin's God engages most directly those aspects of Baldwin's work that address the substance and character of this unrequited love for a Christian God that is depicted as both silent before black suffering and as white - i.e., actively opposed to the flourishing of black life. Despite his consistent portrayal of a black holiness culture full of energy and passion, Baldwin implicitly condemns the fact that the principal backdrop to black people's conversion to Christianity in the United States is shame and not hope. Hardy's reading of Baldwin's texts, with its goal of understanding Baldwin's attitude toward a religion that revolves around an uncaring God in the face of black suffering, provides provocative reading for scholars of religion, literature, and history."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
After writing several controversial articles about racism in America, Baldwin moved to Europe and started a career in novel writing. His impassioned style of writing conveyed an urgent need for change in the black ghetto life and he came to be looked upon as the leading spokesman on racial affairs.
Gounard's examination of the writings of Richard Wright and James Baldwin uncovers a complementary relationship between these two black American writers. Both writers reflect the profound desire of black Americans to be recognized as first-class citizens: Wright aroused white America's conscience, Baldwin made that conscience experience guilt. According to Gounard, studying the thirty-year evolution of their ideas is essential to understanding the evolution of the American race problem. This meticulous study covers literary works, political and philosophical essays; and includes a comprehensive bibliography of both authors' works.
Baldwin-Wallace College, nestled in the quaint Cleveland suburb of Berea, boasts a rich history dating to the establishment of Baldwin Institute in 1845. Consistently at the forefront of national trends, Baldwin-Wallace was among the earliest U.S. colleges to admit women and minorities, and it established one of the first evening/weekend programs in the nation. Its founder, John Baldwin, insisted that education is a right for everyone, regardless of gender, race, or religion. This spirit of inclusiveness has been maintained, and today a Baldwin-Wallace education prepares students to be contributing, compassionate citizens in an increasingly global society. Campus traditions such as the Baldwin-Wallace Bach Festival, April Reign, Dance Marathon, and the faculty's personalized approach to learning unite students of the past and present in what so many alumni call the Baldwin-Wallace family.
First published in 1984, this is the first biography of Stanley Baldwin for more than ten years, although there had been four in the preceding decade. This is strange, for Baldwin has recently begun to swim back into fashion. In part this is a function of growing nostalgia for his period of power, the 1920s and 1930s. Still more, however, it is " because Mrs Thatcher's brand of Conservative leadership has made him an object of contrasting interest in a way that Harold Macmillan's or Edward Heath's never did. When a new exponent of an alternative style temporarily achieves notice, it is now frequently suggested that he might be a new Baldwin. This reappraisal is therefore appropriately timed. It is written by a skilled political biographer, from a non-Conservative, although not personally unsympathetic, standpoint. Baldwin was born in 1867, the son of a rich Worcestershire ironmaster, and educated at Harrow and Trinity College, Cambridge. He then worked in the family business for twenty years. Although the most self-conscious countryman amongst British Prime Ministers of the past hundred years or more, he was not a country squire and never owned more than a few acres of land. He did not enter the House of Commons until he was forty, and was not even a junior minister until the threshold of fifty. Less than six years later, in 1923, he became Prime Minister and dominated British politics for the next fifteen years - the only man of this century to hold the highest office three times.
"The recognition and study of African American (AA) artists and public intellectuals often include Martin Luther King, Jr., and occasionally Booker T. Washington, W.E.B. DuBois, and Malcolm X. The literary canon also adds Ralph Ellison, Richard White, Langston Hughes, and others such as female writers Zora Neale Hurston, Maya Angelou, and Alice Walker. Yet, the acknowledgement of AA artists and public intellectuals tends to skew the voices and works of those included toward normalized portrayals that fit wellwithin foundational aspects of the American myths refl ected in and perpetuated by traditional schooling. Further, while many AA artists and public intellectuals are distorted by mainstream media, public and political characterizations, and the curriculum, several powerful AA voices are simply omitted, ignored, including James Baldwin. This edited volume gathers a collection of essays from a wide range of perspectives that confront Baldwin’s impressive and challenging canon as well as his role as a public intellectual. Contributors also explore Baldwin as a confrontational voice during his life and as an enduring call for justice."
Hanson W. Baldwin was America's best-known military writer and analyst in the 20th Century covering conflicts from World War II to the Vietnam War. He was the military editor of the New York Times for forty years and his dispatches from Guadalcanal and the Western Pacific won him a Pulitzer Prize in 1943.This first biography of this Naval Academy graduate begins with an appreciation of the human and literary values learned from his Baltimore newspaper family. His midshipman years, 1920-1924, taught him the value of concentration. After three years of active service, he chose the life of a professional writer. A few days before the 1929 stock market crash, he joined the New York Times as a reporter. His career was advanced by the patronage of the Times publisher and by the talk of another European war in 1937. He won a Pulitzer Prize in 1943 for his Guadalcanal series. After 1945, he thought the atomic bomb to be of limited use on the battlefield as well as in the politics of the Cold War. His news scoops upset many but were in keeping with his determination to tell his readers what its government was doing. His continuing criticism of Secretary McNamara's management of the Vietnam War and the Times management's annoyance with his pro-war position contributed to his decision to retire in March 1968. Later, he could only observe and to complain over the decline of American values and its harmful effects on the military. After his retirement he continued to write articles on military affairs for the news columns and Op-Ed page of the New York Times.
James Baldwin’s Later Fiction examines the decline of Baldwin’s reputation after the middle 1960s, his tepid reception in mainstream and academic venues, and the ways in which critics have often mis-represented and undervalued his work. Scott develops readings of Tell Me How Long the Train’s Been Gone, If Beale Street Could Talk, and Just Above My Head that explore the interconnected themes in Baldwin’s work: the role of the family in sustaining the arts, the price of success in American society, and the struggle of black artists to change the ways that race, sex, and masculinity are represented in American culture. Scott argues that Baldwin’s later writing crosses the cultural divide between the 1950s and 1960s in response to the civil rights and black power movements. Baldwin’s earlier works, his political activism and sexual politics, and traditions of African American autobiography and fiction all play prominent roles in Scott’s analysis.
Stepping back to examine the relationship between James Baldwin and queer theory, Brim unveils new critical insights that their complicated pairing provides
This study provides an engaging overview and clear analysis of the fiction, non-fiction and drama of African-American writer James Baldwin ( 1924-1987). Whilst giving close attention to Baldwin's popular works such as Go Tell it on the Mountain and Another Country ; it also explores the important but less well known themes and texts including the use of the blues, masculinity, race and sexuality.
The Harlem-born son of a storefront preacher, James Baldwin died almost thirty years ago, but his spirit lives on in the eloquent and still-relevant musings of his novels, short stories, essays, and poems. What concerned him most—as a black man, as a gay man, as an American—were notions of isolation and disconnection at both the individual and communal level and a conviction that only in the transformative power of love could humanity find any hope of healing its spiritual and social wounds. In Understanding James Baldwin, Marc K. Dudley shows that a proper grasp of Baldwin's work begins with a grasp of the times in which he wrote. During a career spanning the civil rights movement and beyond, Baldwin stood at the heart of intellectual and political debate, writing about race, sexual identity, and gendered politics, while traveling the world to promote dialogue on those issues. In surveying the writer's life, Dudley traces the shift in Baldwin's aspirations from occupying the pulpit like his stepfather to becoming a writer amid the turmoil of sexual self-discovery and the harsh realities of American racism and homophobia. The book's analyses of key works in the Baldwin canon—among them, Go Tell It on the Mountain, Giovanni's Room, "Sonny's Blues," Another Country, The Fire Next Time, and The Devil Finds Work—demonstrate the consistency, contrary to some critics' claims, of Baldwin's vision and thematic concerns. As police violence against people of color, a resurgence in white supremacist rhetoric, and pushback against LGBTQ rights fill today's headlines, James Baldwin's powerful and often-angry words find a new resonance. From early on, Baldwin decried the damning potential of alienation and the persistent bigotry that feeds it. Yet, even as it sometimes wavered, his hope for both the individual and the nation remained intact. In the present historical moment, James Baldwin matters more than ever.
Available in book form for the first time, the FBI's secret dossier on the legendary and controversial writer. Decades before Black Lives Matter returned James Baldwin to prominence, J. Edgar Hoover’s FBI considered the Harlem-born author the most powerful broker between black art and black power. Baldwin’s 1,884-page FBI file, covering the period from 1958 to 1974, was the largest compiled on any African American artist of the Civil Rights era. This collection of once-secret documents, never before published in book form, captures the FBI’s anxious tracking of Baldwin’s writings, phone conversations, and sexual habits—and Baldwin’s defiant efforts to spy back at Hoover and his G-men. James Baldwin: The FBI File reproduces over one hundred original FBI records, selected by the noted literary historian whose award-winning book, F.B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature, brought renewed attention to bureau surveillance. William J. Maxwell also provides an introduction exploring Baldwin's enduring relevance in the time of Black Lives Matter along with running commentaries that orient the reader and offer historical context, making this book a revealing look at a crucial slice of the American past—and present.
Growing up African American in the middle part of the twentieth century, James Baldwin saw firsthand the ugly racism that scarred the United States. Further complicating his identity was the fact that he was openly gay at a time when homosexuality was a crime in almost all states. Baldwin turned his struggles into art, writing the semi-autobiographical novel Go Tell It on the Mountain; the essay collection Notes of a Native Son; and the controversial novel Giovanni’s Room, among many other works. He was an active participant in America’s civil rights movement, yet he often was kept at a distance by top leaders because of his sexuality. This volume captures the remarkable life of James Baldwin, an activist and writer who gave voice to so many, when they couldn’t speak for themselves.
This Companion offers fresh insight into the art and politics of James Baldwin, one of the most important writers and provocative cultural critics of the twentieth century. Black, gay, and gifted, he was hailed as a 'spokesman for the race', although he personally, and controversially, eschewed titles and classifications of all kinds. Individual essays examine his classic novels and nonfiction as well as his work across lesser-examined domains: poetry, music, theatre, sermon, photo-text, children's literature, public media, comedy, and artistic collaboration. In doing so, The Cambridge Companion to James Baldwin captures the power and influence of his work during the civil rights era as well as his relevance in the 'post-race' transnational twenty-first century, when his prescient questioning of the boundaries of race, sex, love, leadership, and country assume new urgency.
Presents an introduction to the life and works of the American author, discussing his novels, his participation in the Civil Rights Movement, and his life as an expatriate writer in France.