Go Tell It on the Mountain (1953) is the best of Baldwin's novels, and the best is very good indeed. It ranks with Jean Toomer's Cane, Richard Wright's Native Son, and Ralph Ellison's Invisible Man as a major contribution to American fiction. For this novel cuts through the walls of the storefront church to the essence of Negro experience in America. This is Baldwin's earliest world, his bright and morning star, and it glows with metaphorical intensity. Its emotions are his emotions; its language, his native tongue. The result is a prose of unusual power and authority. One senses in Baldwin's first novel a confidence, control, and mastery of style which he has not attained again in the novel form. (p. 5)
Baldwin sees the Negro quite literally as the bastard child of American civilization. In Gabriel's double involvement with bastardy, we have a re-enactment of the white man's historic crime. In Johnny, the innocent victim of Gabriel's hatred, we have an archetypal image of the Negro child. Obliquely, by means of an extended metaphor, Baldwin approaches the very essence of Negro experience. That essence is rejection, and its most destructive consequence is shame. But God, the Heavenly Father, does not reject the Negro utterly. He casts down only to raise up. This is the psychic drama which occurs beneath the surface of John's conversion….
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