It is Baldwin's sentimental and poorly argued attempt to present homosexuality as some form of superior erotic enlightenment that continually slackens the power of Just Above My Head. The sentimentality results from a tendency to overstatement, pretension, and pomposity, as well as the creation of situations and responses the sole function of which is to prove the degradation of black people at the behest of racism and sexual convention. The degradation is wrought with existential cliches to demonstrate that suffering and alienation form the high road to awareness, and that he or she who is most painfully alienated is somehow most human and, as Robert Bone once angrily pointed out [see excerpt above], stands as guiding priest or priestess at the intersections of human ambivalence….
Baldwin loves the black church for the depth of its music and its great feeling of collective exaltation, but hates it for its provincialism; he seeks in his writing to combine the language of the Bible and of his church people with that of Henry James and the hip argots of the streets and jazz. The results are frequently ineffectual especially when the characters are made to vent long monologues about love and danger, nakedness and loneliness, outrage and self-pity—the subjects Baldwin belabors most. Then his lecture voice takes over and everybody sounds about the same.
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