James Arthur Baldwin citáty
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James Arthur Baldwin bol americký prozaik a dramatik.

Vyrastal v harlemskom ghette, čo ho podnietilo k napísaniu jeho prvých prác, ktoré mu uverejnili v časopise. Dlhé roky strávil v dobrovoľnej emigrácii vo Francúzsku.

Vo svojej tvorbe sa stal majstrom esejí. Ako motívy mu slúžili rôzne problémy tej doby, ako sú rasizmus, morálka, láska, sexuálne a umelecké problémy súčasníkov. Baldwinove eseje sa vyznačovali elegantnou štylizáciou a morálnou naliehavosťou.

Jeho dielo je uznávané ako prelomový prvok v prekonávaní rasových predsudkov v USA. Wikipedia  

✵ 2. august 1924 – 1. december 1987   •   Ďalšie mená Џејмс Болдвин, Джеймс Болдуїн
James Arthur Baldwin fotka
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James Arthur Baldwin: Citáty v angličtine

“It is certain, in any case, that ignorance, allied with power, is the most ferocious enemy justice can have.”

James Baldwin kniha No Name in the Street

No Name in the Street (1972)
Kontext: 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.

“It took many years of vomiting up all the filth I’d been taught about myself, and half-believed, before I was able to walk on the earth as though I had a right to be here.”

Zdroj: 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

“The price one pays for pursuing any profession or calling is an intimate knowledge of its ugly side.”

"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)

“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.”

As quoted in "Doom and glory of knowing who you are" 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):
Kontext: 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.

“I often wonder what I'd do if there weren't any books in the world.”

James Baldwin kniha Giovanni's Room

Zdroj: Giovanni's Room

“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.”

James Baldwin kniha Nobody Knows My Name

Zdroj: "Faulkner and Desegregation" in Partisan Review (Fall 1956); republished in Nobody Knows My Name: More Notes of a Native Son (1961)
Kontext: 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.

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