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James Baldwin - Giovanni’s Room

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Giovanni’s Room: summary, description and annotation

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Set in the 1950s Paris of American expatriates, liaisons, and violence, a young man finds himself caught between desire and conventional morality. With a sharp, probing imagination, James Baldwins now-classic narrative delves into the mystery of loving and creates a moving, highly controversial story of death and passion that reveals the unspoken complexities of the human heart.

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James Baldwin Giovannis Room To be James Baldwin is to touch on so many hidden - photo 1

James Baldwin

Giovannis Room

To be James Baldwin is to touch on so many hidden places in Europe, in America, the Negro, the white manto be forced to understand so much.

Alfred Kazin

This author retains a place in an extremely select group: that composed of the few genuinely indispensible American writers.

Saturday Review

He has not himself lost access to the source of his beingwhich is what makes him read and awaited by perhaps a wider range of people than any other major American writer.

The Nation

He is thought-provoking, tantalizing, irritating, abusing and amusing. And he uses words as the sea uses waves, to flow and beat, advance and retreat, rise and take a bow in disappearing the thought becomes poetry and the poetry illuminates the thought.

Langston Hughes

He has become one of the few writers of our time.

Norman Mailer

FIRST VINTAGE INTERNATIONAL EBOOK EDITION SEPTEMBER 2013 Copyright 1956 by - photo 2

FIRST VINTAGE INTERNATIONAL EBOOK EDITION, SEPTEMBER 2013

Copyright 1956 by James Baldwin

Copyright renewed 1984 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 by Dial Press, New York, in 1956.

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

eISBN: 978-0-345-80657-4

www.vintagebooks.com

Cover design by Helen Yentus

Cover photographs: Caf Flore, 1986 Ralph Gibson; sky Olegusk/Shutterstock

v3.1_r1

For Lucien

Contents

I am the man, I suffered, I was there.

Whitman

PART ONE
Picture 3
ONE

I STAND AT THE window of this great house in the south of France as night falls, the night which is leading me to the most terrible morning of my life. I have a drink in my hand, there is a bottle at my elbow. I watch my reflection in the darkening gleam of the window pane. My reflection is tall, perhaps rather like an arrow, my blond hair gleams. My face is like a face you have seen many times. My ancestors conquered a continent, pushing across death-laden plains, until they came to an ocean which faced away from Europe into a darker past.

I may be drunk by morning but that will not do any good. I shall take the train to Paris anyway. The train will be the same, the people, struggling for comfort and, even, dignity on the straight-backed, wooden, third-class seats will be the same, and I will be the same. We will ride through the same changing countryside northward, leaving behind the olive trees and the sea and all of the glory of the stormy southern sky, into the mist and rain of Paris. Someone will offer to share a sandwich with me, someone will offer me a sip of wine, someone will ask me for a match. People will be roaming the corridors outside, looking out of windows, looking in at us. At each stop, recruits in their baggy brown uniforms and colored hats will open the compartment door to ask Complet? We will all nod Yes, like conspirators, smiling faintly at each other as they continue through the train. Two or three of them will end up before our compartment door, shouting at each other in their heavy, ribald voices, smoking their dreadful army cigarettes. There will be a girl sitting opposite me who will wonder why I have not been flirting with her, who will be set on edge by the presence of the recruits. It will all be the same, only I will be stiller.

And the countryside is still tonight, this countryside reflected through my image in the pane. This house is just outside a small summer resortwhich is still empty, the season has not yet begun. It is on a small hill, one can look down on the lights of the town and hear the thud of the sea. My girl, Hella, and I rented it in Paris, from photographs, some months ago. Now she has been gone a week. She is on the high seas now, on her way back to America.

I can see her, very elegant, tense, and glittering, surrounded by the light which fills the salon of the ocean liner, drinking rather too fast, and laughing, and watching the men. That was how I met her, in a bar in Saint-Germain-des-Prs, she was drinking and watching, and that was why I liked her, I thought she would be fun to have fun with. That was how it began, that was all it meant to me; I am not sure now, in spite of everything, that it ever really meant more than that to me. And I dont think it ever really meant more than that to herat least not until she made that trip to Spain and, finding herself there, alone, began to wonder, perhaps, if a lifetime of drinking and watching the men was exactly what she wanted. But it was too late by that time. I was already with Giovanni. I had asked her to marry me before she went away to Spain; and she laughed and I laughed but that, somehow, all the same, made it more serious for me, and I persisted; and then she said she would have to go away and think about it. And the very last night she was here, the very last time I saw her, as she was packing her bag, I told her that I had loved her once and I made myself believe it. But I wonder if I had. I was thinking, no doubt, of our nights in bed, of the peculiar innocence and confidence, which will never come again, which had made those nights so delightful, so unrelated to past, present, or anything to come, so unrelated, finally, to my life since it was not necessary for me to take any but the most mechanical responsibility for them. And these nights were being acted out under a foreign sky, with no one to watch, no penalties attachedit was this last fact which was our undoing, for nothing is more unbearable, once one has it, than freedom. I suppose this was why I asked her to marry me: to give myself something to be moored to. Perhaps this was why, in Spain, she decided that she wanted to marry me. But people cant, unhappily, invent their mooring posts, their lovers and their friends, anymore than they can invent their parents. Life gives these and also takes them away and the great difficulty is to say Yes to life.

I was thinking, when I told Hella that I had loved her, of those days before anything awful, irrevocable, had happened to me, when an affair was nothing more than an affair. Now, from this night, this coming morning, no matter how many beds I find myself in between now and my final bed, I shall never be able to have any more of those boyish, zestful affairswhich are, really, when one thinks of it, a kind of higher, or, anyway, more pretentious masturbation. People are too various to be treated so lightly. I am too various to be trusted. If this were not so I would not be alone in this house tonight. Hella would not be on the high seas. And Giovanni would not be about to perish, sometime between this night and this morning, on the guillotine.

Picture 4

I repent nowfor all the good it doesone particular lie among the many lies Ive told, told, lived, and believed. This is the lie which I told to Giovanni but never succeeded in making him believe, that I had never slept with a boy before. I had. I had decided that I never would again. There is something fantastic in the spectacle I now present to myself of having run so far, so hard, across the ocean even, only to find myself brought up short once more before the bulldog in my own backyardthe yard, in the meantime, having grown smaller and the bulldog bigger.

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