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James Baldwin

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If Beale Street Could Talk Paperback – October 10, 2006

by James Baldwin (Author)

4.6 5,235 ratings

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From one of the most important writers of the twentieth century comes a stunning love story about a young Black woman whose life is torn apart when her lover is wrongly accused of a crime—"a moving, painful story, so vividly human and so obviously based on reality that it strikes us as timeless" (The New York Times Book Review).

"One of the best books Baldwin has ever written—perhaps the best of all." —The Philadelphia Inquirer

Told through the eyes of Tish, a nineteen-year-old girl, in love with Fonny, a young sculptor who is the father of her child, Baldwin’s story mixes the sweet and the sad. Tish and Fonny have pledged to get married, but Fonny is falsely accused of a terrible crime and imprisoned. Their families set out to clear his name, and as they face an uncertain future, the young lovers experience a kaleidoscope of emotions—affection, despair, and hope. In a love story that evokes the blues, where passion and sadness are inevitably intertwined, Baldwin has created two characters so alive and profoundly realized that they are unforgettably ingrained in the American psyche.

Print length

197 pages
Language

English
Publisher

Vintage
Publication date

October 10, 2006
Dimensions

7.9 x 5.1 x 0.6 inches
ISBN-10

0307275930
ISBN-13

978-0307275936
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Popular Highlights in this book

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Neither love nor terror makes one blind: indifference makes one blind.
Highlighted by 1,248 Kindle readers
One of the most terrible, most mysterious things about a life is that a warning can be heeded only in retrospect: too late.
Highlighted by 996 Kindle readers
I hope that nobody has ever had to look at anybody they love through glass.
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From the Publisher

Editorial Reviews

Review

"One of the best books Baldwin has ever written—perhaps the best of all." —The Philadelphia Inquirer

"A moving, painful story, so vividly human and so obviously based on reality that it strikes us as timeless.” —Joyce Carol Oates

"If Van Gogh was our nineteenth-century artist-saint, James Baldwin is our twentiethth-century one." —Michael Ondaatje

"Striking and particularly haunting.... A beauty, especially in its rendering of youthful passion." —Cosmopolitan

"A major work of Black American fiction.... His best novel yet, even Baldwin's most devoted readers are due to be stunned by it." —The New Republic

"Emotional dynamite.... A powerful assault upon the cynicism that seems today to drain our determination to confront deep social problems." —Library Journal

"A moving, painful story, so vividly human and so obviously based on reality that it strikes us as timeless." —The New York Times Book Review

About the Author

JAMES BALDWIN was born in 1924 and educated in New York. He is the author of more than twenty works of fiction and nonfiction, including Go Tell It on the Mountain; Notes of a Native Son; Giovanni’s Room; Nobody Knows My Name; Another Country; The Fire Next Time; Nothing Personal; Blues for Mister Charlie; Going to Meet the Man; The Amen Corner; Tell Me How Long the Train’s Been Gone; One Day When I Was Lost; If Beale Street Could Talk; The Devil Finds Work; Little Man, Little Man; Just Above My Head; The Evidence of Things Not Seen; Jimmy’s Blues; and The Price of the Ticket. Among the awards he has received are a Eugene F. Saxon Memorial Trust Award, a Rosenwald Fellowship, a Guggenheim Fellowship, a Partisan Review Fellowship, and a Ford Foundation grant. He was made a Commander of the Legion of Honor in 1986. He died in 1987.

Excerpt. © Reprinted by permission. All rights reserved.

Troubled About My Soul

I look at myself in the mirror. I know that I was christened Clementine, and so it would make sense if people called me Clem, or even, come to think of it, Clementine, since that's my name: but they don't. People call me Tish. I guess that makes sense, too. I'm tired, and I'm beginning to think that maybe everything that happens makes sense. Like, if it didn't make sense, how could it happen? But that's really a terrible thought. It can only come out of trouble--trouble that doesn't make sense.

Today, I went to see Fonny. That's not his name, either, he was christened Alonzo: and it might make sense if people called him Lonnie. But, no, we've always called him Fonny. Alonzo Hunt, that's his name. I've known him all my life, and I hope I'll always know him. But I only call him Alonzo when I have to break down some real heavy shit to him.

Today, I said, "--Alonzo--?"

And he looked at me, that quickening look he has when I call him by his name.

He's in jail. So where we were, I was sitting on a bench in front of a board, and he was sitting on a bench in front of a board. And we were facing each other through a wall of glass between us. You can't hear anything through this glass, and so you both have a little telephone. You have to talk through that. I don't know why people always look down when they talk through a telephone, but they always do. You have to remember to look up at the person you're talking to.

I always remember now, because he's in jail and I love his eyes and every time I see him I'm afraid I'll never see him again. So I pick up the phone as soon as I get there and I just hold it and I keep looking up at him.

So, when I said, "--Alonzo--?" he looked down and then he looked up and he smiled and he held the phone and he waited.

I hope that nobody has ever had to look at anybody they love through glass.

And I didn't say it the way I meant to say it. I meant to say it in a very offhand way, so he wouldn't be too upset, so he'd understand that I was saying it without any kind of accusation in my heart.

You see: I know him. He's very proud, and he worries a lot, and, when I think about it, I know--he doesn't--that that's the biggest reason he's in jail. He worries too much already, I don't want him to worry about me. In fact, I didn't want to say what I had to say. But I knew I had to say it. He had to know.

And I thought, too, that when he got over being worried, when he was lying by himself at night, when he was all by himself, in the very deepest part of himself, maybe, when he thought about it, he'd be glad. And that might help him.

I said, "Alonzo, we're going to have a baby."

I looked at him. I know I smiled. His face looked as though it were plunging into water. I couldn't touch him. I wanted so to touch him. I smiled again and my hands got wet on the phone and then for a moment I couldn't see him at all and I shook my head and my face was wet and I said, "I'm glad. I'm glad. Don't you worry. I'm glad."

But he was far away from me now, all by himself. I waited for him to come back. I could see it flash across his face: my baby? I knew that he would think that. I don't mean that he doubted me: but a man thinks that. And for those few seconds while he was out there by himself, away from me, the baby was the only real thing in the world, more real than the prison, more real than me.

I should have said already: we're not married. That means more to him than it does to me, but I understand how he feels. We were going to get married, but then he went to jail.

Fonny is twenty-two. I am nineteen.

He asked the ridiculous question: "Are you sure?"

"No. I ain't sure. I'm just trying to mess with your mind."

Then he grinned. He grinned because, then, he knew.

"What we going to do?" he asked me--just like a little boy.

"Well, we ain't going to drown it. So, I guess we'll have to raise it."

Fonny threw back his head, and laughed, he laughed till tears come down his face. So, then, I felt that the first part, that I'd been so frightened of, would be all right.

"Did you tell Frank?" he asked me.

Frank is his father.

I said, "Not yet."

"You tell your folks?"

"Not yet. But don't worry about them. I just wanted to tell you first."

"Well," he said, "I guess that makes sense. A baby."

He looked at me, then he looked down. "What you going to do, for real?"

"I'm going to do just like I been doing. I'll work up to just about the last month. And then, Mama and Sis will take care for me, you ain't got to worry. And anyway we have you out of here before then."

"You sure about that?" With his little smile.

"Of course I'm sure about that. I'm always sure about that."

I knew what he was thinking, but I can't let myself think about it--not now, watching him. I must be sure.

The man came up behind Fonny, and it was time to go. Fonny smiled and raised his fist, like always, and I raised mine and he stood up. I'm always kind of surprised when I see him in here, at how tall he is. Of course, he's lost weight and that may make him seem taller.

He turned around and went through the door and the door closed behind him.

I felt dizzy. I hadn't eaten much all day, and now it was getting late.

I walked out, to cross these big, wide corridors I've come to hate, corridors wider than all the Sahara desert. The Sahara is never empty; these corridors are never empty. If you cross the Sahara, and you fall, by and by vultures circle around you, smelling, sensing, your death. They circle lower and lower: they wait. They know. They know exactly when the flesh is ready, when the spirit cannot fight back. The poor are always crossing the Sahara. And the lawyers and bondsmen and all that crowd circle around the poor, exactly like vultures. Of course, they're not any richer than the poor, really, that's why they've turned into vultures, scavengers, indecent garbage men, and I'm talking about the black cats, too, who, in so many ways, are worse. I think that, personally, I would be ashamed. But I've had to think about it and now I think that maybe not. I don't know what I wouldn't do to get Fonny out of jail. I've never come across any shame down here, except shame like mine, except the shame of the hardworking black ladies, who call me Daughter, and the shame of proud Puerto Ricans, who don't understand what's happened--no one who speaks to them speaks Spanish, for example--and who are ashamed that they have loved ones in jail. But they are wrong to be ashamed. The people responsible for these jails should be ashamed.

And I'm not ashamed of Fonny. If anything, I'm proud. He's a man. You can tell by the way he's taken all this shit that he's a man. Sometimes, I admit, I'm scared--because nobody can take the shit they throw on us forever. But, then, you just have to somehow fix your mind to get from one day to the next. If you think too far ahead, if you even try to think too far ahead, you'll never make it.

Sometimes I take the subway home, sometimes I take the bus. Today, I took the bus because it takes a little longer and I had a lot on my mind.

Product details

Publisher ‏ : ‎ Vintage; Reprint edition (October 10, 2006)
Language ‏ : ‎ English
Paperback ‏ : ‎ 197 pages
ISBN-10 ‏ : ‎ 0307275930
ISBN-13 ‏ : ‎ 978-0307275936
Item Weight ‏ : ‎ 6.8 ounces
Dimensions ‏ : ‎ 7.9 x 5.1 x 0.6 inches

Best Sellers Rank: #54,660 in Books (See Top 100 in Books)
- #1,223 in Black & African American Urban Fiction (Books)
- #1,547 in Family Life Fiction (Books)
- #4,542 in Literary Fiction (Books)

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James Baldwin

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James Baldwin (1924-1987) was a novelist, essayist, playwright, poet, and social critic, and one of America's foremost writers. His essays, such as "Notes of a Native Son" (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-twentieth-century America. A Harlem, New York, native, he primarily made his home in the south of France.

His novels include Giovanni's Room (1956), about a white American expatriate who must come to terms with his homosexuality, and Another Country (1962), about racial and gay sexual tensions among New York intellectuals. His inclusion of gay themes resulted in much savage criticism from the black community. Going to Meet the Man (1965) and Tell Me How Long the Train's Been Gone (1968) provided powerful descriptions of American racism. As an openly gay man, he became increasingly outspoken in condemning discrimination against lesbian and gay people.

Photo by Allan warren (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)], via Wikimedia Commons.

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James R. Gilligan

Beautiful, searing pain

Reviewed in the United States on March 21, 2019

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I’m not sure how—or why—this powerful work of narrative beauty escaped me until now, but I’m certainly grateful that Barry Jenkins’ film adaption has rekindled interest in this narrative. Despite some perplexing inconsistencies in narrative point of view, this story of unconditional love blends themes of romance, race, social class, gender, sexuality, and family in ways that only literary masters can manage. Baldwin was undeniably head of his time.

In the early 21st century, this story has become familiar enough. Tish, the young, Black first-person narrator, is pregnant with the child of her lifelong love, Fonny, who has been unjustly imprisoned for the rape of a Puerto Rican woman. As Tish and her family band together to free Fonny, institutionalized racism, economic inequality, and social oppression (not to mention members of Fonny’s own family) conspire to keep the young lovers apart.

Baldwin’s prose is by turns lyrical, minimalist, imagistic, and brutally violent. He orchestrates his diction with sublime precision; therefore, I must presume that there is some artistic justification for having Tish narrate scenes (such as Fonny’s private conversations with his friend Daniel, Fonny’s experiences in prison, and her mother’s ordeal in Puerto Rico as she attempts to track down the rape victim) that she could not have possibly witnessed. That stylistic quibble aside, I cannot recall another book this brief (fewer than 200 pages) that permeates with such intensity and insight.

13 people found this helpful

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J. Medina

Classic novel that is still relevant today. Epic writing, was a wreck after reading this one.

Reviewed in the United States on January 16, 2021

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This is such a great novel, my first of Baldwin’s and I can’t believe it. Published in 1974 it still applicable today, and as horrible as that is, it speaks to Baldwin’s timeless writing. I cannot do a review for this book justice, so I will just say that I was moved by the writing in this book, it was so well done, so phenomenal, that I was a roller coaster of emotions throughout. I loved Tish and Fonny, and my heart broke for them both.

I will also note that the audiobook for this is fantastic, it is read by Bahni Turpen, who is one of my absolute favorite narrators, and she brings the characters to life in your ears, making the story even more emotional than it already is.

6 people found this helpful

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Jonathan

Makes you see and entertains.

Reviewed in the United States on April 5, 2024

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Made me see the world from the characters’ points of view and really feel it. My first Baldwin. I highly recommend it. There is very foul language but it is earned.

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Amazon Customer

James Baldwin could hear

Reviewed in the United States on January 14, 2024

Damn, timeless.

As Good as it's Reputation

Reviewed in the United States on December 21, 2022

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This was my first novel by the famed writer/activist, who I've gotten to know through archived footage and many articles, impressed me with this gritty story that's so realistic in its telling. By the end of the book, I felt fully enveloped in the lives of Tish and Fonny, the main characters, their frustrations had become my own. The book, to me, was well worth the read and I recommend it for everyone's must read list.

7 people found this helpful

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M. Fountain

Exceptional wordsmith, prophetic voice

Reviewed in the United States on April 16, 2022

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If you are a Bible reader and if you ever read from some of the prophets in the Bible, you will understand the tone and the texture of their prophecies. It always gave voice to the climate oftentimes confronting us to face our reality with clarity provoking us to make those uncomfortable changes. James Baldwin's voice and words remain prophetic. When you read Fire Next Time now and realized when it was written, those words were prophetic. When you read this story of Fonny and Tish, a blossoming love between two beautiful people in the face of systemic oppression/racism in the "land of the free and the home of the brave", another prophesy. The range of emotions and the ability to convey every senses whether it was the view of the oceans, the stench of the garbage in the city, the fear of isolation, Baldwin was able to craft every word to invoke and provoke. This story breaks me because that reality still exists and when I reached the end, the cries were real...my cries. He will remain as one of the greatest and prolific storyteller of all times, moreso, the prophetic voice of our community.

11 people found this helpful

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Kyle Conner

Necessary and important

Reviewed in the United States on May 21, 2019

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Over the course of 197 pages, my heart was broken, warmed, and stitched back up. It is a bruised thing now; beating hot blood, but with the soft pain of being reminded that life (and especially the lives of people of color) can so often be tragically unfair.

The story as a whole is a necessary one— there were many emotions that it stirred up in me, and I haven’t read many books lately that can manage to make me feel so much all in one. This is a pretty short book, and the fact that I felt so strongly for Tish, Fonny, Sharon, Ernestine, Joseph, Frank, and even some of the barely-there side characters, is the work of a true master.

A particular note I feel I must make: Tish has one of the most remarkable, supportive families I’ve ever read in literature. I love her mother. I love her sister. I love her father. The lengths they go to (or would go to) for each other is profoundly moving. I fear for them, and I want to hope for them. Everything in the story felt so based-in-reality, and that's frightening, because you want to see your beloved characters overcome and be happy, but the circumstances of life don't always raise you up so much as saddle to your back a conveyor belt of tribulations. And even after EVERYTHING, the language of the novel is a hopeful one: the final message is not one of despair, but resilience.

James Baldwin has created a world full of saints and monsters, that also just so happens to be a ‘far-from-simply-fiction’ 1970’s New York. It is at once both a terrible reality— a reminder of ignorance, hate, and injustice— and a life-affirming look at love, family, and hope.

13 people found this helpful

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Amazon Customer

Huh?

Reviewed in the United States on January 26, 2024

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I had never read any books by James Baldwin but given the Amazon reviews and the Kindle price, I thought I would give one a try. I loved the writing style and frankly couldn't put the "book" down. Then I came to the ending: I was so disappointed. Maybe there was some deep meaning to Zion, the October 12, 1973 date and St. Paul de Venice but it sure eludes me. Maybe someone can explain it to me...

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Khadijah Davies

Impassioned

Reviewed in Canada on March 28, 2022

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It’s the most profound, horrible story. I recommend it for any white person to understand the Black life. I adore James Baldwin… his writing is inspiring.

Marlene_methods

Great book

Reviewed in Germany on February 26, 2024

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Love the book. This printing edition is also great. Nothing to complain

dupont nathalie

a must-read !

Reviewed in France on April 21, 2023

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this book has a really original and beautiful writing, maybe sometimes not the easiest book to read as a non-native English.
I was really scared at first about "the rape" part, this type of subject can be "dangerous"; but here it's fine
so I did like this book and I would recommend it

Bhavna Joshi

Read it for shear power of love

Reviewed in India on August 21, 2022

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𝕀𝕗 𝔹𝕖𝕒𝕝𝕖 𝕤𝕥𝕣𝕖𝕖𝕥 𝕔𝕠𝕦𝕝𝕕 𝕥𝕒𝕝𝕜 𝕓𝕪 𝕁𝕒𝕞𝕖𝕤 𝔹𝕒𝕝𝕕𝕨𝕚𝕟
रस निष्पत्ति - शृंगार🥰, करुण😪(in readers)
भाव निर्मिति - रति🥰, शोक😪( in characters)

"I love soppy love stories, the trauma, the palpable fear, the unsaid desires, yet the audacious lovers"
"But how can that be comforting"
"Not sure about that, but it's liberating"

A casual conversation at Clubhouse proved so valuable, that it finally helped me realize why I love the books I love

Just the exact way to sum up my journey with this one coz stories like these are so grounded into reality

Maybe a first where the Rasa expressed by characters truly mimicked the bhav of the reader in me.
Seamless, untangled cord bounded together with love at one end & despair at other, then muddling it all in a moment, taking away all the calm

A stirring story narrated in flashbacks by 19 yr old pregnant Tish, whose boyfriend Fonny, has been wrongly accused for a rape case. Case where not the crime but color of person decides the fate

Even though the victim was not sure about who committed the crime, even though there is no evidence suggesting his presence at the crime scene, yet he was already convicted

The novel brings in a fine amalgamation of America's systemic racial delineation, orthodox religious belief systems

Will Tish & her family's love be enough to fight, from Fonny's dysfunctional family to the Biased Judiciary system

Author has championed his belief through love. The plot hits you through this veil of love, dissecting the boundaries of casteism, class system

His near to perfect prose has kept the balance between the love & cause. Little moments of childhood intimacy written parallely to trauma of rape victim creates that humane side

I had read Fortune men by Nadifa Mohammed last year. Though the aim for both the writers seems to be the same but I found Fortune men a story with lost cause, a story without hope

Whereas the master storyteller Baldwin knows just where to pull the cords, thus forming hopeful connect b/w narrative & readers

The path he creates is not easy to tread, you question the sanity of characters yet you want to walk this walk

Alan Higuera

Excelente

Reviewed in Mexico on March 17, 2019

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El libro es espléndido, la edición es bellísima.
El paquete llegó a tiempo y en perfecto estado

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