Click on image to zoom More Views Details Novelist, essayist, and public intellectual, James Baldwin was one of the most brilliant and provocative literary figures of the postwar era, and one of the greatest African-American writers of this century. A self-described "transatlantic commuter" who spent much of his life in France, Baldwin joined cosmopolitan sophistication with a fierce engagement in social issues. Edited by Nobel laureate Toni Morrison, the Library of America's Collected Essays—the most comprehensive gathering of Baldwin's nonfiction ever published—confirms him as a uniquely prophetic voice in American letters. With burning passion and jabbing, epigrammatic wit, Baldwin fearlessly articulated issues of race and democracy and American identity in such famous essays as "The Harlem Ghetto," "Everybody's Protest Novel," "Many Thousands Gone," and "Stranger in the Village.
Anyone who watches the popular news from a Foucauldian perspective is interested in the Michael Jackson case, given that Jackson is famous for being the epitome of abnormality. Jackson fits all three of these descriptions.
In this essay, I offer an interpretation of the current Michael Jackson case from a Foucauldian and Baldwinian standpoint. Michel Foucault, James Baldwin, racism, sexuality, abnormality With the English publication of Abnormal, 1 Michel Foucault turns the tables once again.
In Abnormal, Foucault explores the grotesque and shows that the truly grotesque is actually the way in which 1 people understand abnormality.
He explains how psychiatry is in its own way a monster, and has gotten away with a pseudoscientific coup of the criminal court system. Another thinker who is good at turning tables is James Baldwin. By sharing episodes from his years as a young writer in Greenwich Village, Baldwin reveals the grotesque nature of gay-bashing and racism.
Since the masturbator appears in The History of Sexuality, Vol. Foucault tells us that the fascination and disgust with monsters morphs throughout the ages.
It is the blending, the mixture of two species: It is the mixture of two individuals: It is the mixture of two sexes: It is a mixture of life and death: Finally, it is a mixture of forms: F 63 Why are monsters a problem?
The problem with monsters is that they defy our categories of understanding, be they civil, scientific, or religious. This is why Foucault calls the monster in his course summary of the year an Antiphysis, one that is against nature F To use a well- established Foucauldian term, monsters are living transgressions: Foucault focuses on the hermaphrodite as the example par excellence of transgressive being.
As Foucault explains, the problem of hermaphrodites is several-fold: Later on, however, hermaphrodites were 4 forced to choose a gender and follow all of the civil, ecclesiastical, and moral rules applicable to that gender.
Regardless of this shift, the understanding of hermaphrodites as monsters remained. In the Modern period, the understanding of monsters enters a new stage. Monsters are no longer natural transgressions; rather, they are criminals.
Illegality presupposes the correctness of the law, whereas transgression puts law itself into question. The monstrosity being prosecuted in the Modern period is of a different sort.
The rest of the story is deducible. As one finds in Discipline and Punish and Society Must Be Defended, society must be defended from these kinds of monsters in a way that is much more careful than when dealing with natural monsters. After all, one cannot immediately detect a moral monster.
It is only after the crime has taken place that one can, in hindsight, see the signs of monstrosity, which therefore serve as the symptoms of monstrosity that are squelched when they appear in others that follow. This is the problem of repeatability in Pt.
Discipline, with its organization and surveillance, serves as the means of prevention in the hope of reducing monstrous characteristics in the populace. If monstrosity can be defined as being a strange, unnatural, transgressive mixture, then psychiatry, the industry devoted to monstrosity, is itself a monster.James Baldwin: Collected Essays (LOA #98) Notes of a Native Son / Nobody Knows My Name / The Fire Next Time / No Name in the Street / The Devil Finds Work By James Baldwin Edited by Toni Morrison.
Edited by Nobel laureate Toni Morrison, the Library of America's Collected Essays—the most comprehensive gathering of Baldwin's nonfiction ever published—confirms him as a uniquely prophetic voice in American letters.5/5(2).
James Baldwin: Collected Essays: Notes of a Native Son / Nobody Knows My Name See more like this.
James Baldwin: Collected Essays: Notes of a Native Son / Nobody Knows My Name James Baldwin and Toni Morrison: Comparative Critical and Theoretical Essays See more like this. James Baldwin: Collected Essays: Notes of a Native Son / Nobody.
Thanks to train delays and frequent voyages for food and adventure, I finished the novel in a few days and dove right into the cleverly titled Collected Essays, an addictive and massive assemblage of his nonfiction work, edited by Toni Morrison. THE CREATIVE PROCESS By James Baldwin from Creative File Format: PDF/Adobe Acrobat THE CREATIVE PROCESS.
Collected Essays. Selected by Toni Morrison. New York: The Creative Process, in Creative America , “Now the crucial paradox. Baldwin: Collected Essays: One of Two Volume Collection James A. Baldwin, Author, Toni Morrison, Editor Library of America $35 (p) ISBN More By and About This Author.