James Baldwin Go Tell It to the Mountain Review

1953 novel by James Baldwin

Go Tell It on the Mountain

First edition
Writer	James Baldwin
State	United States
Language	English language
Genre	Semi-autobiographical novel
Publisher	Knopf
Publication date	May 18, 1953[i]
ISBN	0-440-33007-6 (Paperback edition)
OCLC	24659110
LC Course	PS3552 .A5 G6

Go Tell Information technology on the Mountain is a 1953 semi-autobiographical novel past James Baldwin. It tells the story of John Grimes, an intelligent teenager in 1930s Harlem, and his relationship with his family and his church. The novel also reveals the back stories of John'southward mother, his biological begetter, and his fierce, fanatically religious stepfather, Gabriel Grimes. The novel focuses on the function of the Pentecostal Church building in the lives of African Americans, both equally a negative source of repression and moral hypocrisy and a positive source of inspiration and customs. In 1998, the Mod Library ranked Become Tell It on the Mountain 39th on its list of the 100 best English-linguistic communication novels of the 20th century. Time mag included the novel on its list of the 100 best English language-language novels released from 1923 to 2005.^[ii]

Background [edit]

James Baldwin was born in 1924 in Harlem to an unwed female parent who had left Maryland for New York and never knew his biological father. Several years afterward, his mother married a much older laborer and Baptist preacher from Louisiana who had come due north in 1919. James Baldwin took his footstep-begetter's surname and was raised every bit his son along with his many half-siblings. He subsequently described his stepfather as "Heart-searching, silent, tyrannical ... and physically abusive, he was too a storefront preacher of morbid intensity."^[iii] During his high schoolhouse years,^[4] uncomfortable with the fact that, unlike many of his peers, he was becoming more sexually interested in males than in females, Baldwin sought refuge in religion.^[5] At fourteen, he began preaching himself and continued for several years.^[6]

Go Tell Information technology on the Mountain was Baldwin'south first published novel and draws heavily on Baldwin'southward personal feel and the experiences of those effectually him during his babyhood in Harlem, particularly those who came to Harlem equally part of the Great Migration from the Due south. It was the effect of piece of work that began in at to the lowest degree 1938.^[7] Baldwin showed an early manuscript to novelist Richard Wright in 1944. Wright helped Baldwin secure and advance from Harper & Brothers just the deal did not outcome in publication. In February 1952, Baldwin sent a later on manuscript from Paris, where he was living at the time, to New York publishing house Alfred A. Knopf. Knopf expressed interest and Baldwin returned to New York to come across with Knopf.^[8] He agreed to rewrite parts of Get Tell It On The Mountain in exchange for a $250 accelerate ($2,436 today) and a further $750 ($7,309 today) paid when the final manuscript was completed.^[9] After the last typhoon was accepted, Baldwin published excerpts of the novel in ii publications: one excerpt was published equally "Exodus" in American Mercury and the other as "Roy'due south Wound" in New Globe Writing.^[10] Baldwin fix canvass back to Europe on August 28 and Go Tell Information technology On The Mountain was published in May 1953.^[ten]

Structure and synopsis [edit]

Go Tell It on the Mountain has a nonlinear construction. The story takes place during one twenty-iv hour period, but contains extended flashbacks which cover a period of over 70 years. The novel is focused on John Grimes, merely narrative voice shifts between characters' perspectives, allowing admission to the thoughts and reminiscences of John'due south male parent, female parent, and aunt.^[eleven] The novel is divided into iii parts, with the 2d role farther subdivided into three: "Part One: The 7th Twenty-four hours", "Part Two: The Prayer of the Saints-Florence'southward Prayer", "Function 2: The Prayer of the Saints-Gabriel's Prayer", "Office 2: The Prayer of the Saints-Elizabeth's Prayer", and, finally, "Part Three: The Threshing-Floor". The first and concluding parts mainly follow John's thoughts with glimpses of the thoughts of others, while the sections in Role Two mainly follow the thoughts of the character for whom they are named.

Office Ane [edit]

In Part One, John wakes upwardly on his birthday. As he does his chores, he thinks virtually his relationship with his domineering male parent, who does not seem to love him, and with the storefront church building at which his father is a sometimes preacher. His younger brother Roy also resents his father'southward strictness, only unlike John has begun to insubordinate by running with a rough crowd. In one case John has finished his chores, his mother Elizabeth gives him some money for his birthday and he goes out. He walks through Central Park and down 5th Avenue, earlier going into a pic theater to watch a film.

John returns home to find that Roy has gone with some neighborhood boys to pick a fight and has been cut with a knife. John's male parent Gabriel returns home. He is angry and Gabriel lashes out and looks for someone to blame too Roy. Gabriel'due south sister Florence and Elizabeth object that no one is to arraign but Roy since he went out to pick the fight. Gabriel strikes Elizabeth causing Roy to challenge him. Gabriel whips Roy with a belt until Florence intervenes. John and so goes to the church to do chores before evening services. Elisha, an older male child in the church arrives to assist and the two exchange playful barbs and and so playfully wrestle. The 2 and then finish cleaning the church while talking most John'south soul and salvation. Two women get in followed soon past John's father female parent and aunt Florence.

Part Two [edit]

Florence'due south Prayer [edit]

Florence recalls her childhood with Gabriel and their mother, a sometime slave. She recalls her devout female parent leading them in prayer after the rape of a daughter, Deborah, by a grouping of white men. She resented that just considering Gabriel was a boy, her mother ever put his hereafter ahead of hers even though she was much ameliorate behaved. Florence somewhen left home despite her mother'south disease to go n to New York where she met Frank, whom she married. The marriage was non happy every bit Frank drank and was irresponsible with money, both buying her extravagant gifts and spending on binges. He eventually left her for some other adult female and died in France in World War I.

Gabriel'south Prayer [edit]

Gabriel also recalls his wild youth, which ended subsequently Florence left when he was saved at 22. He stopped drinking and debauching and became a preacher. Deborah, whom no ane would marry because she had been raped, supports him and helps him later on his mother dies and Gabriel asks her to marry him. Back in the church building, Gabriel hears a cry of praise and worries that John is beingness visited by the Holy Spirit. He resents that his two natural sons have not been saved and worries that John, who is not his biological son, will be saved. These thoughts lead him to his matter with a woman named Esther, who subsequently became pregnant and died giving nativity to his son, Royal. Royal was raised by Esther's mother and Gabriel never acknowledged him and worried that Deborah would larn the truth. Later on, during a catamenia of racial tensions after a blackness soldier has been lynched, Gabriel encountered Regal walking home and warned him to be conscientious. Later, Deborah tells Gabriel that Purple left for Chicago where he was killed in a knife fight. Deborah confronts Gabriel, who admits that Royal was his son and Deborah tells him he should pray for forgiveness. Seeing John, Gabriel recalls that he had believed that meeting and marrying Elizabeth was a sign that God had forgiven him.

Elizabeth's Prayer [edit]

Elizabeth recalls how later the death of her distant mother, her aunt took her away from her father, whom she loved, because he ran a brothel. Elizabeth resented her and she was never loving. Later Elizabeth fell in dearest with a store clerk, Richard. The two ran away to New York together. Although they were not married, Elizabeth became pregnant merely did non tell Richard right away. Before she told him, he was wrongfully arrested for theft. He refused to confess and was brutally beaten by the police. After he was eventually acquitted and returned domicile, she decided not to tell him she was meaning that dark, but by forenoon he had killed himself. Afterwards thinking of Richard, she looks at John and wonders if she did the correct thing to keep him rather than give him for adoption, and to marry Gabriel who has never loved John. She recalls how she met Florence at her job every bit a cleaning adult female and Florence introduced her to her brother Gabriel, at present a widower who recently came north. Although Florence discourages the romance, Elizabeth respects Gabriel's religiosity and believes Gabriel will offer protection and stability for herself and John and agrees to marry him. Her thoughts render to the present and she sees John lying on the flooring of the church overcome by a religious vision.

Role Three [edit]

John experiences a series of hallucinatory religious visions in which he confronts many of his sins, hopes, and doubts. He sees his male parent's confront and recalls that he has seen his father naked and compares himself to the story of Ham who saw his father Noah naked and was forever cursed - a story which was long used to justify slavery and oppression of black people. Afterward farther visions, John sees a glimpse of God and feels himself saved. He returns to consciousness and realizes that it is forenoon and he has been in that location all night. All are happy for him except Gabriel who seems unconvinced. The group leaves the church to walk dwelling and Florence, who is terminally ill, confronts Gabriel with a letter from Deborah which reveals her suspicions that Gabriel had fathered a son with Esther. Florence accuses Gabriel of making John and Elizabeth suffer to expiate his own guilt for his sin with Esther and Purple and promises to reveal the truth to Elizabeth. Meanwhile John speaks with Elisha who congratulates and encourages him until they reach John's home.

Setting [edit]

The novel takes place in New York Metropolis, primarily in Harlem in 1935. The flashbacks provide extended sequences in the American Due south, primarily in an unnamed town in the Deep South where Gabriel and Florence were born, and in Maryland where Elizabeth was raised. The flashbacks also recall earlier periods in Harlem and to a lesser extent other locations in New York.

In the novel, New York City at once represents freedom and opportunity - particularly for Florence and Elizabeth who escape circumscribed family unit lives, and for John who contemplates the opportunities of the earth outside Harlem every bit he walks through Midtown Manhattan - but as well the vulgarity and perdition, particularly for Gabriel and through Gabriel, for John. This duality is used to enhance the other conflicts in the novel, particularly betwixt holiness and worldliness and betwixt John and Gabriel.^[12] For Elizabeth especially, but also for Florence and Gabriel, the promise of the city, the promise that collection the Peachy Migration of African Americans from the rural South to Northern cities including New York, turned out to exist false. Elizabeth reflects that unlike the South, which promises cipher, the North promises but does not requite and what is given tin exist taken away in an instant. Although the Corking Migration led to the Harlem Renaissance and a flourishing of art and civilisation, the novel's depiction of Harlem is focused on the poverty, violence, drunkenness, and sexual depravity which were also a consequence.

Themes [edit]

Organized religion [edit]

The religious theme pervades all aspects of the novel. However, critics have not agreed on whether information technology is "an ironic indictment of Christianity" or a "stirring vindication". Barbara Olson summarized the dispute noting that "those favoring vindication number in their ranks such notable critics equally Albert Gerard, Donald Gibson, and Shirley Allen" while "those favoring the indictment position include Robert Os, Michael Fabre, Nathan Scott, Howard Harper, Stanley Macebuh, David Foster and Trudier Harris."^[thirteen]

Holiness versus worldliness [edit]

Many scholars have reflected on the tension betwixt holiness and worldliness in the novel.^[fourteen] The strict Pentecostal organized religion of the Temple of the Fire Baptized, enforced past John's begetter demands that believers alive separately from much of the earth around them. "Much of Office 1 is taken up with John's thoughts on how he fits in or fails to fit in both with the "holy" people of his father'due south church and as well with the "worldly" people he knows from the neighborhood and school. Charles Scruggs writes that the novel juxtaposes "the earthly and the heavenly, and together they help focus the novel's various themes."^[12]

Religious allusion [edit]

The novel is rich with biblical and religious allusions and references.^{[15] [sixteen]} The championship of the novel is taken from a spiritual of the aforementioned name and "each of the three parts has a title and two epigraphs referring to the Bible or Christian hymns, and each of the prayers in Function 2 begins with a quotation from a hymn." The title of Function One "The Seventh Twenty-four hours" is a clear reference to the biblical sabbath, the day on which the Lord rested afterwards he created the heavens and the world.^[17] Allen argues this is both the solar day John is done existence "created", i.due east. when he comes into his own, merely God also made the Sabbath holy, and information technology is the twenty-four hour period John will become holy.^[15] Similarly, Role 3 "The Threshing-Floor" is an allusion to Matthew 3:12, in which John the Baptist states that on the threshing flooring Jesus volition split up the wheat (saved) from the chaff (unsaved).

Baldwin includes excerpts from many spirituals throughout the novel simply particularly as John is undergoing his religious vision and the "saints" of the church sing around him, each of which highlights a particular aspect of the narrative. In improver many of the graphic symbol's names refer straight to biblical characters. Critics have compared John both to John the Baptist^[fifteen] and John of Patmos^[12] who experienced a religious vision in the Book of Revelation. John the Baptist's mother Elizabeth, the archangel Gabriel, the prophetess Deborah, and the Jewish Queen Esther besides provide names of meaning characters.

Baldwin oftentimes makes use of directly references including the story of Ham, the story of Moses leading the Israelites out of Arab republic of egypt, and the story of Lot'due south wife who looked backward and was turned into a pillar of salt. Other passages, such John'due south wrestling with Elisha evoke biblical referents, similar the story of Jacob wrestling with a mysterious supernatural being in Genesis.

Language [edit]

The rhythm and language of the story draw heavily on the language of the Bible, peculiarly of the Rex James Version. Many of the passages utilise the patterns of repetition identified by scholars such as Robert Change and others as existence characteristic of Biblical verse.^[18] In addition, much of the characters' oral communication is laced with biblical quotations and references, which both provides a annotation of verisimilitude in the dialogue just as well a layer of religious symbolism.^[fifteen]

Race [edit]

Most critics and scholars accept agreed that while race is not the core of the book, information technology remains an of import theme. Shirley Allen wrote, "obviously Baldwin weaves the black-versus-white theme into the fundamental conflict as inextricably as it is woven into the daily consciousness of the characters; but the major disharmonize of this novel ... is not black confronting white, just the more universal trouble of youth achieving maturity."^[15] Reviewer Orville Prescott said in his contemporary review that though the novel is not primarily about race, "Mr. Baldwin is as bitter about race discrimination in a few passing references as many authors are in whole books."^[xix]

Race comes to the fore for each grapheme in different ways. John questions his father's visceral animosity towards white people, while at the same time feeling acutely aware of his black equally he leaves Harlem and walks through other parts of the city. Already feeling alienated from the secular culture of Harlem (which has sucked in Roy, who at the same time has gone to pick a fight with white boys in another neighborhood), and from the religious culture represented by his father ("His father said that all white people were wicked, and the God was going to bring them low"). Without always being quite comfortable, he wonders about the promise of other opportunities in these white-dominated spaces, such equally the New York Public Library, which he does not enter (but non, he tells himself, considering he is black) and the movie theater, which he finds, despite his momentary trepidation, admits him without comment on his race.

Deborah's rape every bit an boyish at the easily of a group of white men, and later a brutal lynching and castration of a black soldier highlight the violence of racism in the S for both Florence and Gabriel. It is noteworthy that Florence'due south prayer features a rape, reinforcing the status of black women, already highlighted by their mother's favoritism toward Gabriel every bit the son. Gabriel's prayer features castration, just equally he encounters his unacknowledged son and feels acutely his inability to protect him from danger and his biological son'southward estrangement from him. Elizabeth'south prayer reinforces that African Americans accept not escaped racism by coming northward; the brutal treatment of Richard at the easily of the police and the justice arrangement causes his suicide.

Sexuality [edit]

Sex and sexuality are important throughout the novel, particularly for John and Gabriel. The novel engages heavily with traditional religious views of sexuality as something sinful that is to be avoided. The church'southward stigmas surrounding sexuality impressed on him by his father, have severely impacted John's perspective on sexuality.^[20] Several critics have viewed John'due south religious rebirth in terms of him coming to terms with his sexuality, both as a gay human being^[21] and as a blackness man.^[22]

Critics accept noted the "abiding repetition of such phrases as 'the natural human' and 'the old Adam'" in condemnation of man'due south sexual want.^[23] This disharmonize is fundamental for John, who at the first of the novel is reflecting on his own "sin" (masturbation) and his burgeoning sexuality. Many scholars read John'southward conversion as a rejection of his father's strict sexual mores. Angelo Robinson argues that because the novel "alters the traditional Pentecostal conversion feel in that John is not 'cured,' 'healed,' or 'delivered' from his sexual want during his rebirth" but is "'restored' to face up the reality of his sexual desires while at the same time claiming the promise of salvation" and is ultimately "freed from Gabriel's religion with its severe sexual ethic".^[14] Furthermore, Baldwin oft used sexual language and imagery in describing religious zeal.^[24] This is especially noticeable when Elisha is chosen before the congregation to be chastised for his nascent human relationship with a daughter, Ella Mae, he is described with his "head thrown dorsum, eyes airtight, sweat standing on his brow", "stiffened and trembles", "cried out Jesus, Jesus, oh Lord Jesus!", "face up congested", and "his torso could not contain this passion".

John's homosexuality is also at issue in the novel, though John himself spends less fourth dimension concerned straight with the kind of his sexual desire than he does with its existence at all. Nevertheless, given the autobiographical details in the novel, scholars have interrogated how John'south feel reflects Baldwin'southward search for an identity as a gay man and perhaps his reflections on his ain homosexuality after many years of being out.^[25] Because the issue is not addressed directly, scholars have regarded evaluated John's homosexuality through the lens of other themes in the book. "John's struggles with his homosexuality provide the window through which to sympathize the complexity of his struggles with his spirituality."^[fourteen] John'southward conversation with Elisha and Elisha's osculation led Stanley Macebuh argued that John'southward salvation is through homosexual dear^[24] though others have argued that goes too far.^[26] Withal Mason Stokes perhaps goes even further, arguing that both John'southward struggle against his male parent and his religious conversion reverberate his struggle against "a heterosexuality that terrorizes" him, which is reflected in the conflict between Gabriel's obsession with descendants and his strict religious sexual code. The novel's depictions of heterosexuality (rape, prostitution, infidelity, loveless marriages) is contrasted with John'south love for Elisha, which "somehow purer, more loving, than the novel'south often perverse heterosexual expressions".^[21]

Other critics accept examined the ties between race and sexuality in the novel. Andrew Connolly draws a connection between Gabriel'south guilt over his sexuality and the "persistent racial stereo types surrounding blackness male sexuality and the thread of violence that accompanies those stereotypes" and argues that John'south conversion represents "the unrealized potential that black men can resist systemic pressures and encompass their sexuality without confirming racist stereotypes."^[22] This connectedness is highlighted as Gabriel recalls the torso of a blackness soldier who has been castrated and lynched.

Family [edit]

John'southward religious struggle is also parallel to his struggle with his father. At the terminate of the novel, in his moment of "salvation", John is knocked to the basis by the Holy Ghost. He and so hears a voice that tells him to ascent and leave the temple and go come across the world for himself. This ironic voice is basically telling John to have charge of his own life; to finish beingness a people pleaser, and at this moment he has self realization. In this moment he realizes that he no longer has to believe what Gabriel says. John's father, by the implication, God-the-Father are judgmental forces that should be defied. At the very finish, the voice says " Go up, John, Get upwardly boy. Don't permit him proceed you there. You got everything your Daddy got". This vocalism was the final push John needed to really realize and fully take control of his life and be certain virtually information technology.^[27]

Other relationships throughout the novel besides cast low-cal on the notion of family including Gabriel'southward emotionally and physically sterile union to Deborah, Elizabeth's adoption by her aunt and abandonment by her father, Florence's resentment toward her female parent, Gabriel's lack of relationship with his biological son Regal, Elizabeth's relationship with John's biological father Richard, and Florence's marriage to the unreliable Frank, and Florence and Gabriel's female parent's reflections on her lovers and children while still a slave.^[26]

Guilt [edit]

An early reviewer noted that "Guilt, guilt, guilt chimes through the book. Gabriel is guilty. His first wife Deborah is guilty though she was the victim of rape. His 2nd wive Elizabeth is guilty, though she loved much. Guilt is visited on his children."^[28] The novel opens with John feeling guilty near his masturbation and sexual desires. This is mirrored in the young Gabriel's guilt over his own sexual transgressions which ultimately lead to his conversion. However, Gabriel'due south guilt over his later disability to live up to his own conversion ethics haunts him and is ultimately the cause of his disharmonize with John: "John becomes a focal point for [Gabriel's] sense of guilt, encapsulating al the other people who make Gabriel feel guilty" such as Deborah, Esther, Royal, Roy, and Elizabeth;^[22] "Gabriel's hatred of John is rooted in his guilt over and his denial of his failures as a male parent."^[29] Meanwhile Elizabeth accepts Gabriel'southward corruption and tyranny partly as a form of divine penalization on both her and John for her guilt, guilt both for not repenting her honey for Richard and for her failure to relieve him from his suicide.^[29]

Women [edit]

Though the novel is primarily focused on John and his disharmonize with Gabriel, female characters play an important function in the novel and explore women'due south role in society. Florence'due south prayer in detail articulates a nascent feminism. Although Florence is five years older than her blood brother Gabriel, he was given the education and respect that Florence desired. Although raised past a unmarried mother, the patriarchal surroundings meant that Gabriel's future matters more Florence'southward. Mason Stokes notes that Florence rejects "the regulatory regimes of the heteropatriarchal household"; not only does she reject the men who lusted later he dazzler "non wishing to exchange her mother'southward cabin for theirs and to enhance their children", her final act is to undermine Gabriel's authority by promising to reveal his prior infidelity and abandonment of his son Imperial to Elizabeth and the church building community.^[21]

Adaptations [edit]

The Public Dissemination Service produced a made-for-television motion picture based on Go Tell It on the Mountain in 1984. Stan Lathan directed the movie, with Paul Winfield starring as Gabriel in his adulthood and Ving Rhames playing Gabriel in his youth.^[30] Baldwin was pleased with the adaptation, saying in an interview with The New York Times, "I am very, very happy most information technology ... It did non betray the book."^[31]

The novel has been translated into numerous languages, including Swedish, French, Japanese, Finnish, German, Italian, Polish, Norwegian, Spanish, Russian, Portuguese, Czech, Arabic, and Dutch.

Reception [edit]

Go Tell It On the Mountain was widely praised at its publication and since. It received favorable reviews in The New York Times,^[xix] The Virginia Quarterly Review,^[32] The Hudson Review,^[33] and Phylon,^[34] among others.

Writing a decade afterwards, Wallace Graves noted in a highly critical essay, that "when the volume was reviewed in the summer of 1953, critics were most generous in praise, and except for Anthony West in The New Yorker ... Baldwin was welcomed almost carte blanche as a brilliant young novelist of great promise."^[35]

It is by and large regarded every bit Baldwin'southward best novel^{[36] [15]} and as one of the slap-up African American novels of the 20th Century.^[12] In 1998, the Modern Library ranked Get Tell It on the Mountain 39th on its list of the 100 best English-language novels of the 20th century. Time included the novel on its list of the 100 best English-language novels released from 1923 to 2005.^[2] Publisher Franklin Library included information technology in its "100 Greatest Masterpieces of American Literature" drove published from 1976-1984 for the American Bicentennial.^[37]

The novel is regularly assigned as role of curricula in high schools and colleges. Nevertheless, its assignment has likewise aroused controversy. In 1988, a teacher in Prince William County, Virginia offered the volume every bit a 9th-course summertime reading pick. Parents challenged the book because it is "rife with profanity and explicit sex".^[38] In 1994, the book was challenged in Hudson Falls, New York after a instructor had assigned the book as required reading. Parents challenged the book because of "recurring themes of rape, masturbation, violence, and degrading handling of women".^[38]

References [edit]

1. ^ "Books Published Today". The New York Times: 19. May eighteen, 1953.
2. ^ ^{a b} "All-Time 100 Novels". Time. October 16, 2005. Archived from the original on October 21, 2005.
3. ^ Anderson, Michael (March 29, 1998). "Trapped Inside James Baldwin". The New York Times . Retrieved September half-dozen, 2015.
4. ^ Leeming 1994, p. 37. sfn error: no target: CITEREFLeeming1994 (help)
5. ^ Kenan 1994, pp. 34–37. sfn error: no target: CITEREFKenan_1994 (help)
6. ^ Campbell 2021, p. 10. sfn error: no target: CITEREFCampbell2021 (assist)
7. ^ Leeming 1994, p. 92. sfn error: no target: CITEREFLeeming1994 (help)
8. ^ Leeming 1994, p. 87. sfn error: no target: CITEREFLeeming1994 (aid)
9. ^ Leeming 1994, p. 88. sfn error: no target: CITEREFLeeming1994 (help)
10. ^ ^{a b} Leeming 1994, p. 89. sfn error: no target: CITEREFLeeming1994 (aid)
11. ^ Courage, Richard (June 1989). "James Baldwin's Go Tell It on the Mountain: Voices of a People". CLA Periodical. 32 (4): 410–425.
12. ^ ^{a b c d} Scruggs, Charles (1980). ""The Tale of 2 Cities in James Baldwin's Go Tell Information technology on The Mountain"". American Literature. 52 (ane): 1–17. doi:ten.2307/2925184. JSTOR 2925184.
13. ^ Olson, Barbara K. (Summer 1997). ""Come-to-Jesus Stuff" in James Baldwin'south Go Tell It on the Mountain and The Amen Corner". African American Review. 31 (2): 295–301. Retrieved February four, 2022.
14. ^ ^{a b c} Robinson, Angelo R. (March 2005). "The "Other" Annunciation in James Baldwin'due south "Go Tell It on the Mountain"". CLA Journal. 48 (3): 336–351. Retrieved February 4, 2022.
15. ^ ^{a b c d e f} Allen, Shirley Southward. (1975). ""Religious Symbolism and Psychic Reality in Baldwin's 'Go Tell It on the Mountain'"". CLA Journal. 19 (2): 173–199.
16. ^ Olson, Barbara (1997). ""Come-to-Jesus Stuff" in James Baldwin'southward Get Tell it on the Mountain and the Amen Corner". African American Review. 31 (ii): 295–301. doi:10.2307/3042466. JSTOR 3042466.
17. ^ Genesis 2:ii
18. ^ Alter, Robert (1987). The Art of Biblical Poetry. Basic Books. ISBN978-0465004317.
19. ^ ^{a b} Prescott, Orville (May 19, 1953). "Books of the Times". The New York Times . Retrieved Feb iii, 2022.
20. ^ Giles, James R. (1974). "Religious Alienation and Homosexual Consciousness in 'Urban center of Night' and 'Get Tell It on the Mountain'". Higher English. 36 (3): 369–380. doi:ten.2307/374856. JSTOR 374856.
21. ^ ^{a b c} Stokes, Mason (Summer 2016). ""A Brutal, Indecent Spectacle": Heterosexuality, Hereafter, and Go Tell Information technology on the Mountain". Mod Fiction Studies. 62 (two): 292–306. Retrieved February fifteen, 2022.
22. ^ ^{a b c} Connolly, Andrew (March 2015). "SHame, Rage, and Countless Battle: Systemic Pressure and Private Violence in James Baldwin's Go Tell It on the Mountain". CEA Critic. 77 (i): 120–142. Retrieved Feb fifteen, 2022.
23. ^ Giles, James (Nov 1974). "Religious Alienation and Homosexual Consciousness in Metropolis of Night and Get Tell It on the Mount". College English. 36 (iii): 369–380. Retrieved Feb xv, 2022.
24. ^ ^{a b} Macebuh, Stanley (May 2, 1973). James Baldwin: A Disquisitional Study. Tertiary Press. p. 61. ISBN9780893880644.
25. ^ Fattah, Nadia (1996). "James Baldwin's Search for a Homosexual Identity in his Novels". Dissertations and Theses. Portland State University. doi:10.15760/etd.7103.
26. ^ ^{a b} Bell, George (March 1974). "The Dilemma of Love in Go Tell It on the Mountain and Giovanni's Room". CLA Jounal. 17 (three): 397–406.
27. ^ Mootry, Maria (1985). "Baldwin'south ″GO TELL It ON THE MOUNTAIN″". 41 (2): 50.
28. ^ Barr, Donal (May 17, 1953). "Guilt Was Everywhere". The New York Times . Retrieved February fifteen, 2022.
29. ^ ^{a b} Lynch, Michael (Dec 1993). "The Everlasting Father: Mythic Quest and Rebellion in Baldwin's Get Tell It on the Mountain". CLA Journal. 37 (two): 156–175.
30. ^ Internet Movie Database
31. ^ Bennetts, Leslie (January 10, 1985). "James Baldwin Reflects On 'Go Tell It' PBS Motion picture". The New York Times . Retrieved February 13, 2018.
32. ^ "Notes on Current Books". Virginia Quarterly Review. 29 (3): 65. Summer 1953. Retrieved Feb 3, 2022.
33. ^ Monas, Sidney (Fall 1953). "Fiction Relate". The Hudson Review. vi (three): 468–469. Retrieved February three, 2022.
34. ^ Barksdale, Richard M. (Third Quarter 1953). ""Temple of the Fire Baptized"". Phylon. 14 (3): 326–327. Retrieved Feb iii, 2022.
35. ^ Graves, Wallace (March 1964). "The Question of Moral Energy in James Baldwin's 'Get Tell Information technology on the Mountain'". CLA Journal. 7 (three): 215–223. Retrieved February iv, 2022.
36. ^ Daniels, Lee (December 12, 1987). "James Baldwin, Eloquent Writer In Behalf of Civil Rights, Is Expressionless". The New York Times . Retrieved February 2, 2022.
37. ^ "Franklin Library 100 Greatest Masterpieces of American Literature". Retrieved February 3, 2022.
38. ^ ^{a b} Office of Intellectual Freedom (March 26, 2013). "Banned & Challenged Classics". Advocacy, Legislation & Problems . Retrieved June xx, 2021.

Bibliography [edit]

dennisclee1979.blogspot.com

Source: https://en.wikipedia.org/wiki/Go_Tell_It_on_the_Mountain_(novel)

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