The Art Of Reading James Baldwin

I WENT looking for the devil, but James Baldwin found me first. I had good reason to be looking: not only because I was a wobbling Catholic (beware of any other kind) but also because I was almost born prematurely in a movie theater in 1974 as my parents sat trembling to The Exorcist. I’d always known this; it was one of the first things I could remember my mother telling me: “Never watch that movie. It nearly made you a preemie.”

All through the erratic tacking of my teens and twenties, and through shifting degrees of unbelief, I stuck closely to my mother’s paranoid warning—until my early thirties, when deliberately not watching a devil movie seemed worse than cowardly. It seemed a bit silly.

As it turned out, it was The Exorcist that was silly. I could not comprehend what had spooked my nineteen-year-old mother into false-birth pangs. We Catholics, lapsed or not, are a superstitious, demon-happy lot; it doesn’t take all that much to get our demonic cogs going. After I failed to be harassed by The Exorcist, I went in search of Satan-related material to aid myself in understanding that failure. I say that James Baldwin discovered me at this time and not the other way around because I hadn’t gone looking for him and yet there he was, waiting for me. I’m told that God and love often function this way: They find you. Lost in the stacks of Boston University’s Mugar Library, I turned into an aisle and there, out of place at eye-level, was Baldwin’s impeccably titled little book The Devil Finds Work (Dial Press, 1976).

Ofcourse I knew Baldwin as the author of the much anthologized short story “Sonny’s Blues,” and I knew his reputation as a necessary American intellect, but he was among the many necessary intellects I had not yet got around to. Reading The Devil Finds Work was for me one of those scarce encounters when a reader understands that he’ll never be safe from a writer, that he must go in search of that writer’s every sentence, imbibe him whole.