James Baldwin’s Later Fiction examines the decline of Baldwin’s reputation after the middle 1960s, his tepid reception in mainstream and academic venues, and the ways in which critics have often mis-represented and undervalued his work. Scott develops readings of Tell Me How Long the Train’s Been Gone, If Beale Street Could Talk, and Just Above My Head that explore the interconnected themes in Baldwin’s work: the role of the family in sustaining the arts, the price of success in American society, and the struggle of black artists to change the ways that race, sex, and masculinity are represented in American culture. Scott argues that Baldwin’s later writing crosses the cultural divide between the 1950s and 1960s in response to the civil rights and black power movements. Baldwin’s earlier works, his political activism and sexual politics, and traditions of African American autobiography and fiction all play prominent roles in Scott’s analysis.
Every year, Charlotte faithfully performs her Samhain ritual, anxiously awaiting her visit with Jessica. But Jessica has not appeared for the past eight years. What could possibly have happened to prevent her from being there? As a stormy night sets in, Charlotte’s friends arrive entangled in a web of theft and murder. When an old adversary resurfaces with plans of their own, the situation becomes more complicated, and secrets begin to unravel. In the aftermath, Charlotte and Ben establish the “Doctor’s House”, offering comfort to the ailing. An obscure summons leads them to a stranger being held in the gaol—his presence in the schoolhouse a mystery, the turpentine and striker in his possession leading to more questions. Who is this man? What secrets does he hold? And what does he seek from Charlotte?
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