In James Baldwin in Paris: Exile Multiculturalism and the Public Intellectual by Lloyd Kramer, Kramer begins the essay with an introduction to the parallel movement of creatives from Europe to America and America to Europe. Much spoken about in our class discussions, The Lost Generation of Paris had a tremendous impact on the art world. So much so that they even have classes today that only cover their works. However, The Lost Generation represented only a fraction of a fraction of the American population, with individuals who were primarily male and white.
Unbeknownst to myself, there was another so called Lost Generation of expats who lefts the states in order to flee persecution. Kramer states that during the times of the Cold War, many African American's left for Paris,approximately 500, which greatly outnumbers the previous generation of lost individuals.
Later on this essay, Kramer writes of the "hybridity" of America as opposed to the "melting pot," which many Americans, including myself view our Country. By using the logic behind the term hybridity, it explains how American's and Britons are able to claim such creatives for themselves. Hemingway, Fitzgerald, and John Dos Passos are in no way, to the general American public considered to be French writers. We claim them for ourselves, yet much of their creative years were spent as expatriates of The United States, trying to flee the troubles of a post Great War era.
Moving on to the writings by James Baldwin, Equal in Paris starts with a wonderful scene in a cafe where Baldwin is sitting down, successfully avoiding the atmosphere of his hotel. While he is sitting, a man from back home recognizes him. Entirely understandable, they quickly act as though they are great friends, as Baldwin mentions, happening upon an acquaintance in a far away land makes for fast friends. In the first moments of their conversation, the traveler describes his horrible hotel, the untrustworthy owner and the whore of a wife. Baldwin comments on the absurdity of his claims and fails to even consider the possibility that his claims lay true. It is in this first interaction between the two that I am able to see Baldwin's perspective on the French as well as his idea of the American.
Baldwin moved from Harlem to Paris in order to escape the impossible choice between battling racism in the States or ending up like his Stepfather, who slowly, or quickly, fell into a mental and physical state of disrepair. However, as Baldwin struggled to cram his way into French society, the struggles seem to be endless and as most problems, revolve around money. It appears that was stuck between two classes of people, which greatly limited those he could call acquaintances.
In the last and final short essay of this week, Langston Hughes writes about his first day in Paris. Immediately Hughes is overjoyed and overwhelmed by his surroundings. He ends up in Louvre and after a visit, he is hungry and tired. He also feels lonely. As a newly crowned expat, it interesting, but unsurprising that the first people he seeks help from are American's, but also black. Unbeknownst to me, I can surmise that Hughes reasons for departing the States are similar to Baldwins. If that is the case, then it seems quite ironic that Hughes may fall back into his ways instead of starting Fresh in Paris. I know from my own experiences in Paris that when I see someone or a group of people that are Americans, and for purposes of this article, also white, I tend to shy away from them. I came to France for a different experience and although I am a frustrated creative fleeing from the confines of the American institution, I still find myself unable to understand the difficulties that such creatives as Hughes and Baldwin faced. ((DRAFT))
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