“I can conceive of no better service,” Walt Whitman wrote, “than boldly exposing the weakness, liabilities and infinite corruptions of democracy.” Nearly a century later, James Baldwin (August 2, 1924–December 1, 1987) — another poet laureate of the human spirit — embodied this ethos in one of his shortest, most searing, and timeliest essays.
In 1963, the children’s book author Charlotte Pomerantz edited an anthology of prominent writers’ and artists’ critiques of the House Committee on Un-American Activities — the Orwellian investigative committee largely responsible for the internment of Japanese-Americans and the Hollywood blacklist. Titled A Quarter-Century of Un-Americana, 1938– 1963: A Tragico-Comical Memorabilia of HUAC, it featured writing and art by such titans of creative culture as Marianne Moore, Robert Lowell, and Ben Shahn. Baldwin’s contribution was later included in The Cross of Redemption: Uncollected Writings (public library), which also gave us his abiding insight into the redemptive power of language and the artist’s role in society.
Reflecting on how such metastases of power imperil the moral climate of a society and corrupt the very foundation of democracy, Baldwin writes:
We are living through the most crucial moment of our history, the moment which will result in a new life for us, or a new death… a new vision of America, a vision which will allow us to face, and begin to change, the facts of American life… This seems a grim view to take of our situation, but it is scarcely grimmer than the facts. Our honesty and our courage in facing these facts is all that can save us from disaster. And one of these facts is that there has always been a segment of American life, and a powerful segment, too, which equated virtue with mindlessness… It always reminds me of a vast and totally untrustworthy bomb shelter in which groups of frightened people endlessly convince one another of its impregnability, while the real…
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