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Go Tell It on the Mountain (Vintage International) Mass Market Paperback – September 12, 2013

4.6 4.6 out of 5 stars 5,397 ratings

In one of the greatest American classics, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity—told “with vivid imagery, with lavish attention to details ... [a] feverish story" (The New York Times).

Baldwin's rendering of his protagonist's spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves.

With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin tells the story of the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. Originally published in 1953, Baldwin said of his first novel, "Mountain is the book I had to write if I was ever going to write anything else."
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Editorial Reviews

Review

“With vivid imagery, with lavish attention to details, Mr. Baldwin has told his feverish story.” —The New York Times

“Brutal, objective and compassionate.” —
San Francisco Chronicle

“It is written with poetic intensity and great narrative skill.” —
Harper’s
 
“Strong and powerful.” —
Commonweal
 
“A sense of reality and vitality that is truly extraordinary.” —
Chicago Sun-Times
 
“This is a distinctive book, both realistic and brutal, but a novel of extraordinary sensitivity and poetry.” —
Chicago Sunday Tribune

About the Author

James Baldwin was born on August 2, 1924, and educated in New York. His first novel, Go Tell It on the Mountain, appeared in 1953 to excellent reviews and immediately was recognized as establishing a profound and permanent new voice in American letters. “Mountain is the book I had to write if I was ever going to write anything else,” he remarked. Baldwin's play The Amen Corner was first performed at Howard University in 1955 (it was staged commercially in the 1960s), and his acclaimed collection of essays Notes of a Native Son, was published the same year. A second collection of essays, Nobody Knows My Name, was published in 1961 between his novels Giovanni's Room (1956) and Another Country (1961).

The appearance of
The Fire Next Time in 1963, just as the civil rights movement was exploding across the American South, galvanized the nation and continues to reverberate as perhaps the most prophetic and defining statement ever written of the continuing costs of Americans’ refusal to face their own history. It became a national bestseller, and Baldwin was featured on the cover of Time magazine. Critic Irving Howe said that The Fire Next Time achieved “heights of passionate exhortation unmatched in modern American writing.” In 1964 Blues for Mister Charlie, his play based on the murder of a young black man in Mississippi, was produced by the Actors Studio in New York. That same year, Baldwin was made a member of the National Institute of Arts and Letters and collaborated with the photographer Richard Avedon on Nothing Personal, a series of portraits of America intended as a eulogy for the slain Medger Evers. A collection of short stories, Going to Meet the Man, was published in 1965, and in 1968, Tell Me How Long the Train's Been Gone, his last novel of the 1960s appeared.

In the 1970s he wrote two more collections of essays and cultural criticism:
No Name in the Street (1972) and The Devil Finds Work (1976). He produced two novels: the bestselling If Beale Street Could Talk (1974) and Just Above My Head (1979) and also a children’s book Little Man, Little Man: A Story of Childhood (1976). He collaborated with Margaret Mead on A Rap on Race (1971) and with the poet-activist Nikki Giovanni on A Dialogue (1973). He also adapted Alex Haley’s The Autobiography of Malcolm X into One Day When I Was Lost.

In the remaining years of his life, Baldwin produced a volume of poetry,
Jimmy’s Blues (1983), and a final collection of essays, The Price of the Ticket. Baldwin’s last work, The Evidence of Things Not Seen (1985), was prompted by a series of child murders in Atlanta. Baldwin was made a Commander of the French Legion of Honor in June 1986. Among the other awards he received are a Eugene F. Saxon Memorial Trust Award, a Rosenwald fellowship, a Guggenheim fellowship, a Partisan Review fellowship, and a Ford Foundation grant.

James Baldwin died at his home in Saint-Paul-de-Vence in France on December 1, 1987.

Product details

  • Publisher ‏ : ‎ Vintage; Reprint edition (September 12, 2013)
  • Language ‏ : ‎ English
  • Mass Market Paperback ‏ : ‎ 272 pages
  • ISBN-10 ‏ : ‎ 0345806549
  • ISBN-13 ‏ : ‎ 978-0345806543
  • Item Weight ‏ : ‎ 4.8 ounces
  • Dimensions ‏ : ‎ 4.16 x 0.66 x 6.88 inches
  • Customer Reviews:
    4.6 4.6 out of 5 stars 5,397 ratings

About the author

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James Baldwin
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James Baldwin (1924-1987) was a novelist, essayist, playwright, poet, and social critic, and one of America's foremost writers. His essays, such as "Notes of a Native Son" (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-twentieth-century America. A Harlem, New York, native, he primarily made his home in the south of France.

His novels include Giovanni's Room (1956), about a white American expatriate who must come to terms with his homosexuality, and Another Country (1962), about racial and gay sexual tensions among New York intellectuals. His inclusion of gay themes resulted in much savage criticism from the black community. Going to Meet the Man (1965) and Tell Me How Long the Train's Been Gone (1968) provided powerful descriptions of American racism. As an openly gay man, he became increasingly outspoken in condemning discrimination against lesbian and gay people.

Photo by Allan warren (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)], via Wikimedia Commons.

Customer reviews

4.6 out of 5 stars
4.6 out of 5
5,397 global ratings
Go Tell It on the Mountain
4 Stars
Go Tell It on the Mountain
“Mountain,” Baldwin said, “is the book I had to write if I was ever going to write anything else.”That is the feel of this book—a story told not out of want but out of need. James Baldwin’s debut has power behind every page; his words resonate, and his prose is among the best I have had the pleasure of reading. There isn’t much in the way of plot, so be aware of that going in. And it doesn’t deliver a knockout ending like I’d hoped, although as I type this, I’m smiling. Because this book is journey, not destination. And if you can get behind that, then you’re in for a good time.I won’t get into detail, but there have been some changes at my work that have left me feeling stressed and distracted. Go Tell It on the Mountain was my escape, even if it was only for a few minutes here and there. I am sure my headspace affected my enjoyment. And perhaps, like with Big Magic, I’ll return to it in a better mood and come away with a better experience.For now, I’m glad to have read this, and to continue reading more James Baldwin in the future. 4/5
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Top reviews from the United States

Reviewed in the United States on December 3, 2023
I needed this book for a class in which I am tutoring. Baldwin is an incredible writer.
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Reviewed in the United States on March 23, 2024
Reading this book again gave me the opportunity to appreciate and glorify BLACK HISTORY MONTH !!!
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Reviewed in the United States on September 15, 2020
James Baldwin’s debut novel Go Tell It on the Mountain, the semi-autobiographical story that culminates in 14-year-old John Grimes’ born-again experience as he physically struggles on the floor of his stepfather’s storefront church, is generally considered his masterpiece. It comes in at No. 39 on the Modern Library list of “Best English-Language Books of the 20th Century,” and also made Time magazine’s 2005 list of the “100 Best English Language Novels since 1923.” Thus, along with Richard Wright’s Native Son and Ralph Ellison’s Invisible Man, Baldwin’s novel forms a kind of triumvirate of the most significant novels by African Americans between the Harlem Renaissance and what we usually think of as the Civil Rights Movement.

But Baldwin’s book is simultaneously broader and narrower in its concerns than either Wright’s or Ellison’s. It is broader in that it is about more than being Black in America. It’s also about universal concerns like growing up, sexuality and sexual identity, faith and its loss, love and its loss. It is narrower in that it really doesn’t try to tell us about Black experience in a white society. Rather it focuses on one very specific individual—teenaged John Grimes, in a very specific family—one in which his abusive stepfather is a Pentecostal preacher who loves his own son Roy, John’s unreliable brother, but cannot bring himself to love John; in a very specific place—Harlem in the 1930s; on a very specific day—John’s birthday. Baldwin makes no implication that John’s experience is the quintessential metaphor for all African Americans everywhere. But readers will extrapolate some general truths from the experiences of this single family.

What Baldwin’s book does more convincingly and through the truth of personal experience is document the significant role of the church in African American life, both in its positive function of unifying the community and providing inspiration, and also in its negative aspects as a source of moral judgment and exclusion. Baldwin was well aware of these aspects, having been brought up in them, and, like John in the novel, having had a religious awakening at the age of 14 and having become a preacher himself, until he eschewed his faith.

Baldwin divides the novel into three sections. The first part begins as John wakes up on his birthday, wondering if anyone in his family is going to remember what day it is. Elizabeth, his mother, is arguing with Roy about their father, Gabriel, who is aloof and authoritarian and ready to enforce his dictums with beatings. When John thinks everyone has forgotten his birthday, his mother gives him some money to buy himself whatever he wants as a present. He uses it to attend a movie, one of the things his father forbids. When he gets home, he finds that Roy has been in a fight in which he was stabbed, and Gabriel is blaming Elizabeth for Roy’s wild behavior. Florence, Gabriel’s sister, tries to intercede, but Gabriel strikes Elizabeth anyway, and then beats Roy for defending his mother. The section ends with John joining Elisha, his church’s youth minister, in cleaning the church his family attends, and Gabriel, Elizabeth, and (to John’s surprise) Florence entering the church to attend the evening service.

The second part of the book, titled “The Prayers of the Saints,” is a brilliant tour de force in which Baldwin presents us with the entire complex backstory of this family while never straying from the self-imposed straight chronological narrative of this single day in John’s life, a classical unity of time in which is revealed a classical family curse. He does it by allowing us to overhear the unspoken prayers of all the novel’s chief characters as they rehearse before God their secret sins. The section begins with the prayer of John’s aunt Florence, Gabriel’s sister, who has nearly forgotten how to pray, it’s been so long. She reveals her resentment of her brother dating back to childhood, when Gabriel’s drinking and gambling drove her to leave their southern home on a train for New York, where she had married, and lost, a good man. She also remembers her friend Deborah, Gabriel’s first wife, who knew that Gabriel had an illegitimate son in Chicago.

In Gabriel’s prayer, he remembers his conversion after a night of wild carousing, remembers his turning preacher and his defending Deborah at a revival meeting when others shunned her for having been raped at 16. He also remembers his first son, the illegitimate Royal, now dead through his own debauched life, and whose mother Gabriel had abandoned when she became pregnant, giving her money to start over in Chicago.

Elizabeth prays, recalling her own unhappy childhood, in which her mother died and an aunt took her away from her father. She recalls her lover Richard, who suffered unjustly at the hands of the police (Black Lives mattered then, too) and died before she had given birth to John. In New York, she had met Florence, who introduced her to her brother Gabriel. Elizabeth comes out of her prayer when she hears John, lying on the floor and overcome with the power of the Holy Spirit.

The climactic part three of the book, called “The Threshing Floor,” focuses on John himself, writhing on the floor of the church in the throes of the Holy Spirit. Throughout the book, the adolescent John has been struggling with his own sexuality and his church’s attitude toward sin. His thoughts and his natural inclinations, he feels, threaten to separate him from God: “You is in the Word or you ain’t—ain’t no half way with God.” Prior to the service, John had been roughhousing with Elisha, whom he admires deeply—a struggle that he compares to Jacob wrestling with the angel. In a way that seems radical by today’s standards, but which has a history in English poetry that goes at least as far back as Donne—“Imprison me, for I /except you enthrall me never shall be free,/ nor ever chaste, except you ravish me”—Baldwin equates the physical ecstasy of sex with the spiritual ecstasy of religious fervor: John is enthralled by the way Elisha’s “thighs moved terribly against the cloth of his suit,” and as the Holy Ghost speaks to him on the church floor he experiences “a tightening in his loin strings” and “a sudden yearning tenderness for holy Elisha; desire, sharp and awful as a reflecting knife, to usurp the body of Elisha, and lie where Elisha lay; to speak in tongues, as Elisha spoke, and, with that authority, to confound his father.”

Baldwin would not write openly about a homosexual relationship until his next novel, Giovanni’s Room, in 1956. But it is clearly suggested in this novel, though it is not a crucial element in the plot since any form of sexuality would cause the 14-year-old protagonist shame and confusion in the stifling atmosphere of this particular tradition. John hopes that his born-again experience will bring him closer to his stepfather. You can probably guess how well that works. I won’t give away the ending, but I will say that it is more positive than you might imagine. For a book that deals with violent conflict with a difficult father, sexual ambivalence, religious guilt and shame, and, oh yeah, living in a racist society, it’s surprisingly affirmative—as if something has been exorcised, something has been blessed. If you haven’t read it, you ought to.
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Reviewed in the United States on March 20, 2024
Wanted 3 books but this one has 3 Baldwin books under one cover!
Reviewed in the United States on January 24, 2024
James Baldwin so of course it’s utterly brilliant. Heart-wrenching, relevant today still, layers upon layers of depth especially when considering the time this was written: the 1950’s. James Baldwin was a gift to our world…I’m so glad seeing his quotes at various points in my life led me to his books, his story, his message and his POV.
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Reviewed in the United States on March 17, 2024
We love it and have added to our collection of Black History literature.
Reviewed in the United States on July 28, 2010
In my mind, as I was reading this, I could not chase away the comparison to Richard Wright's  Native Son (Bloom's Modern Critical Interpretations) . A simple gloss on the plots of both would tell you the same thing. A young African-American man grows up in a northern city during the early part of the twentieth century.

The cultural conditions are different for Wright's proxy character and Baldwin's. Bigger's cultural antagonist is white culture, while John's is the religious inheritance of his people. While the world of _Go Tell it on the Mountain_ makes me feel less guilty and indignant than the milieu of Bigger Thomas's Chicago, the world is more alienating because so unfamiliar.

The unfamiliarity carries over to the structure of the book. While it ends and begins in the same place, the bulk of the text is discursive and showing the back-story behind John's life. I kept finding myself on my toes tracing where I was. While this can be an effective technique to really think about what is going on, it does take the reader away from the story.

For me, this is a narrative with some momentum, so it is troubling that Baldwin uses the structure to slow the reader down. The book is powerful and well-written, but it is lacking a certain something that you can find in 
The Fire Next Time (HRW Library)  that I cannot fully place but is not here.
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Reviewed in the United States on January 9, 2022
so at age 52 and having come from a mother who owned her personal library I thought I had read this book. I know the title well, but a month ago my youngest son 26 passed away. And I started reading again to clear my heart n ease my fury. What I can say now is this time reading this book meant so much more. I found myself struggling to understand the flow of the author but I couldn't stop reading. Determined to understand why something was pulling me to remember the story. Then as the story closed and the pages fell into place in my mind, my heart lifted and I understood why this book is so special. Even as I write this I know I have seen this in my dreams and for the1st time since I kisses my son a final goodbye do I feel like I am exactly where I am supposed to be in time n the loss of my son is not a burden I cannot carry, and my son is where he was destined to be. In the months before he passed he was shot and became a paralyzed, a fate he took on with the heart of a lion and a courage that made me stronger. As I completed the book I have a feeling that it was intended so I could understand, the words written so long ago found me and crazy as it sounds helped me to smile and see the pain fear darkness in my sons heart that changed to a place so full of faith that he defied the impact of his injury and did everything that "they" said he wouldn't do and when he was tired and needed to put his burden down he said his goodbyes closed his eyes and called for his father to take him home. I am forever charged but I am not as broken as I was before I read this book.
Excellent and steady work Mr. Baldwin Thank you🙏
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Top reviews from other countries

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Mayra
5.0 out of 5 stars Primera novela de Baldwin
Reviewed in Mexico on April 29, 2021
Conocí a James Baldwin con la película "I am not your negro". Decidí leer alguno de sus libros y elegí éste. Al principio no se me hizo muy fluido, pero poco a poco te va envolviendo en la historia. Parece autobiográfica, creo que en parte lo es. Seguiré leyendo más sobre este autor porque me interesa conocer la realidad de las minorías norteamericanas desde su punto de vista. Es muy interesante.
Tyannah Parks
5.0 out of 5 stars .
Reviewed in Canada on March 11, 2021
Perfect condition
Amazon Kunde
5.0 out of 5 stars Bewegende Geschichte
Reviewed in Germany on December 19, 2022
Sehr gut geschrieben und bewegende Geschichte über Glauben.
Debbie Sen
5.0 out of 5 stars About the black people of America
Reviewed in India on February 26, 2021
‘Go tell it on the mountain’ by James Baldwin is a semiautobiographical novel. It was published in 1953. The American novelist was an important voice on racism in the mid-20th century.
The novel is about a black family living in Harlem, New York and covers a day in the life of John Grimes. It has many biblical references so non-Christians may find it a hard-read. It deals with deep-rooted social and patriarchal family oppression in the life of fourteen-year-old John.
Baldwin uses flashbacks to tell the story of John’s father, mother and aunt covering the last years of the 19th century into the 1930s. In the last chapter he also uses frames to narrate the transformation of John on the threshing floor of the church. Baldwin’s writing in this last chapter is truly vivid and striking.
He is successful in shouting out from a mountain top about the plight of the black people of America.
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aska86
5.0 out of 5 stars Meraviglioso
Reviewed in Italy on January 31, 2021
"Go tell it on the Mountain" è il primo e semi-autobiografico romanzo di James Baldwin. Pubblicato nel lontano 1953, narra le vicende della famiglia afro-americana di un pastore pentecostale, che è lungi dall'essere un timorato uomo di Dio: egli è un padre e marito opprimente, repressivo ed abusivo. I personaggi vivono nel timore di Dio e nella paura costante del peccato, vivendo una vita in cui una stucchevole ipocrisia ne informa i processi interiori.

Romanzo stilisticamente d'avanguardia, la durata dell'intreccio narrativo si colloca nelle 24 ore in corrispondenza del 14esimo completanno di John (alter ego di Baldwin), alternando lughe analessi a travagliati viaggi interiori dei personaggi. La scrittura è multiforme: da una parte è piena di citazioni evangeliche, dall'altra ci propone lo slang afroamericano degli anni 50. Molte sono le costruzioni sintattiche ormai desuete che richiedono una sforzo di comprensione supplementare al lettore, che però ripaga con notevoli spunti di riflessione linguistica: necessario un livello di inglese almeno C1.

Il romanzo è bellissimo, introspettivo, a volte lancinante: da una parte il razzismo permea ostentatamente la società americana di allora (e purtroppo anche quella di oggi), dall'altra Baldwin non risparmia la mediocrità, l'ignoranza, il cieco clericalismo e l'auto-ghettizzazione assolutoria dei suoi personaggi di colore.

Da leggere assolutamente.
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