I’m calling this one #1.5 because a) the book features white characters but James Baldwin is addressing a different aspect of his identity, namely homosexuality, and b) Moonlight is a film. Nevertheless, considering they’re both written by black gay men, this seemed like the perfect pairing for a post (and it happened that I was finishing up Giovanni’s Room the same weekend that I saw Moonlight).
This book. It’s a new favorite, because the writing was lovely and captured so many conflicting feelings.
I suppose it’s the brief story of David, an American in Paris (much like how Baldwin exiled himself to Europe), and his love affair with Italian expat Giovanni. Except it’s told from the point-of-view of a present-day David, post-relationship, guity over Giovanni’s impending guillotine fate and engaged to a woman named Hella. This book was published in 1956 and has a very intimate (albeit more emotionally than anything) gay sex scene on page 6. James Baldwin literally changed publishers because his old one was like “hey, we thought you were a Harlem Renaissance writer–this is going to alienate your African-American fanbase!” Which, yes, all the characters are white and are in Europe, but there were gay African-Americans, too. (Though unfortunately they’re not as represented–why was part of why Moonlight was so important.)
It doesn’t have the happy ending so rarely afforded to LGBT characters (though David doesn’t die, either), but it’s not a punishment–it’s a statement about society. David’s so caught up in the 1950s American world of suburban family conformity, homosexuality as mental illness and a crime (the Lavendar Scare) that he can’t commit himself to Giovanni or accept his sexuality. This perspective also means that he has internalized prejudices and occasionally makes homophobic comments–including some really awful transphobic ones, as a head’s-up if you’re particularly affected by that.
Sidenote: I also appreciated that Hella, though not as prominent as some of the other characters, was vivid in herself. There’s this part near the end where David’s hugging her but knows he isn’t in love with her (as much as he wishes he could be to make his life easier) and I got so darn emotional because I’ve been there, I’ve been on the receiving end of that hug.
If you’re looking for older LGBT literature, you can’t miss this. And if you like James Baldwin’s writing but haven’t read this yet, check it out. Now I’ve got to read some other Baldwin because I love his writing style.
Can we talk about this without talking about the Oscars? Maybe, but look, I’m still really upset that I was so tired and annoyed Moonlight didn’t win Best Director that I shut off the TV after they said “La La Land” for Best Picture. Then I was staying up much later than expected trying to understand what had happened through Twitter and upset that I missed it. I knew Warren Beatty looked confused when he looked in the envelope! And all the online clips seem to cut off after the Oscar was handed to Moonlight so I haven’t seen whatever speeches were given, unfortunately.
Okay, got that out of my system. As I mentioned above, I thought this should have won Best Director (though in retrospect, the decision looks more like a consolation prize for La La Land, I guess). That’s because this film is SO MUCH about the visual experience. It’s all about putting you in the head of the main character (Chiron, called Little, Chiron, and Black in the three acts of the film, respectively), whether that’s extreme shaky-cam as he runs away from bullies, stone silence during tense moments, or water bobbing over camera as he’s learning to swim. It’s really hard to watch in parts, while other segments are touching or fraught with sexual tension or pain. (I haven’t seen La La Land yet, but from what I know about it there’s at least one easy case to be made for this as Best Picture, and that’s because the former borrows a lot of techniques from old Hollywood films as an homage while this tries to do something unique at every turn.)
There were also so many little details that weren’t called attention to but, nevertheless, the camera lingered long enough for you to understand, like Black’s license plate in the final act, or the crown on his dashboard that draws a parallel between him and another important character. (Best Supporting Actor winner) Mahershala Ali’s character is missing in the second act, and only a passing line will tell you why, though you can understand how that happened to him.
I know I’m not telling much of the plot here, but this isn’t about plot, necessarily–it’s the experience. See it. Feel all of the things.
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