First published in 1953 when James Baldwin was nearly 30, Go Tell It on the Mountain is a young man's novel, as tightly coiled as a new spring, yet tempered by a maturing man's confidence and empathy. It's not a long book, and its action spans but a single day--yet the author packs in enough emotion, detail, and intimate revelation to make his story feel like a mid-20th-century epic. Using as a frame the spiritual and moral awakening of 14-year-old John Grimes during a Saturday night service in a Harlem storefront church, Baldwin lays bare the secrets of a tormented black family during the depression. John's parents, praying beside him, both wrestle with the ghosts of their sinful pasts--Gabriel, a preacher of towering hypocrisy, fathered an illegitimate child during his first marriage down South and refused to recognize his doomed bastard son; Elizabeth fell in love with a charming, free-spirited young man, followed him to New York, became pregnant with his son, and lost him before she could reveal her condition.

Baldwin lays down the terrible symmetries of these two blighted lives as the ironic context for John's dark night of the soul. When day dawns, John believes himself saved, but his creator makes it clear that this salvation arises as much from blindness as revelation: "He was filled with a joy, a joy unspeakable, whose roots, though he would not trace them on this new day of his life, were nourished by the wellspring of a despair not yet discovered."

Though it was hailed at publication for its groundbreaking use of black idiom, what is most striking about Go Tell It on the Mountain today is its structure and its scope. In peeling back the layers of these damaged lives, Baldwin dramatizes the story of the great black migration from rural South to urban North. "Behind them was the darkness," Baldwin writes of Gabriel and Elizabeth's lost generation, "nothing but the darkness, and all around them destruction, and before them nothing but the fire--a bastard people, far from God, singing and crying in the wilderness!" This is Baldwin's music--a music in which rhapsody is rooted anguish--and there is none finer in American literature. --David Laskin

FROM THE PUBLISHER

"Mountain," Baldwin said, "is the book I had to write if I was ever going to write anything else."

Go Tell It On The Mountain, first published in 1953, is Baldwin's first major work, a novel that has established itself as an American classic. With lyrical precision, psychological directness, and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity as the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. 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.

FROM THE CRITICS

Sacred Life

Go Tell It on the Mountain is considered to be James Baldwin's greatest novel. Like much of Baldwin's writing, it draws heavily on his own intense childhood experiences with religious doubt, racism, sexual ambivalence, and a complex relationship with a difficult father. The entire book takes place on the fourteenth birthday of John Grimes, the son of a fire-and-brimstone revivalist preacher, who finds himself increasingly alienated from his bitter, authoritarian father, his religious faith, and his community. Baldwin treats the young man's battle with Manichaean choices—flesh or spirit, community or individualism, conversion or heresy—with masterful sensitivity and insight. The book is divided into three parts: In part one, we share John's terror as he becomes aware that his desires and goals lie outside of the narrow expectations of his family and community. In the second part, we learn of the sorrowful experiences back South and up North that forever scarred John's father, Gabriel, and his mother, Elizabeth, even though they hoped their union would wash away the sins of their past. In part three, John surrenders himself to religious ecstasy, still seeking a way out of his dilemma. Go Tell It on the Mountain is filled with biblical references that evoke the spirit of the black church and a realism that brings to life the Harlem of the 1930s, a northern ghetto whose inhabitants were still struggling with southern demons. Baldwin, in a 1984 interview with the Paris Review, captured what he was trying to say in the novel about all of us and about his own life: "[Writing Go Tell It on the Mountain] was an attempt to exorcise something, to find out what happened to my father, what happened to all of us, what had happened to me and how we were to move from one place to another." Its brilliant style and sophisticated portrait of a young man struggling with complex issues made this one of the landmark novels of the postwar period.

WHAT PEOPLE ARE SAYING

"Baldwin's way of seeing, his clearity, precision, and eloquence are unique....He manages to be concrete, particular...yet also transcendent, arching above the immediacy of an occassion of crisis. He speaks as great black gospel music speaks, through metaphor, parable, rhythm."