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In this speech, Baldwin pretends to write a novel in front of the audience. He carries his listeners through his process of thinking about character and plot. Baldwin proposes that the writer's work is to find something in common with the reader. As he reflects on his own history for material, he seeks the thread which will connect his story to his reader.
Baldwin considers Harlem when he was growing up in the 1920s. The characters in his novel will be unwittingly impacted by global events, including the “plotting and writing” of Hitler in Germany and the beginning of Mussolini’s dictatorship. Baldwin thinks about a man who used to walk up and down his street while drunk. Children followed him, taunting him. He thinks about the people in his father’s congregation who came to their house on Sunday and ate all their food. Although these people will feature in his novel, Baldwin argues that it is not enough. His story must be more than a retelling of one’s own childhood. The lives of the people must be impacted by the larger social and historical context.
Baldwin then talks about leaving Harlem behind and encountering the white world. While in this world, Baldwin discovered that the white world was not that different from his neighborhood in New York City: “I didn’t meet anyone in that world who didn’t suffer from the very same affliction that all the people I had fled from suffered from and that was that they didn’t know who they were” (149). This is the heart of the novel—the discovery of an identity, or the discovery of the American identity. The job of the writer is to force readers to face what they would not face on their own. This is a painful process, but the discovery and ownership of the truth is the only path forward.
“Notes for a Hypothetical Novel” was a speech delivered to San Francisco State College in October 1960. In his speech, Baldwin pretended to be writing a novel in front of his audience. He carries them through his thought processes as he considers plot, character, and theme. Baldwin argues that a writer cannot separate the work from the self. The novel will always inhabit characters and elements from the author’s life. It is important to note that Baldwin’s approach is starkly different from Richard Wright’s, whom Baldwin criticized in Notes of a Native Son. Baldwin admonished Wright’s use of the protest novel, which he suggested diminished Black characters to stereotypes and caricatures. Richard Wright famously responded to Baldwin’s criticism by saying, “All literature is protest.” Baldwin returned, “All literature might be protest but all protest is not literature” (197). This essay represents Baldwin’s understanding of what makes writing literature more than protest alone.
The key to this is the way Baldwin interweaves his characters’ personal experiences into a larger context. They do not represent ideals or ideologies. Instead, their lives are influenced by the social and political framework, but they are largely unaware of how their experiences are affected by the world. Baldwin also emphasizes the need to relate his life and the lives of his characters with the reader; there must be a unifying thread that connects everyone.
Finally, Baldwin determines that this novel is about The Complexities of Identity: “I didn’t meet anyone in the world who didn’t suffer from the very same affliction that all the people I had fled from suffered from and that was that they didn’t know who they were” (149). Baldwin argues that this is a unique American problem and lies at the heart of many of the country’s social issues.
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