James Baldwin’s A Question of Identity: The Impossible Community

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JAMES BALDWIN’S “A QUESTION OF IDENTITY”: THE IMPOSSIBLE
COMMUNITY
Oana COGEANU, Assistant Professor, PhD, Hankuk University of Foreign Studies,
South Korea
1
Abstract: It is a common claim that a culture of one’s own is a condition for the achievement
of identity; but what culture means in the first place and in what sense it could be one’s own
are questions worth posing. One African-American writer who never tires to ask such
questions is James Baldwin. This paper offers a close reading of his little investigated essay
“A Question of Identity” (1955) and finds that, in describing a case of self-discovery by
means of looking in the mirror of a different culture to see one’s own, Baldwin reaches
unexpected conclusions on self and community.
Keywords: James Baldwin, A Question of Identity, African-American, Paris, community
Introduction: A question of color
By leaving the US for Europe, James Baldwin may have sought racial invisibility, but
he ended up becoming the most visible African-American writer of his time. Half in earnest,
one can subscribe to the claim that Baldwin has become what he travelled four thousand
miles not to be: a ‘Negro writer.’ (Bell 1986:114) The young James Baldwin expatriated to
Paris to prevent himself, in his own words, “from becoming merely a Negro; or, even, merely
a Negro writer” (Baldwin 1985:171); in Paris he tried to resolve what appeared to be the
necessary choice between individuality and collective enrolment by finding formal and
substantial ways not to choose. One way, another scholar maintains, was to become an
intellectual, that is, to craft an essayistic voice that seemed unraced, a voice that sounded
neither black nor white but closer to that of a cosmopolitan sensibility (Posnock 1998:63).
The cosmopolitan image of James Baldwin seems supported by that fact that his literary hero,
Henry James, cultivated an analogous national ambiguity as a sign of being a highly civilized,
trans-national individual. However, Baldwin is no cosmopolitan, quite the contrary. In a
Freudian sense, cosmopolitanism is the repressed element of essentialism; although
erroneously associated with a position of color-blind universalism, cosmopolitanism is best
described in terms of color-curious rather than color-blind or color-bound (Feher 1994:276-7,
quoted in Posnock 1998). In what color references are concerned, James Baldwin rather
belongs to the color-bound category. In taking after Henry James, Baldwin is forcing a
divorce from his other literary hero and main source of oedipal anxieties, Richard Wright.
Ironically, cosmopolitanism is a position more accessible to Richard Wright
2
than to the
color-bound James Baldwin, and the prevalence of the Negro problem in Baldwin’s writing
1
This work was supported by Hankuk University of Foreign Studies Research Fund of 2013
2
See my discussion of Wright’s identification with a transnational “tragic elite” in “Towards a Cosmopolitan
Community: Richard Wright’s Black Power” in HyperCultura. A Biannual Journal of Literary, Cultural and
Linguistic Studies, Victor Publishing House, Bucharest, New Series, No. 2(10)2012.

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of America in Europe testifies to that. Baldwin’s mastery of the form of essayistic writing,
which reminds one commentator of ideal French literature (Dupee 1986:11), cannot be used
to obscure the content of his writing; at most it can serve to illustrate the writer’s multiple
cultural self-framing and, eventually, to highlight the schizoid experience of an African-
American intellectual whose racial allegiance may come at odds with his personal dream of
individuality.
Paris and the identity limbo
This tension between the affirmation of individuality and the need for communal
enrolment forms the subject of Baldwin’s first and most acclaimed volume, Notes of a Native
Son (1955), a collection of ten essays plus an introduction, divided into three parts. The first
part of Notes of a Native Son contains literary and film pseudo-criticism – not because of its
lack of formal and substantial quality, but because the subjects of Everybody’s Protest Novel,
Many Thousands Gone and Carmen Jones: The Dark is Light Enough are mere pretexts
bringing forth an argument on the “Negro problem.” Whereas the first part takes literary
discourse as its reference and establishes Baldwin’s argumentative persona, the second part
takes social discourse as its reference and offers three more razorblade-like essays unweaving
the oppressive social fabric: The Harlem Ghetto, Journey to Atlanta, and the central Notes of
a Native Son. The essays in the third part, namely Encounter on the Seine: Black Meets
Brown, A Question of Identity, Equal in Paris, and Stranger in the Village, take his European
travel as a reference; Baldwin’s stay in Europe forms the source and material of the four texts
and is important not so much in itself, as (re)placement, but because it permits the
displacement and contemplation of the self by placing Baldwin’s discussion of (black)
America on a European background. This paper will focus on one of the least read out of the
ten essays in Notes of a Native Son, namely “A Question of Identity”, first, because it
illustrates the tension between individuality and community so specific to Baldwin and the
(African-)American culture he re-presents, and second, because sometimes texts of lesser
literary achievement are more transparent in their ideatic and rhetorical mechanisms.
In “A Question of Identity”, James Baldwin constructs an argument against the
possibility of community with regard to the African-American diaspora in Paris. He does so
by offering random elements that could lay at the foundation of community, such as, for
instance, military experience, purpose of study, cause of journey, in order to shun them
completely in skilful argumentation.
Just like in the other European essays in the third part of Notes of a Native Son,
Baldwin delves in typology from the very incipit. This time it is the typology of the American
student in Paris that is being proposed: “The American student colony in Paris is a social
phenomenon so amorphous as to at once demand and defy the generality.” (Baldwin NS:110)
Baldwin (i.e. the essayistic persona) offers that what one wants to know at bottom about this
contradictory phenomenon, “is what they came to find” (NS:110), but concedes that this
question receives as many answers as there are faces at the cafe tables; the diversity of the
faces in French cafes will become a leitmotif in the essay for the centripetal dynamics of
(non)community. In spite of this early realization of the futility of his question, Baldwin
cannot possibly stop after the first paragraph; he has just embarked on deconstructing
community and the strategy he employs further is that of invoking, then breaking down

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several “assumed denominators.” (NS:110) There is little rhetorical bravery in presenting
those arguments that one can counter better, but this pseudo-argumentation must have more
of an end.
The first assumed denominator is military experience. It is enough to posit this
argument for reasonable counter-arguments to arise from all directions. Yet Baldwin veers
into what he, in false modesty, calls a “loaded speculation” (NS:110) and postulates as a first
counter-argument the ultimate realization that “it becomes impossible, the moment one thinks
about it, to predicate the existence of a common experience.” (NS:110) He then repeats for
emphasis: “The moment one thinks about it, it becomes apparent that there is no such thing.
That experience is a private, and a very largely speechless affair is the principal truth…”
(NS:110) At this point the honest reader is at a loss. The incipit had proposed an analysis of a
social phenomenon to the declared purpose of establishing the existence (or not) of the
common grounds for the experience thereof; the second paragraph begins an argument but
leaves it hanging to posit the inexistence of any common experience; the essay might as well
conclude. Yet Baldwin closes the parenthesis and returns to the military experience
denominator, which, as stated in the incipit, is yet another question whose many answers are
unsatisfying. Then he goes on to explain what military experience is not (experience of
battle) and is (wearing a uniform). But the military uniform is common to the entire
generation, in Paris or elsewhere and, therefore, bears no relevance. Incidentally, the military
uniform offers a hint about the authorial persona: never the bearer of one, Baldwin is only the
on-looking assessor. After having presented a feeble argument and demonstrated its frailty,
Baldwin invites the reader to take it as fact: “The best that one can do by way of uniting these
so disparate identities is simply to accept, without comment, the fact of their military
experience without questioning its extent; and further, to suggest that they form, by virtue of
their presence here, a somewhat unexpected minority.” (NS:110) This insignificant fact
attracts one significant judgement: beyond any possible cause or motivation substantially
connecting its members, the existence of the minority must be taken as such and not as the
vehicle of a tenor.
Yet Baldwin persists in superfluous counter-argumentation. Whereas the cause of the
colony’s flight from home is unfathomable, the purpose is to be dissected: “They are willing,
apparently, at least for a season, to endure the wretched Parisian plumbing, the public baths,
the Paris age, and dirt – to pursue some end, mysterious and largely inarticulate, arbitrarily
summed up in the verb to study.” (NS:111) If “Encounter on the Seine” wrote off Paris into
an introductory myth of success, “A Question of Identity” has much more to say of the city
and will proceed to constructing a demythologizing picture of Paris in the superior tone of the
civilized American, through an accumulation of petty details. Suspiciously, this anti-travel
exhortation comes at odds with Baldwin’s own itinerant habits. But all that an irritated reader
can retort at this point is that one who has spent at least a season abroad for the more or less
accurate purpose of study is willing to ignore deficiencies of plumbing. However, Baldwin
refuses to perceive the qualitative difference of studying, for instance, art in Paris “since they
are studying with teachers of the same caliber as those they would have found in the States.”
(NS:111) The argument is not so much false as misfit.
When one begins to fear that Baldwin is preparing an apology of the American
education system, the author glides further: neither the quality of educators, nor the artistic

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products of the educated are superior to those in America, quite “au contraire.” Having
posited from the beginning that the motives of the colony under study are uncertain, Baldwin
considers it necessary to reiterate exactly the same point, this time focusing on the “student
painter as the nearest possible approach to the typical student.” (NS:112) Since the motives
for coming to Paris are anything but clear, “one is forced to suppose that they are based on
nothing more than the legend of Paris, not infrequently at its most vulgar and superficial
level.” (NS:112) Indeed, there may be some fault in the superficiality of touristic attraction
and the author hyperbolizes it: what attracted the American student was not love for the
French tradition because, the argument goes, “since he is himself without a tradition, he is ill
equipped to deal with the traditions of any other people” (NS:112); and Baldwin continues to
offer and deny every French reason one might have to study in France: it was not love for the
French language, which he doesn’t speak; nor was it love for French history, which he
doesn’t grasp; it was not love for the monuments, to which he only brings the “hurried
bewilderment of the tourist” (NS:112), and finally, it was not admiration for the French, with
which he has no actual contact. What the American student knows is a Paris built in images
“that prove themselves treacherous because they are so exact.” (NS:112)
This paradoxical expression of the treasons of representation is similar to the instance
in “Encounter on the Seine” when the black sees in the eyes of the European the untruthful
faithfulness of his own image. It is the same realization of the arbitrariness of signs, of their
failure to translate their referent, the immediate, acknowledged consequence of which is the
impossibility to communicate one’s self. If in “Encounter on the Seine” this failure of self-
translation was an inter-racial experience, in “A Question of Identity” it becomes an inter-
cultural issue, revealing the distance between representation and reality. The image of the
sordid French hotel room is inspiredly invoked here as in illustration of that distance: while
within the received legend of Paris it functions as a conventional sign for romance, in the
Paris of one’s experience it becomes an opposite sign hostile to romance, “once it is oneself,
and not Jean Gabin, who lives there.” (NS:113) As Baldwin proposes in a passing thought
worth more development, this is the difference, simply, “between what desire and what the
reality insists on” (NS:113) – for the traveler has come, in effect, to a city which exists only
in his mind.
Baldwin’s criticism of the conventionality of such representations is insightful and
innovative, but only goes half-way: eventually he demolishes one legend of Paris to replace it
with another, which he constructs by opposition. There is a compensatory function in the
legend of Paris as the city where every student loses his head, which makes up for the more
down-to-earth excesses of bureaucracy, discomfort of accommodation or political confusion,
and the possibility of that legend is maintained by the distance-imposing attitude of the
Parisian himself: “It is this arrogant indifference on the part of the Parisian, with its
unpredictable effects on the traveler, which makes so splendid the Paris air.” (NS:114)
Clinging to this ungraspable mental picture “is the reason, perhaps, that Paris for so long fails
to make any mark on him; and may also be why, when the tension between the real and the
imagined can no longer be supported, so many people undergo a species of breakdown, or
take the first boat home.” (NS:113) In Baldwin’s representation, Paris is neither the city in
one’s mind, nor does it become the city of one’s experience, as it shall be seen further; it is
rather a “social limbo” (NS:114), a tense space in-between. In this suspended condition, the

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American student is allowed irresponsibility and is invested with power: “This is the ‘catch’,
for the American, in the Paris freedom: that he becomes here a kind of revenent to Europe,
the future of which continent, it may be, is in his hands.” (NS:114) Irrespective of the truth
value of this assessment, its consequences are well drawn and ironic: treated as a type, the
American desires to be liked “as a person, an implied distinction which makes perfect sense
to him, and none whatever to the European.” (NS:115) Just like the Negro’s individuality is
untranslatable to the American gaze, so does the American seem imperceptible and typified
to the European in Baldwin’s essay.
Yet there comes a moment when, in the mirror of the city placed between desire and
reality, the American student realises he himself is caught in the limbo of someone else’s
representation: “It is the moment, so to speak, when one leaves the Paris of legend and finds
oneself in the real and difficult Paris of the present.” (NS:115) In forsaking the legend, one
withdraws from an apparent sovereign position in a touristic story and becomes the object of
an every-day Parisian narrative. “At this point, too, it may be suggested, the legend of Paris
has done its deadly work, which is, perhaps, so to stun the traveler with freedom that he
begins to long for the prison of home – home then becoming the place where questions are
not asked” (NS:115). This is a climax in the essay’s critical investigation of the position of
the American student in Paris and, by extrapolation, of the traveler’s position anywhere.
Baldwin works again by paradox to further the idea that the freedom of the Parisian limbo
makes the American student desire the prison of home, that is, the indeterminateness of the
traveler’s position can only be temporarily borne and eventually serves to re-establish
determinations. Travelers usually know that they leave in order to return, and it is this idea, in
a more negative light, that the author expressively conveys. Baldwin’s definition of home as
the place where no questions are asked may be the consequence of one’s confrontation with
the limbo of self and otherness abroad, where, as argued in “Encounter on the Seine”, the
Negro answers affirmatively to all questions of himself but negatively to their resulting
conclusion. The unquestioning home is a site of (self-)acceptance, the necessity of which is
discovered as a result of inquisitive travel.
This confrontation with the Parisian limbo has two possible results, which Baldwin
describes in minute order. One reaction is for the American student to pack his bags and head
for home. “His brief period of enchantment having ended, he cannot wait, it seems, to look
again on his native land – the virtues of which, if not less crude, have also become, simple
and vital.” (NS:115) That is to say, as the student falls from legendary grace and becomes
part of a more mundane Parisian narrative, he gains an appreciation of his homeland as the
exact opposite of what Paris stands for. This is merely a reversal of the initial projection
positing Paris as the site of desire; now desire refracts back home. While the returnee
American student is unaware of the precipice between his initial and current representations
of Paris, his attitude swift is phrased in bitter irony and revealed as just another imaginative
infatuation: “the violence of his embrace of things American is embarrassing, not only
because one is not quite prepared to follow his admirable example, but also because it is
impossible not to suspect that his present acceptance of his country is no less romantic, and
unreal, than his earlier rejection.” (NS:116) A side judgment follows on what the American
student, too, fails to gain in travel, that is, a critical position: “It is as easy, after all, and as

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meaningless, to embrace uncritically the cultural sterility of main street as it is to decry it.”
(NS:116)
The second possible reaction to the experience of the Parisian limbo is to stay. But the
lot of those who remain is, in Baldwin’s assessment, not more fortunate: “the majority have
taken roads more devious, and incomparably better hidden – so well hidden that they
themselves are lost.” (NS:117) To prove this point, the author proceeds methodically to draw
the portrait of what could be called the mime, that is, the student “whose adaptation to French
life seems to have been most perfect.” (NS:117) The mime’s studies, habits, connections,
language, readings, occupations are all French, and Baldwin enumerates them in minute
irony. “One assumes that he is living as the French live – which assumption, however, is
immediately challenged by the suspicion that no American can live as the French live, even if
one could find an American who wanted to.” (NS:117) Again, irony is multilayered: a barb of
superiority from the American towards the French, the taunting of the American who goes
the French way, a sneer at the latter’s self-delusion in thinking one can, a tint of possible self-
irony, etc. The irony accumulates further as this mimetic attitude seems to lack any rewards:
“one discovers that, certain picturesque details aside, he seems to know no more about life in
Paris than everybody knew at home.” (NS:118) He reads no more into French life than one
would read into a guidebook. It seems the mime’s relation to French things and people
develops only at the surface of signs, for he gains no access whatsoever to a presumably
extant substance or meaning: “in short, the relationship of this perfectly adapted student to
the people he now so strenuously adores is based simply on his unwillingness to allow them
any of the human attributes with which his countrymen so confounded him at home.”
(NS:118) In the end, this exclusive relation to signs and not to their essences (for Baldwin
presupposes such essence, in spite of his occasional deconstructive gaze) leaves the student
caught into a network of empty signifiers which impresses as “the height of artificiality and,
even, of presumption.” (NS:118) Baldwin explains this de-identification with one’s self as a
shield against experience and reality, an unconscious choice to persist in legend.
Since very much aware of the typological simplifications he makes for the point of
argumentation, Baldwin clarifies that between the two attitudinal extremes of “the student
who embraces Home and the student who embraces The Continent” (NS:119) there is a
continuum of gradations; this serves to certify the oppositional patterns and anticipates
charges of simplification, so the author can move safely to the next, more significant point:
“The American in Europe is everywhere confronted with the question of his identity.”
(NS:119) This is the common denominator of the student colony, whose diversity is
accounted by the different ways of coming to terms with the ontic question. Indeed, the
“prodigious” (NS:119) question of identity is vivified by foreign air not only in the students’
or Baldwin’s case – which correlates with the definition of home as the place where no
questions are asked. The insinuating question of one’s otherness confronts, the author
acknowledges, everyone, not only those “in traffic with ideas” (NS:119), and finds them all
unprepared. Having expressed this realization, Baldwin detours into a caricatured stock
portrait of Frenchified American “little band of bohemians” who are unaware that one does
not become Parisian “by virtue of a Paris address” (NS:120) and which illustrate to him,
again in the logic of paradox, “by the very ferocity with which they disavow American
attitudes, one of the most American of attributes, the inability to believe that time is real.”

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(NS:120) The author sweeps over the potential of this idea by deriving briefly that this
inability causes American travelers to misapprehend the nature of society and of experience,
and thus to lose “what it was they so bravely set out to find, their own personalities.”
(NS:120) By his choice to live outside personal and collective history, in acultural freedom,
on the surface of signs, the American student in Paris ceases to exist.
“But if this were all one found in the American student colony, one could hardly have
the heart to discuss it” (NS:121) marks a turning point in Baldwin’s assessment. If in Europe
the American could only become more confused in terms of his identity, then indeed “it
would obviously be infinitely wiser for him to remain at home.” (NS:121) That, however, is
not the case, and Baldwin’s exhortation against travel proves to be only a criticism of those
who give in to the surface of things: “hidden however in the heart of the confusion he
encounters here is that which he came so blindly seeking: the terms on which he is related to
his country, and to the world.” (NS:121) The revelation of identity is not substantial because,
despite all insistence, one cannot access the essence behind the image, but relational. It is in
realizing this relation to his country and the world that the American student in Paris can
achieve a sense of himself. This happens against the false assumption, as Baldwin explains,
that it is possible to consider the person apart from all the forces that have produced him, an
assumption based “on nothing less than our history, which is the history of the total, and
willing, alienation, of entire peoples from their forebears.” (NS:121)
One may recognize here the echoes of the necessary relation to history expressed in
“Encounter on the Seine”, and this time the essayist no longer glides over the potential of this
idea; he offers a remarkable speculation on the relational identity of the (American)
individual, which sums up as follows: history has created an American people with a unique
and individual past, a past which produces one’s present troubling role; this past is the one
lived on the American continent, as opposed to the other, irrecoverable past in Europe; the
significance of this American past lies not in its brevity or superficiality, but in the fact that
“we, having turned our faces so resolutely away from it, have never demanded from it what it
has to give” (NS:121); when abroad, the American is forced to claim his past for otherwise he
has no identity support. Thus, “from the vantage point of Europe he discovers his own
country.” (NS:121) This should count as one of the weightiest descriptions of the realizations
of travel in terms of identity. When one compares it, for instance, with W.D. Howells’
affirmation that once in Europe the American sees his country clearly from the vantage point
of distance, one must acknowledge that Baldwin employs the same authoritative tone as
Howells, the Dean of American letters, but also displays a subtlety of a different, tenser
order.
Whereas in “Encounter on the Seine” Baldwin exercises a transitional style to the
point of irritation, juxtaposing thoughts and portraits in an ideatic jump on stepping stones to
nowhere, in “A Question of Identity” he delves, on the same Parisian background, into the
investigation of exactly what the title proposes: a question of identity and its tentative
answers. He does so by drawing a disillusioning, picturesque portrait of the American in
Paris, a type that can open up to signify any foreigner, anywhere. Critics have charged
Baldwin with not going full length and, indeed, the last paragraph in the essay suspends in a
positive note the final implications of the self-discovery for the (African-)American: “And
this is a discovery which not only brings to an end the alienation of the American from

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himself, but which also makes clear to him, for the first time, the extent of his involvement in
the life of Europe.” (NS:122) The vagueness of the discovery and the abstract nature of its
result, to the end of which no methodology is given, may be disappointing, but that is only
because it puts a temporary end to Baldwin’s rhetorical whirlwind.
Conclusion: The other within
In order to bring his individual and collective identities to a common purpose,
Baldwin aims at locating himself, as clarified in Notes of a Native Son, “within a specific
inheritance and to use that inheritance, precisely, to claim the birthright from which that
inheritance had so brutally and specifically excluded me” (Baldwin 1963:12). In his time, he
culturally consecrated the competing racial claims of (black) inheritance and (American)
birthright, the former limited and limiting, the latter vast and boundless, as the access gate to
the “kingdom of culture,” in W.E.B. Du Bois’ words. However, a number of figures in the
post-Harlem Renaissance made their way to the kingdom of culture through other gates than
James Baldwin, by constructing a significantly different relation to their roots. Charles
Johnson, for instance, affirmed polemically that “all knowledge, all disclosure, all revelation
from the past, from our predecessors, black, white, and otherwise, is our inheritance… Any
sense that other human beings have made out of the world… all that is what we have
inherited as human beings” (Johnson 1993:66); hence there is no striving to enter the
kingdom of culture, for one is already in residence. Nevertheless, while in historical hindsight
Baldwin’s troubled black dialectic of birthright and inheritance may prove less relevant
(Posnock 1998:19), it continues to provide an idiosyncratic insight into what could be the
mirror stage in the formation of (African-)American identity: the recognition of the other
(within). Even progressive intellectuals of the Harlem Renaissance “never really understood
the importance of black history and culture to the United States” and did not regard “the
relationship between whites and blacks as central to the story of the republic” (Hutchinson
1995:446-7); the white immigrant and frontier experiences were central to an Americanism
unaware of the centrality of the self-other confrontation in its emergence. It took James
Baldwin to highlight, in prophetic rhetoric, the role of the white-black dialectic in the making
of an American identity.
Consequently, James Baldwin has often been said, in accusatory tone, to speak mostly
to a white readership, and that is true in the sense that the message he conveys is shaped for
both white and black ears: Baldwin’s colored rhetoric aims at demonstrating that the identity
crisis of the Negro is a crisis of the whole America. In Baldwin’s essays, the question of color
identity comes to pose the deepest epistemic and ontic questions not only to the African-
American, nor only to the black writer who flees to Paris, but also to his apparently sheltered
white readers, pushed out of what Butterfield calls their “tragic innocence.” Americans who
are ignorant of black identity are ignorant of their own, concludes Butterfield, much like
Baldwin himself (Butterfield 1974:187).
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