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This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 22:29, 16 January 2022 (UTC)[reply]

Title

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Where does the title come from? Is it biblical?--Shtove 20:10, 1 June 2006 (UTC)[reply]

it comes from the negro spiritual song, based on the biblical practice of go out on mountains and possibly alluding to the "Sermon on the Mount". :: Kevinalewis : (Talk Page)/(Desk) 08:35, 12 September 2006 (UTC)[reply]

Coming Out

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My reading of the climactic scene is that John is attracted to the church because he has a crush on Elisha though he does not admit this even to himself (ie. he is still closeted). He does not expect to be taken over by 'the spirit' because he does not really believe but only subconsciously desires to be close to Elisha. When he does find himself writhing at Elisha's feet he is amazed and finally admits to himself that he is attracted to men and that Elisha is not going to meet his meeds because he is straight and a 'Saint.' Of course this provides Baldwin with a rich comparison between religious and sexual ecstasy.

After this climactic scene, John comes into his own power, he rejects religion and he sees the behaviour of the 'Saints' as an expression of various subconscious desires. This changes the whole theme of the book from pro- to almost anti-religion and makes it a major turning point in both LGBT and African American literature. It makes this novel much more 'gay' than Giovanni's Room and certainly more that Another Country. This theme is actually revisited in a later novel about a male gospel group (forgot the name). You could even say it explains where Baldwin got the power to be the person he became in culture and politics.

I am surprised to find myself to be the person who is promoting Go Tell It.. as a gay coming out novel. If you thought Giovanni's Room was cutting edge, this is a revelation in that the intention of the author, which I see as conscious though discreet, has still not even been given recognition all these years later. Please reread the novel with this perspective and let me know if I am dreaming this interpretation which I have held since I read the book twenty years ago. Thanks —Preceding unsigned comment added by 142.110.227.98 (talk) 18:51, 27 March 2008 (UTC)[reply]

I agree that there is an erotic component to his fascination with Elisha, including the kiss that Elisha gives him after his conversion; but I don't think that there is any recognition in John by the end of the novel that he is attracted to men, or any rejection of the Church. He finds some release for his desires in giving himself up to Pentecostal salvation. —Preceding unsigned comment added by 192.30.202.21 (talk) 14:20, 11 June 2008 (UTC)[reply]

Annotated Bibliography

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Add your sources below, by author's last name. --168.16.180.157 (talk) 16:27, 21 January 2021 (UTC)[reply]

  • Example ...


  • Allen, Shirley (1975). "Religious Symbolism and Psychic Reality in Baldwin's "Go Tell It On The Mountain"". CLA Jounral. 19 (2): 173–199. Allen discusses an overlooked aspect within Baldwin's work, religious symbolism corresponding with an identity of self-discovery through psychological allegory. Allen argues that Baldwin's weaker writing points consequently exemplifies a missed relation between a religious odyssey and psychological maturity that culminates towards a profound meaning to Baldwin's work otherwise overlooked. ~~Sean.Robi733 (talk) 11:11, 28 January 2021 (UTC)[reply]
  • Campbell, James (1995). "Exiled In Paris: Richard Wright, James Baldwin, Samuel Beckett, and Other on the Left Bank". New York:Scribner. Campbell put strong emphasis on John’s character being a stranger to himself and everyone else. Baldwin uses John to describe his true feelings of being left out and misunderstood. Campbell also backs his criticism by revealing that an early title of the book, “Go Tell It on the Mountain” was “In My Father’s House.” RyanArian (talk)
  • Henderson, Carol (October 2006). "Refiguring the Flesh: The Word, The Body, and the Rituals of Being in Beloved and Go Tell It on the Mountain". In King, Lovalerie; Scott, Lynn Orilla (eds.). James Baldwin and Toni Morrison: Comparative Critical and Theoretical Essays. Palgrave Macmillan. pp. 149–165. Retrieved 28 January 2021. Henderson is able to weave a connection between Beloved and Go Tell It on the Mountain. She is able to connect the traumas that both novel's characters struggle to face and overcome. With both novel's having a mini get away for peace, there is still strong Christian footing that is weaved into the basis of the plots.--Pittmanraven (talk) 04:59, 29 January 2021 (UTC)[reply]
  • Montgomery, Maxine Lavon (2014). Trudeau, Lawrence (ed.). "James Baldwin,Go Tell It on the Mountain". Children's Literature Review. CXCI: 52–63. Montgomery uses the religious upbringings of Baldwin in a Pentecostal church to show the different voices he writes about in his novel. She discusses his emotional connection with the church that he has not been able to break from. Baldwin uses the conflict he experienced within the church and other constructs of his family to show his apocalyptic experiences of black America. There is a struggle individually but also socially at a group level for the identity and wholeness of those in the church. Baldwin uses religion to express the bondage of African Americans to their freedom. --Ivy.sapp (talk) 20:11, 21 January 2021 (UTC)[reply]
  • Mootry, Maria (1985). "James Baldwin, Go Tell It on the Mountain". XLIII: 50-52. {{cite journal}}: Cite journal requires |journal= (help) Mootry’s article discusses Baldwin’s novel Go Tell It on the Mountain by focusing on Baldwin’s use of ironic voice within the text. Mootry also analysis if Baldwin’s text is more centered towards situational or dramatic irony. The article states that “…at John’s conversion the novel’s very title is rendered ironic. John has no voice to speak to his mother or the other saints.” [1] Overall, Mootry’s article is informative. The article concludes that the ironic voices and situational irony in the text allow the readers to determine their own interpretations of the novel. -- Haley.carter1 (talk)
  • Sivan, Miriam (2001). "Out of and Back to Africa: James Baldwin,Go Tell It on the Mountain". Christianity and Literaure. LI (1): 29–41. Sivan approaches the use of religion throughout Baldwin's novel to express Black assimilation into white culture. Although, the church was a place for Africans to have community, control, and education Sivan claims. The church later became a place of Black identity. Therefore in the novel Baldwin uses the Pentecostal church as a place of community brought together through exile. Ivy.sapp (talk) 01:26, 25 April 2021 (UTC)[reply]
  • Scruggs, Charles (1980). "The Tale of Two Cities in James Baldwin's "Go Tell It on the Mountain"". American Literature. 52 (1): 1–17. Scruggs argues that each character in Baldwin’s writing is tainted of their past or trapped within their ego. In other words, characters revisit past events or memories for moral purposes rather than discovering what that memory’s serves the purpose of. RyanArian (talk)
  • Stokes, Mason (2016). ""'A Brutal, Indecent Spectacle': Heterosexuality, Futurity, and Go Tell It on the Mountain"". MFS: Modern Fiction Studies. 62 (2): 292–306. doi:10.1353/mfs.2016.0035. Stokes gives his argument on what he believes Baldwin's depiction on how heterosexuality needs to adapt to accept other possibilities. Abi sap (talk) 15:05, 28 January 2021 (UTC)[reply]
  • Waitinas, Catherine (2012). “Gay and Godly: Coming to Jesus in James Baldwin’s Go Tell it on the Mountain. James Dickey Review XXIX Fall/Winter 2012, 22-34. Waitinas proposes that John discovers another side of faith, previously unknown to him. He is able to reject the traditional patriarchal and oppressive standard in his church and is awakened to a new idea of faith through his “homoerotic conversion” (23) in the last part of the novel.AnnaVorisek (talk) 18:47, 28 January 2021 (UTC)[reply]

References

  1. ^ Mootry, Maria.Explicator Go Tell It on the Mountain, 1985.

Community and Exile

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Throughout Baldwin's Go Tell It on the Mountain there are notions of exile African Americans relating to the Israelites exile in the Bible. John's father, Gabriel is a Pentecostal preacher who does not always practice what he preaches. The father takes the slavery of Jewish people in the Bible and relates it to the oppression and slavery of Africans. Ivy.sapp (talk) 01:13, 25 April 2021 (UTC)[reply]

Miriam Sivan's article [1] expresses how Baldwin uses the community of African Americans and Jewish people to express the oppression and exile both groups have experienced. Sivan's article mentions that through global transmigration literal and figurative that moving from one location to another has caused one's identity crisis. Here in Go Tell It on the Mountain the only identity that John and his family have is there spirituality. John's family relies on their religion as a place for community and identity even though it may be harmful to their Blackness and self consciousness, "Through John Grimes's commitment to Christ is representative of black assimilation into American (white) culture, this adoption of Christian beliefs not only helped the community forge a stronger connection to their country and society, but it also enabled slaves and then emancipated African to shore up their sense of self-worth and value" (Sivan). Western Religion was used as a ploy to overtake Africans. Also used to rid their African identity and culture. Ivy.sapp (talk) 01:13, 25 April 2021 (UTC)[reply]

References

  1. ^ https://shibbolethsp.jstor.org/start?entityID=https%3A%2F%2Fidp.mga.edu%2Fopenathens&dest=https://www.jstor.org/stable/44313057&site=jstor Out of and Back to Africa: James Baldwin's Go Tell It on the Mountain

Cultural Pilgrimage

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Shirley Allen's article [1] 

James Baldwin uses cultural narrative throughout Go Tell It on the Mountain to accent the influentially religious themes. John, who's life is encompassed by struggle racially and economically, cannot comprehend fully the religious plight placed upon him. Religious Symbolism and Psychic Reality in Baldwin's Go Tell It on the Mountain by Shirley Allen provides a perspective that not only bolsters John's thematic disposition but challenges his deeper discourse with the society and family. Allen argues that the religious symbolism employed by Baldwin allows for transparency in a struggle from a child entering an adult society. The availability for excessive analysis is muffled because of Baldwin's purposeful discussion with broad concepts that warrant investigation. Childhood dependency, a pilgrimage to adulthood, parental responsibility, and the family dynamic are topics which return intermittently in the course of the novel however, Baldwin utilizes John, Florence, and Gabriel's perspective to allow for varied opinions in each.Sean.Robi733 (talk) 4:08, 3 May 2021(UTC

References

  1. ^ https://www.jstor.org/stable/44324679?seq=9#metadata_info_tab_contents

February 2022 Refresh

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I am planning to give this page a refresh as I have time over the next few days/weeks. I have initially restructured the article into more coherent sections and plan to give each section a re-working for a more encyclopedic style. I've read the book but am not a subject matter expert and am not particularly familiar with the secondary literature, so I will try to retain and enhance the material that is already here. -- InspectorTiger (talk) 16:30, 1 February 2022 (UTC)[reply]

Basically done with what I'm going to do. I hope to give it a good copy edit in the near future but doubt i will make more substantive changes. -- InspectorTiger (talk) 15:35, 15 February 2022 (UTC)[reply]

What is this? Cliff Notes?

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Why in the world do we need to explain the plot in such detail? Is it really encyclopedic to do so? What encyclopedic necessity is being fulfilled with that? Seriously. — Preceding unsigned comment added by 108.226.162.58 (talk) 03:11, 12 May 2023 (UTC)[reply]

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