Masculinity In James Baldwin's Going To Meet The Man

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A Southern, white man’s masculinity comes from his power and his ability to exert that power over his perceived inferiors—non-whites, women, and children. If he cannot exert his power, then he is not a man. The African-American Civil Rights Movement threatened that power because, if blacks were no longer inferior to whites, then whites were no longer superior to blacks. To secure their position socially, politically, and economically, white men must emasculate African-American men or be emasculated themselves. James Baldwin, in “Going to Meet the Man” captures the sentiment of this crisis through the main character’s flashbacks and by blending sexual—at times homoerotic—and violent imagery together as he struggles to become a “man.”

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Homosexual men are typically depicted as having womanly characteristics. Stereotypical, gay men are flamboyant—they love shopping, they speak in higher-pitched voices, they hate sports. The notion is that, if a man is gay, he is essentially a woman. Watching the man get castrated and lynched and beating the riot leader awaken a part of Jesse that threatens not just his manhood but his status as a man. That sexual desire stems from his desire for violence, and so the violent imagery is paired with sexual imagery. While beating the riot leader he makes “the prod hit his testicles” (Baldwin 202). He inflicts pain on specifically a sexual part of the black man’s body. By the end of it, “he felt himself violently stiffen” (Baldwin 204). Tormenting him gives Jesse physical pleasure in a way his wife can’t. The fusion of violence and eroticism continues through to when he, as a child, watched a black man get mutilated and tortured. Tiffany Gilbert, in “The Queering of Memory,” writes that, “For when viewed through a queer lens, the lynching of a black man, even as it consolidates a collective white identity, permits a kind of transgressive, homoerotic spectatorship” (242). Jesse “wished that he had been that man,” the man who goes on to take “the nigger’s privates in his hand, one hand, still smiling, as though he were weighing them” (Baldwin 216). He wishes that he could have been the man who held the black man’s genitals and cut them off. Baldwin continues that, “The white hand stretched them, cradled them, caressed them” (216). The imagery here is overtly sexual, despite the violent undertones, and it excites Jesse in a way that is

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