第2部分(第1/7 页)

s；　offered　from　his　Paris　exile；　became　thecreed　of　his　early　writing。　‘In　most　of　the　novels　written　by　Negroes　until　today；’　he　wrote；　‘thereis　a　great　space　where　sex　ought　to　be；　and　what　usually　fills　this　space　is　violence。’

Go　Tell　It　on　the　Mountain　is　a　very　sensual　novel；　a　book　soaked　in　the　Bible　and　theblues。　Spiritual　song　is　there　in　the　sentences；　at　the　head　of　chapters；　and　it　animates　the　voices　onevery　side　during　the　‘ing　through’　of　John　Grimes。　As　he　steps　up　to　the　altar　John　issuddenly　aware　of　the　sound　of　his　own　prayers　–　‘trying　not　to　hear　the　words　that　he　forcedoutwards　from　his　throat’。　Baldwin’s　language　has　the　verbal　simplicity　of　the　Old　Testament；　aswell　as　its　metaphorical　boldness。　The　rhythms　of　the　blues；　a　shade　of　regret；　a　note　of　pain　risingout　of　experience；　are　deeply　inscribed　in　the　novel；　and　they　travel　freely　along　the　lines　ofdialogue。　There　is　a　kind　of　metaphorical；　liturgical　energy　in　some　novels　–　in　Faulkner’s　TheSound　and　the　Fury；　in　Joyce’s　Portrait　of　the　Artist　as　a　Young　Man；　in　Elizabeth　Smart’s　ByGrand　Central　Station　I　Sat　Down　and　Wept；　in　Toni　Morrison’s　Beloved　–　which　is　utterlyessential　to　the　art。　It　may　seem　at　first　overpowering；　to　waft　in　the　air　like　perfume；　or　to　have　thetexture　of　Langston　Hughes’s　velvet　bag；　but　it　is；　in　each　of　the　cases；　and　especially　in　the　caseof　Baldwin’s　first　novel；　a　matter　of　straightforward　literary　integrity。　Every　word　is　necessary。

Every　image　runs　clear　in　the　blood　of　the　novel。

Take　John’s　mother　Elizabeth。　Look　at　the　shape　of　her　thoughts　on　the　page；　as　broughtout　in　Baldwin’s　third…person　narrative：

‘I　sure　don’t　care　what　God　don’t　like；　or　you；　either；’　Elizabeth　heart　replied。　‘I’mgoing　away　from　here。　He’s　going