(Baldwin, 20). Such an unveiling, such truthful-
ness is to Baldwin the real calling of the artist, for
rather than composing untruthful political pro-
paganda, “[i]t is the power of revelation which is
the business of the novelist” (15). In 1949 Baldwin
was an unabashed disciple of Henry James. It is
not surprising, then, that in “Everybody’s Protest
Novel” he proffers artistry as of equal importance
to political engagement—neither one supplants
the other.
BIBLIOGRAPHY
Allen, Brooke. “The better [sic] James Baldwin.” The
New Criterion 16, no. 8 (1998): 29–36.
Baldwin, James. “Everybody’s Protest Novel.” In Notes
of a Native Son, 13–23. Boston: Beacon, 1955.
Balfour, Lawrie. “Finding the Words: Baldwin, Race
Consciousness, and Democratic Theory.” In James
Baldwin Now, edited by Dwight A. McBride, 79–- New York: New York University Press, 1999.
Murphy, Geraldine. “Subversive Anti-Stalinism: Race
and Sexuality in the Early Essays of James Bald-
win.” ELH 63, no. 4 (1996): 1021–1046.
Wright, Michelle M. “ ‘Alas, Poor Richard!’: Transat-
lantic Baldwin, the Politics of Forgetting, and the
Project of Modernity.” In James Baldwin Now, ed-
ited by Dwight A. McBride, 208–232. New York:
New York University Press, 1999.
Timothy K. Nixon
176 “Everybody’s Protest Novel”