Esquire

This year marks the 85th anniversary of Esquire. To commemorate this historical moment, each issue of the magazine in 2018 will feature a classic Esquire story written by an iconic Esquire author that feels as timely today as the year it was originally published.

An Introduction By Michael Eric Dyson



On April 9, 1968, thirteen hundred people filed into Ebenezer Baptist Church in Atlanta for the private funeral of a man who, like his father before him, had once served as its pastor: the Reverend Martin Luther King Jr. Attendees included Thurgood Marshall, Wilt Chamberlain, Marlon Brando, Dizzy Gillespie, Stokely Carmichael, and Robert F. Kennedy, who’d be killed less than two months later. The choir, 160 strong, sang sorrowful hymns. Ralph David Abernathy, cofounder of the Southern Christian Leadership Conference, officiated. A lone singer performed a devastating rendition of “My Father Watches Over Me.” But the most memorable speaker that morning—a haunting baritone piped out of tinny speakers that left his four children startled—was King himself.

James Baldwin Getty Images

“If any of you are around when I have to meet my day, I don’t want a long funeral,” King pleaded posthumously in a recording from his “Drum Major Instinct” sermon given two months earlier and played at the behest of his widow, Coretta. He didn’t get his wish: The service lasted two hours, followed by a public, nationally broadcast funeral held that afternoon at King’s alma mater, Morehouse College. Such pageantry was a too-familiar vessel into which black pain was stuffed at moments like this, moments when suffering made no sense, moments for which we had no words. Yet the writer—especially one whose fiery style was forged in the pulpit of his church-bound boyhood—must have words. In “Malcolm and Martin,” as the essay was titled, James Baldwin recalled King’s funeral “the most real church service I’ve ever sat through in my life” and then grappled with the national undoing set loose by his death. Baldwin knew that America could survive only if it underwent an extraordinary social transformation—equality for all, hatred for none—that echoed the most noble ideals set out by our founding fathers. (That is, when they set aside their blinding bigotry.) But he also knew that King’s death, and Malcolm X’s in 1965, were signs the nation refused to acknowledge that the key to its salvation was held by those very people whom it had enslaved. The former quickly embraced pacifism; the latter was an advocate for black freedom at any cost. But the daily battles took a toll on both men, and their views had begun to converge—Malcolm mellowed; Martin grew more radical—so that, as Baldwin wrote, “by the time each met his death there was practically no difference between them.” Not that the country much cared about the particulars; the American experiment had once again bet against its redemption by black moral genius and lost.

America, Baldwin believed, was split in two—not between North and South but between the powerful and the disenfranchised. Racism, that scourge that beclouded our democracy, remained—remains—the nation’s greatest peril. But the powerful maintained the status quo by sowing discord among the disenfranchised. Poor white folk, rather than uniting with their socioeconomically oppressed brothers and sisters against the rich, trained their targets on poor black folk. They channeled their anxieties into a vengeance against blackness.

In this way, Baldwin predicted the forces that would one day lead to the return of xenophobic white nationalism, to the rise of Donald Trump. But to say Baldwin was ahead of his time is to miss his point: America will always need a prophet—a Malcolm, a Martin. The powerful will always seek to silence that prophet, instead trying to achieve the nation’s redemption on the cheap—not through self- correction but through crimson-stained violence that sacrifices the Other, whether black or brown or queer or immigrant. Fifty years after one lone prophet who didn’t make it to forty gave up the ghost on a bland balcony in Memphis, this essay is proof that King’s legacy, and Baldwin’s words, remain vital.

Since Martin’s death, in Memphis, and that tremendous day in Atlanta, something has altered in me, something has gone away. Perhaps even more than the death itself, the manner of his death has forced me into a judgment concerning human life and human beings which I have always been reluctant to make—indeed, I can see that a great deal of what the knowledgeable would call my life-style is dictated by this reluctance. Incontestably, alas, most people are not, in action, worth very much; and yet every human being is an unprecedented miracle. One tries to treat them as the miracles they are, while trying to protect oneself against the disasters they’ve become. This is not very different from the act of faith demanded by all those marches and petitions while Martin was still alive. One could scarcely be deluded by Americans anymore, one scarcely dared expect anything from the great, vast, blank generality; and yet one was compelled to demand of Americans—and for their sakes, after all—a generosity, a clarity, and a nobility which they did not dream of demanding of themselves. Part of the error was irreducible, in that the marchers and petitioners were forced to suppose the existence of an entity which, when the chips were down, could not be located—i.e., there are no American people yet. Perhaps, however, the moral of the story (and the hope of the world) lies in what one demands, not of others, but of oneself. However that may be, the failure and the betrayal are in the record book forever, and sum up and condemn, forever, those descendants of a barbarous Europe who arbitrarily and arrogantly reserve the right to call themselves Americans. The mind is a strange and terrible vehicle, moving according to rigorous rules of its own; and my own mind, after I had left Atlanta, began to move backward in time, to places, people, and events I thought I had forgotten. Sorrow drove it there, I think, sorrow, and a certain kind of bewilderment, triggered, perhaps, by something which happened to me in connection with Martin’s funeral.

King at a press conference in Birmingham, 1963. Magnum​

When Martin was murdered, I was based in Hollywood, working—working, in fact, on the screen version of The Autobiography of Malcolm X. This was a difficult assignment, since I had known Malcolm, after all, crossed swords with him, worked with him, and held him in that great esteem which is not easily distinguishable, if it is distinguishable at all, from love.

There is a day in Palm Springs, shortly before I left there, that I will remember forever, a bright day. Billy Dee Williams had come to town, and he was staying at the house; and a lot of the day had been spent with a very bright, young lady reporter, who was interviewing me about the film version of Malcolm. I felt very confident that day—I was never to feel so confident again—and I talked very freely to the reporter. (Too freely, the producer was to tell me later.) I had decided to lay my cards on the table and to state, as clearly as I could, what I felt the movie was about, and how I intended to handle it. I thought that this might make things simpler later on, but I was wrong about that. The studio and I were at loggerheads, really, from the moment I stepped off the plane. Anyway, I had opted for candor, or a reasonable facsimile of same, and sounded as though I were in charge of the film, as, indeed, by my lights, for that moment, certainly, I had to be. I was really in a difficult position because both by temperament and experience I tend to work alone, and I dread making announcements concerning my work. But I was in a very public position, and I thought that I had better make my own announcements, rather than have them made for me. The studio, on the other hand, did not want me making announcements of any kind at all. So there we were, and this particular tension, since it got to the bloody heart of the matter—the question of by whose vision, precisely, this film was to be controlled—was not to be resolved until I finally threw up my hands and walked away.

As the original assignment card shows, Baldwin was living in Palm Springs, California, at the time. Ben Goldstein

I very much wanted Billy Dee for Malcolm, and since no one else had any other ideas, I didn’t see why this couldn’t work out. In brutal Hollywood terms, Poitier is the only really big, black, box-office star, and this fact gave me, as I considered it, a free hand. To tell the bitter truth, from the very first days we discussed it, I had never had any intention of allowing the Columbia brass to cast this part: I was determined to take my name off the production if I were overruled. Call this bone- headed stupidity, or insufferable arrogance or what you will—I had made my decision, and once I had made it nothing could make me waver, and nothing could make me alter it. If there were errors in my concept of the film, and if I made errors on the way to and in the execution, well, then, I would have to pay for my errors. But one can learn from one’s errors. What one cannot survive is allowing other people to make your errors for you, discarding your own vision, in which at least you believe, for someone else’s vision, in which you do not believe. Anyway, all that shit had yet to hit the fan. This day, the girl and Billy and I had a few drinks by the swimming pool. The man, Walter, was about to begin preparing supper. The girl got up to leave and we walked her to her car and came back to the swimming pool, jubilant.

The phone had been brought out to the pool, and now it rang. Billy was on the other side of the pool, doing what I took to be African improvisations to the sound of Aretha Franklin. And I picked up the phone.

It was David Moses. It took a while before the sound of his voice—I don’t mean the sound of his voice, something in his voice—got through to me.

He said, “Jimmy? Martin’s just been shot,” and I don’t think I said anything, or felt anything. I’m not sure I knew who Martin was. Yet, though I know—or I think—the record player was still playing, silence fell. David said, “He’s not dead yet”—then I knew who Martin was—“but it’s a head wound—so—”

Top, left: Members of the press corps stand on a crane-held platform to better photograph King’s casket at Morehouse. Top, right: Coretta King and Harry Belafonte at the service. Middle: A small group of the more than 150,000 people who lined the four-mile stretch from Ebenezer Baptist Church to Morehouse College, where a public ceremony was held. Bottom, left: Coretta King consoles their daughter Bernice. Bottom, right: James Baldwin and Marlon Brando. Ben Goldstein

I don’t remember what I said; obviously I must have said something. Billy and Walter were watching me. I told them what David had said.

I hardly remember the rest of that evening at all, it’s retired into some deep cavern in my mind. We must have turned on the television set if we had one, I don’t remember. But we must have had one. I remember weeping, briefly, more in helpless rage than in sorrow, and Billy trying to comfort me. But I really don’t remember that evening at all. Later, Walter told me that a car had prowled around the house all night.

I went to Atlanta alone, I do not remember why. I wore the suit I had bought for my Carnegie Hall appearance with Martin. I seem to have had the foresight to have reserved a hotel room, for I vaguely remember stopping in the hotel and talking to two or three preacher-type-looking men, and we started off in the direction of the church. We had not got far before it became very clear that we would never get anywhere near it. We went in this direction and then in that direction, but the press of people choked us off. I began to wish that I had not come incognito and alone, for now that I was in Atlanta I wanted to get inside the church. I lost my companions, and sort of squeezed my way, inch by inch, closer to the church. But directly between me and the church there was an impassable wall of people. Squeezing my way up to this point, I had considered myself lucky to be small; but now my size worked against me for, though there were people on the church steps who knew me, whom I knew, they could not possibly see me, and I could not shout. I squeezed a few more inches, and asked a very big man ahead of me please to let me through. He moved and said, “Yeah. Let me see you get through this big Cadillac.” It was true—there it was, smack in front of me, big as a house. I saw Jim Brown at a distance, but he didn’t see me. I leaned up on the car, making frantic signals, and finally someone on the church steps did see me and came to the car and sort of lifted me over. I talked to Jim Brown for a minute, and then somebody led me into the church and I sat down.

Esquire’s October 1968 cover captures the fatal outlook of a country rocked by a half-decade of assassinations. Esquire

The church was packed, of course, incredibly so. Far in the front, I saw Harry Belafonte sitting next to Coretta King. Ralph David Abernathy sat in the pulpit. I remembered him from years ago, sitting in his shirt-sleeves in the house in Montgomery, big, black, and cheerful, pouring some cool, soft drink, and, later, getting me settled in a nearby hotel. In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn’t that it seemed unreal; it was the most real church service I’ve ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down.

The long, dark sister, whose name I do not remember, rose, very beautiful in her robes, and in her covered grief, and began to sing. It was a song I knew: My Father Watches Over Me. The song rang out as it might have over dark fields, long ago, she was singing of a covenant a people had made, long ago, with life, and with that larger life which ends in revelation and which moves in love.

He guides the eagle through the pathless air.

She stood there, and she sang it. How she bore it, I do not know, I think I have never seen a face quite like that face that afternoon. She was singing it for Martin, and for us.

And surely He

Remembers me,

My heav’nly Father watches over me.

At last, we were standing, and filing out, to walk behind Martin home. I found myself between Marlon and Sammy.

Top, left: In 1956, King was arrested for his involvement in the Montgomery Bus Boycott. It’s unknown who scrawled the notice of death, or when. Top, right: King delivered his “I Have a Dream” speech to 250,000 people during the March on Washington in August 1963. Bottom: Newspapers around the world led with the news of King’s death. Meanwhile, riots broke out in dozens of cities throughout the country; 58,000 soldiers from the Army and the National Guard stepped in to quell the uprisings. Ben Goldstein

I had not been aware of the people when I had been pressing past them to get to the church. But, now, as we came out, and I looked up the road, I saw them. They were all along the road, on either side, they were on all the roofs, on either side. Every inch of ground, as far as the eye could see, was black with black people, and they stood in silence. It was the silence that undid me. I started to cry, and I stumbled, and Sammy grabbed my arm. We started to walk.

I don’t think that any black person can speak of Malcolm and Martin without wishing that they were here. It is not possible for me to speak of them without a sense of loss and grief and rage; and with the sense, furthermore, of having been forced to undergo an unforgivable indignity, both personal and vast. Our children need them, which is, indeed, the reason that they are not here: and now we, the blacks, must make certain that our children never forget them. For the American republic has always done everything in its power to destroy our children’s heroes, with the clear (and sometimes clearly stated) intention of destroying our children’s hope. This endeavor has doomed the American nation: mark my words.

This photo, published in Esquire’s August 1968 issue, shows mourners at King’s burial. Ben Goldstein

Malcolm and Martin, beginning at what seemed to be very different points—for brevity’s sake, we can say North and South, though, for Malcolm, South was south of the Canadian border—and espousing, or representing, very different philosophies, found that their common situation (south of the border!) so thoroughly devastated what had seemed to be mutually exclusive points of view that, by the time each met his death there was practically no difference between them. Before either had had time to think their new positions through, or, indeed, to do more than articulate them, they were murdered. Of the two, Malcolm moved swiftest (and was dead soonest), but the fates of both men were radically altered (I would say, frankly, sealed) the moment they attempted to release the black American struggle from the domestic context and relate it to the struggles of the poor and the nonwhite all over the world.

To hold this view, it is not necessary to see C. I. A. infiltrators in, or under, every black or dissenting bed: one need merely consider what the successful promulgation of this point of view would mean for American authority in the world. Slaveholders do not allow their slaves to compare notes: American slavery, until this hour, prevents any meaningful dialogue between the poor white and the black, in order to prevent the poor white from recognizing that he, too, is a slave. The contempt with which American leaders treat American blacks is very obvious; what is not so obvious is that they treat the bulk of the American people with the very same contempt. But it will be sub-zero weather in a very distant August when the American people find the guts to recognize this fact. They will recognize it only when they have exhausted every conceivable means of avoiding it.

In the meantime, in brutal fact, all of the institutions of this nation, from the schools to the courts to the unions to the prisons, and not forgetting the police, are in the hands of that white majority which has been promising for generations to ameliorate the black condition. And many white Americans would like to change the black condition, if they could see their way clear to do so, through the unutterable accumulation of neglect, sorrow, rage, despair, and continuing, overriding, totally unjustifiable death: the smoke over Attica recalls the bombs of Birmingham and the liberal Mr. Rockefeller reveals himself as being even more despicable than his openly illiberal confreres further down.

But it is not important, however irresistible, to accuse Mr. Rockefeller of anything. He is just another good American; one of the best. It is unlikely that any Western people, and certainly not the Americans, have the moral resources needed to accomplish the deep and mighty transformation which is all that can save them. Such a transformation involves unimaginable damage to the American ego; would reduce all the American religious ceremonies, including the Fourth of July and Thanksgiving, to the hypocritically bloody observances many of us have always known them to be; and would shed too unsparing a light on the actual dimensions and objectives of the American character. White Americans do not want to know what many nonwhites know too well, e.g., that “foreign aid” in the “underdeveloped” countries and “anti-poverty” programs in the ghetto are simply a slightly more sophisticated version of the British policy of Divide and Rule, are, in short, simply another means of keeping a people in subjection.

Since the American people cannot, even if they wished to, bring about black liberation, and since black people want their children to live, it is very clear that we must take our children out of the hands of this so-called majority and find some way to expose this majority as the minority which it actually is in the world. For this we will need, and we will get, the help of the suffering world which is prevented only by the labyrinthine stratagems of power from adding its testimony to ours.

Baldwin’s first Esquire story ran in 1960; his ninth, and last, ran in 1980. In an interview for the July 1968 issue, conducted two days after King’s funeral, Baldwin grapples with the growing violence in the fight for equality. Esquire

No one pretends that this will be easy, and I myself do not expect to live to see this day accomplished. What both Martin and Malcolm began to see was that the nature of the American hoax had to be revealed—not only to save black people but in order to change the world in which everyone, after all, has a right to live. One may say that the articulation of this necessity was the Word’s first necessary step on its journey toward being made flesh.

And no doubt my proposition, at this hour, sounds exactly that mystical. If I were a white American, I would bear in mind that mysteries are called mysteries because we recognize in them a truth which we can barely face, or articulate. I would bear in mind that an army is no match for a ferment, and that power, however great that power may consider itself to be, gives way, and has always been forced to give way, before the onslaught of human necessity: human necessity being the fuel of history.

If my proposition sounds mystical, white people have only to consider the black people, my ancestors, whose strength and love have brought black people to this present, crucial place. If I still thought, as I did when Martin and Malcolm were still alive, that the generality of white Americans were able to hear and to learn and begin to change, I would counsel them, as vividly as I could, to attempt, now, to minimize the bill which is absolutely certain to be presented to their children. I would say: if those blacks, your slaves, my ancestors, could bring us out of nothing, from such a long way off, then, if I were you, I would pause a long while before deciding to use what you think of as your power. For we, the blacks, have not found possible what you found necessary: we have not denied our ancestors who trust us, now, to redeem their pain.

Well. Baby, that’s it. I could say, and they would both understand me: Don’t you think Bessie is proud of Aretha?

Or: Do you think that Americans can translate this sentence both out of and into the original? My soul is a witness for my Lord.

Excerpted from No Name in the Street, published by Vintage Books. © 1972 by James Baldwin. Copyright renewed. Used by arrangement with the James Baldwin Estate.

To read Baldwin’s original story in full, plus every issue in Esquire’s trailblazing, eight-and-a-half-decade catalog, go to Esquire Classic.