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On the centennial of his birth, James Baldwin remains relevant today
The author James Baldwin would have turned 100 on Aug, 2.
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James Baldwin would have celebrated his 100th birthday Friday — on Aug. 2. On NPR and elsewhere, you can find deep examinations of his legacy – as everything from an orator, a fashion icon, to civil rights activist. But he was, of course, a writer first and foremost.
So, we thought: Why not spend a moment breaking down a few of his sentences to figure out what made his writing so affecting, so indelible, so good that it’s still worth reading today?
We’ve chosen a few lines from two of his most well-known books — his essay collection The Fire Next Time and his novel Go Tell It on the Mountain. In many ways, these books are in conversation with each other. The opening essay to The Fire Next Time is Baldwin’s letter to his 14-year-old nephew describing the faulty institutions that make up his life — his family, his faith, and his country. And the second essay opens like this: “I underwent, during the summer that I became fourteen, a prolonged religious crisis.” In Go Tell it on the Mountain, Baldwin writes a bit of fiction drawn from his own life, about a 14-year-old boy who is finding out those very same faults, as well as figuring out his own sexuality. And it opens on a very similar day of crisis.
For each book, we’ve enlisted the help of an expert to talk about what they find interesting about Baldwin’s writing style, and what legacy each work leaves. The interviews, which follow below, have been edited for length and clarity.
The Fire Next Time
The two essays in The Fire Next Time were published in the 1960s. But they still sounded new in the early 2000s when Jesmyn Ward first read them. Ward is the author of a number of books including Sing, Unburied Sing and her memoir The Men We Reaped. We called her up for this book in particular because she edited a 2016 collection of political essays and poetry titled The Fire This Time, as a nod to Baldwin. “I wanted to let him know, wherever he may be, that there are those of us who look up to him and who are attempting to do the same work that he did with the same honesty and same fearlessness” said Ward. The first essay, titled “My Dungeon Shook: Letter to my Nephew on the One Hundredth Anniversary of the Emancipation,” starts like this:
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Dear James:
I have begun this letter five times and torn it up five times. I keep seeing your face, which is also the face of your father and my brother. Like him, you are tough, dark, vulnerable, moody – with a very definite tendency to sound truculent because you want no one to think you are soft.
What tone is he setting here?
JW: That first sentence in the first sentence – “I’ve begun this letter five times and turn it up five times.” Right there, he’s signaling to his nephew, we’re about to talk about something that’s very difficult. But softens that with the next line, “I keep seeing your face.” Following up with such a careful, close sort of observation about his nephew’s characteristics in the way that they sort of echo his father and his grandfather. That’s love, right? Because I love you enough to see you clearly.
You were born where you were born and face the future that you faced because you were black and for no other reason. The limits of your ambition were, thus, expected to be set forever. You were born into a society which spelled out with brutal clarity, and in as many ways as possible, that you were a worthless human being.
This is another example of his straightforward honesty with his nephew. But what did you make of it?
JW: It’s all still true. That’s one of the things that is so genius about specifically this letter. There are these moments in the texts where he doesn’t use his nephew’s name and he just uses you. And in those moments, especially in moments like this, when he is so straightforward about what he sees in America. And where he is so straightforward about how the world has been constructed to jail, or to confine in some ways. And it feels like he’s speaking to me. It feels like this wise, older wise person is sitting with me and they’re telling me something about my life and about the circumstances of my life that I dimly understood, but was not able to articulate.
This entire country has been constructed in a way that it is very easy to be terrified and bewildered and to sink into despair and hatred. And so I think that often when we return to Baldwin, what we want is we want someone to acknowledge our emotions. But then also just to say at the same time, you feel this way because this place has been constructed in this way and it is all predicated on this false understanding of your not being human. And in this section, he just makes room for your emotions. For you to feel what you feel. But then also gives you something of a gift that you can take out into the outside world and use it to help you navigate this really difficult reality.
In the next essay, titled “Down at the Cross: Letter from a Region in My Mind,” he goes to interview Elijah Muhammad, the head of the Nation of Islam, and has this dinner. And it’s rare to read something where Baldwin is not the big dog in the room. What do you make of James Baldwin the reporter being packaged inside Baldwin the essayist?
JW: I felt for Baldwin at that moment. There are so many levels of awareness that he’s sort of struggling with. He’s not the most important person in the room and in the minds of the people around him. He’s not the most erudite person in the room. And he’s also aware of the fact that the Honorable Elijah Muhammad is courting him. [Muhammad] wants [Baldwin] to buy into his philosophy. And Baldwin is aware of the fact that he can’t.
A couple of times throughout the essay he talks about the fact that, after this dinner, he’s going to meet up with some white friends and he’s going to have drinks. And these are people who he cares about and who he loves and who are part of his social circle. And who he can’t just relegate to the category of white devil. It’s very interesting to me how Baldwin is juggling all these different awarenesses and how, at the same time, there are things about the Black Muslims philosophy that he understands.
And I looked around the table. I certainly had no evidence to give them that would outweigh Elijah’s authority or the evidence o f their own lives or the reality of the streets outside.
He’s a writer. So he sees the human. He observes the human. He understands. He’s able to look at each of these people that he’s interacting with and he’s able to understand something of what they are struggling with and something of what they brought to this moment. All of that is what makes him the great writer who he is.
Go Tell It on the Mountain
When it comes to Baldwin’s fiction work, there are plenty of books worthy of examination. But there’s something special about Go Tell It on the Mountain. “He describes this as the book he had to write if he was ever going to write anything else,” says McKinley Melton, associate professor and chair of Africana studies at Rhodes College. “I often think of it as a revisitation of his childhood with a narrative perspective that knows and understands all of the things a young Baldwin wishes he had known and understood when he was 14.”
The novel follows a boy named John undergoing that same crisis of faith Baldwin described in The Fire Next Time. But he opens it a little differently in fiction.
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Everyone had always said that John would be a preacher when he grew up, just like his father. It had been said so often that John, without ever thinking about it, had come to believe it himself. Not until the morning of his fourteenth birthday did he really begin to think about it, and by then it was already too late.
That last clause kind of reads like a horror story.
MM: There’s something deeply ominous about the way that that opening paragraph closes. You open with this idea of, oh, this is just an introduction to a young man who’s stepping into a role that the father has laid out. You come into it feeling kind of hopeful and optimistic and, oh, what a beautiful thing that everybody’s envisioning this future for this young man. And we think about everything that it means when people say, oh, that kid’s going to be a preacher. We see him as an orator, we see him as an intellectual, we’ll see him as charming, we see him as engaging. We see a leader when we look at this kid. And so there’s something very optimistic about that opening that then turns by the end of the novel into. But that was actually the source of his doom.
I want to jump ahead a few pages. There’s this guy named Elijah. He’s a couple years older, and he teaches Sunday school.
John stared at Elisha all during the lesson, admiring the timbre of Elisha’s voice, much deeper and manlier than his own, admiring the leanness, and grace, and strength, and darkness of Elisha in his Sunday suit, wondering if he would ever be holy as Elisha was holy.
MM: This is another sentence that I often will pause with students to kind of think about and say, what’s going on here? And then they just say, “Oh, my God, he has a crush.” Yeah, he has a crush. Absolutely. But then we look at it and, I look at this passage and, because of all of the ways that the different clauses bounce off of one another throughout the sentence, you’re kind of leaving this saying, well, does John have the hots for Elisha? Because John is learning that he’s probably gay. Or is John admiring Elisha because he is all of the things that John has been told he’s supposed to be in terms of this kind of striving toward being a preacher when he grows up and the kind of idea of being saved in the idea of being holy, in the idea of looking good in a Sunday suit.
The middle chunk of the book goes into the lives of his aunt, his mother, and his step father. And I want to focus on his step father, Gabriel. And if you grew up in the church you know that the people who are sinners and then find God are often the most vociferously faithful. And Gabriel definitely fits that mold. There’s a bit where he has an affair with a woman named Esther, and he gets Esther pregnant.
Near the end of that summer he went out again into the field. He could not stand his home, his job, the town itself – he could not endure, day in, day out, facing the scenes and the people he had known all his life. They seemed suddenly to mock him, to stand in judgement on him; he saw guilt in everybody’s eyes.
John is scared of hell and eternal damnation. Gabriel seems more scared of other people, and very earthly judgements, right?
MM: I often think about the unfolding of this novel. We start with John in this moment of chaos and a lack of understanding. And then the novel takes us back through each of these characters who we come to understand better. We come to understand John better. He’s struggling with sin in a space that feels deeply private, deeply unspoken. Gabriel is differently positioned because he’s already in that position of prominence. He’s standing at the pulpit. He’s you know, they’re both afraid of judgment. Right. But John is afraid of revelation. And Gabriel fears that everybody already knows. Gabriel is afraid of the judgment that comes based on the fact that, like, oh, they already know who I’ve always been.
But ultimately, both of them are struggling with this sense of judgment and condemnation and the fear of being, quote unquote, discovered for being less than the holy men that they have aspired to be. But I think what Baldwin is saying is: I’m not just critiquing the church, or the Black church, or the fundamentalist church. I’m asking us to think about what damage does it do to us when we are so deeply, deeply wedded to certain beliefs that don’t allow us the fullness of our humanity? And if you’re going to be sympathetic for John, you have to figure out a way to be sympathetic for Gabriel, even if his actions don’t invite sympathy in the same way.
The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.
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Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.
As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.
“Love” comes from the heart — or an egg?
It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.
But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.
“By and large, the original system has held up almost entirely,” Flink said.
The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.
Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.
The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.
It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.
“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.
To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.
Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.
But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.
“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.
“Love” probably isn’t going anywhere
Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.
“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”
There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.
Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.
But “love” still prevails.
“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”
On a 75-mile cliff-hugging stretch of highway in California, traffic is way up, despite soaring gas prices. And locals expect the busiest summer in years.
The road is Highway 1 in Big Sur, which reopened in January after three years of repair and reconstruction following a pair of landslides. Drivers can once again embark on the state’s most famous road trip, covering the 100 miles between Cambria to the south and Carmel to the north without leaving the two-lane coastal highway. And they’re heading out in big numbers.
Caltrans estimates that as of May, Big Sur restaurant and retailer guest counts are up 40% from last year, and that northbound traffic at Ragged Point, the southern gateway to Big Sur, has risen 900% year-over-year.
People pose for photos near Bixby Bridge. Monterey County’s Board of Supervisors voted to explore a 12-month ban on parking around the bridge.
Safety cones prevent parking along Coast Road near the Bixby Bridge.
“Take your time,” said Kirk Gafill, co-owner of the popular Nepenthe restaurant and president of the Big Sur Chamber of Commerce, offering advice to travelers. “You’re going to be sharing the road with a number of people.”
As travelers rediscover the road, the cost of driving has been shooting skyward. California’s average gas price ($6.11 per gallon as of May 26) is up 26% from the year before. In early April, rates hit $9.99 at the isolated gas station in the Big Sur community of Gorda.
For spring and summer travelers, these numbers would seem to pose a stark question: Stay home and save money, or head for the coast because the road is finally open and it’s still cheaper than flying?
So far, the latter answer is winning big.
Fog lingers off the coast of Highway 1.
“We are definitely seeing a huge uptick in our reservations,” said Megan Handy, assistant general manager at the upscale Treebones resort. She estimated that bookings are 30% or more ahead of last year, and rates are unchanged since then. But “it’s still not feeling super crowded, which is nice. Everything still feels kind of calm.”
But added traffic has raised some anxiety. On May 19, Monterey County’s Board of Supervisors voted to explore a 12-month ban on parking at Bixby Bridge, one of the region’s top photo spots.
Over the years, the number of cars parking near the bridge — often illegally, sometimes impeding emergency vehicles — has risen. The proposed parking moratorium won’t take effect until the supervisors discuss it further.
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Busy as things are, several business owners pointed out that many international travelers have not yet returned — perhaps because most make their plans more than six months ahead, perhaps because of global politics, perhaps a little of each.
The biggest challenge for businesses during this resurgence? “Restaffing and retaining,” said Handy at Treetops.
At Nepenthe, Gafill said his business has seen a 45% boost in guest volume since the road’s reopening. Gafill said he would have expected a 35% pickup, “simply by virtue of reopening the highway.” The additional 10%, he said, might be “all that pent-up demand,” aided by “a very beautiful and very dry winter,” followed by a mild spring.
A lunch crowd dines at popular restaurant Nepenthe.
Another possible factor: Nobody can be sure how long the road will remain open.
To cope with the influx of people, Gafill said, “everybody is trying to recruit and retain their existing staff.”
At the Ragged Point Inn, where rates dropped as low as $149 nightly last fall, rates are back over $200 and staffers are suggesting that customers book at least six months ahead. The inn has reopened its snack bar for the first time since early 2023, and management is investing in capital upgrades and staging live music on weekends throughout the summer.
Business “is up over 100%,” said Diane Ramey, whose family owns the inn. “I know not all of our neighbors are having the same lift, but everybody is doing better.”
Traffic approaching Bixby Bridge.
A visitor poses in an oversized chair at Big Sur River Inn.
Even at the New Camaldoli Hermitage, a Benedictine monastery above Lucia, the road’s reopening and coming summer season have made a difference. Bookings are up an estimated 30% at the hermitage, which rent rooms and cottages (for two nights or more) to visitors who agree to its requirement of silence.
Big Sur business owners advise visitors to travel on weekdays for less traffic and the best hotel rates, and to get on the road as early as possible.
Since its opening in 1937, the highway has been vulnerable to landslides and shifting ground, operating on a longstanding cycle of landslide, closure, repair, reopening and then another landslide, or sometimes a fire. The U.S. Geological Survey has identified the Big Sur coastline as one of the most landslide-prone areas in the western United States. The 2023-2026 closure was the longest in the highway’s history.
Over time, road crews have used increasingly sophisticated strategies. In the most recent efforts, Caltrans said, it used drones to help survey the slopes and remotely operated bulldozers and excavators to reduce risks to workers.
During the closure, no traffic was allowed on 6.8-mile span from just north of Lucia until about a mile south of the Esalen Institute. Drivers detoured inland by way of U.S. 101.
Correspondents of CBS’ 60 Minutes pose for a portrait in 2023. From left to right, they are Sharyn Alfonsi, L. Jon Wertheim, Bill Whitaker, Lesley Stahl, Scott Pelley, Cecilia Vega, and Anderson Cooper. Former Executive Producer Bill Owens sits on the far right. Only Wertheim, Whitaker and Stahl remain at the program.
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When CBS fired Scott Pelley on Tuesday night, the new 60 Minutes executive producer, Nick Bilton, told Pelley it was for insubordination at a staff meeting the day before.
The veteran correspondent argues he was defending the DNA of 60 Minutes and the integrity of its journalism.
The battle royale over the network’s most prestigious and profitable news program is part of a broader fight over the direction of CBS News.
And given CBS’s acquisition by a billionaire family whose business interests have become intertwined with the political interests of President Trump, it reflects a larger war over control of the media in the current moment.
That father and son, Larry and David Ellison, bought CBS’ parent company, Paramount, last summer. In January, they became co-owners of TikTok’s U.S. operations. Now they’re seeking approval from Trump’s regulators to buy Warner Bros. Discovery, the parent company of CNN.
A glamorous show shorn, for now, of most its stars
CBS fired Cecilia Vega, a correspondent, and Tanya Simon, the executive producer, from 60 Minutes last week. They are shown in this photo at the 2026 White House Correspondents’ Association Dinner on April 25, 2026 in Washington, D.C.
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But the specifics of this individual episode matter — for 60 Minutes, CBS, its audience of millions, and even the news business itself.
The program has been the most glamorous post in broadcast news. The correspondents are the stars of the show. And now, there are just three of them.
Anderson Cooper left last month, concerned over the direction of the network’s coverage. Last week was a virtual bloodbath: correspondents Cecilia Vega and Sharyn Alfonsi were fired. So were a producer and two show executives — including Tanya Simon, a longtime staffer who had stepped up as executive producer when her predecessor resigned in protest before the Ellisons’ takeover.
With Pelley’s ouster, only correspondents Lesley Stahl, Bill Whitaker, and Jon Wertheim remain. Now they are considering whether to resign, according to two associates with knowledge.
Their brand-new boss, Bilton, was previously a tech reporter for The New York Times and an investigative reporter for Vanity Fair. He executive-produced a documentary for Netflix about a couple accused of laundering Bitcoin and has been a producer on several other films.
Notably, he has no experience in television news.
Neither does Bari Weiss, whom David Ellison installed as the network’s editor in chief last October. The Ellisons also bought her center-right views-and-news site, The Free Press.
She has maintained that the network of Walter Cronkite needs a makeover for the digital moment. She has also contended for years that CBS, along with the rest of mainstream media, is too reflexively anti-Trump, anti-Israel, and too woke.
A rejection of CBS News executives’ overtures
The new executive producer of 60 Minutes, Nick Bilton, has been a tech journalist and documentary filmmaker, but lacks experience in broadcast news.
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Bilton attempted to set a conciliatory tone at Monday’s meeting — his first with the show. Pelley, a formidable veteran correspondent and former CBS Evening News anchor, wasn’t having it.
Pelley called Bilton unwelcome and unqualified. And Pelley said that Weiss was attempting to “murder” the program.
In firing Pelley on Tuesday, Bilton said the journalist had hijacked the meeting and rejected overtures to work constructively through their differences. (NPR obtained a copy of the firing notice.) Bilton wrote that Pelley’s “antipathy to the future of the show came through loud and clear.”
In his own statement late Tuesday evening, shared with NPR, Pelley accused CBS’s new news leadership of killing 60 Minutes‘ DNA and pushing him “to inject falsehoods and bias into a politically sensitive story” and “to include assertions that are unverified.”
The accusations, to which CBS has not yet responded, echo those made by Alfonsi and Vega, the two correspondents fired last week.
Earlier this year, Alfonsi publicly complained after Weiss held one of her stories at the last minute, and kept it frozen for weeks, demanding an on-camera interview with a Trump White House official that never played out. It ran, unchanged from the intended version, with additional statements from the administration tacked on to the end.
After being fired, Vega said in a statement obtained by NPR that her team had “experienced efforts to insert political bias into our stories.”
“Let’s call this what it is: censorship, both censorship and self-driven” Vega continued. “It is dangerous for the show and dangerous for democracy.”
Weiss previously rejected Alfonsi’s and Vega’s allegations. (CBS said Vega’s claims, for example, were “not based in reality” while expressing appreciation for her work.)
Weiss and Bilton say digital threat requires a 60 Minutes overhaul now
In a meeting this morning, Weiss said that Pelley chose his own path — that is, to be fired rather than to find a way to work through his concerns, according to attendees. The network and Weiss have not yet publicly addressed Pelley’s accusations of interference.
Bilton and Weiss say they respect the show’s traditions, its accomplishments and its legacy of enterprise reporting, extended interviews and visual storytelling. It rose in the ratings 9% over the past season under Simon.
The two news leaders say, however, 60 Minutes needs to be overhauled before it becomes increasingly irrelevant in the era of streamers and other sources of news, information and entertainment in the digital age.
Interviews with 12 current and former CBS News staffers, from producers to executives, suggest great reservations and suspicions remain about Weiss’ judgment and her ability to handle the prominent and even famous journalists on whom her division relies.
Weiss had initially sought to reinvent the CBS Evening News, dropping a two-anchor format that had sagged in the ratings. Cooper turned down Weiss’ overtures to anchor it and left the network altogether, concerned about her approach, according to associates. (They spoke on condition of anonymity because Cooper has not chosen to speak publicly on the matter.)
David Ellison became chairman and CEO of CBS’ parent company, Paramount, after buying it last year.
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The ratings have continued to sag under new anchor Tony Dokoupil. And some CBS journalists, including producers who have left the Evening News, have publicly accused Weiss of making editorial decisions driven by politics. She has rejected those claims.
The decision to take on overhauling two key shows — one listing, one highly profitable, both high profile — carries significant risks for Weiss and the network, even apart from other considerations.
But the Ellisons’ presence cannot be ignored.
When Shari Redstone was negotiating the sale of CBS’s parent company, Paramount, to the Ellisons’ Skydance Media last year, the network announced the end of Stephen Colbert’s late night show. He had been one of the president’s most biting and acerbic critics.
David Ellison also made a series of concessions directly to Trump’s chief broadcast regulator, Federal Communications Commission Chair Brendan Carr, gutting CBS’s diversity, equity and inclusion initiatives and appointing a conservative ombudsman to field complaints of bias against its news reporting.
Carr and other regulators approved the Paramount deal last summer.
The accommodations echo those made by other media titans.
Amazon and Blue Origin founder Jeff Bezos remade the editorial pages of the Washington Post, which he owns, into a far more hospitable zone for Trump at the outset of his second term. So did Los Angeles Times owner Dr. Patrick Soon-Shiong, a noted medical device inventor. Amazon and Blue Origin have multi-billion dollar contracts with the federal government. Soon-Shiong’s medical research firm routinely has patent applications up for review with federal regulators. One was approved Tuesday.
The Ellisons are hoping to win approval from federal regulators next month for their purchase of Warner Bros. Discovery in a deal valued at more than $110 billion. It would include Warner Bros. Studio, HBO and CNN, among other properties.
As Weiss routs CBS News’ old guard, the question of what role she might play at CNN — and what changes that portends at CBS — hangs over journalists at the two networks. The fate of 60 Minutes serves as a high-stakes case study for both.
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