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90 pages 3 hours read

James Baldwin

If Beale Street Could Talk

Fiction | Novel | Adult | Published in 1974

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Part 2, Pages 177-197Chapter Summaries & Analyses

Part 2: “zion”

Part 2, Pages 177-197 Summary

In his cell, Fonny dreams of the uncertainty he feels during his first effort to create a sculpture out of a piece of wood. He wakes up from this dream. He is tired, smells bad, and feels a growing sense of despair. He masturbates to pass the time. Tish comes to visit him that evening, and she notes with concern how ragged he looks. Tish tells Fonny that his trial date is coming up and that the baby will soon arrive as well.

Tish also updates Fonny on Hayward’s progress on his defense. Victoria is likely to break under the pressure of questioning on the stand, and Hayward has uncovered that she is a sometimes sex worker. In addition, the decision to place just one African American man—Fonny—in the lineup probably tainted the identification enough that they can get the case thrown out. There is also the accusation that Bell killed a little boy. Fonny is not reassured by these bits of news.

After Sharon returns home from Puerto Rico, she tells her family that the last she heard of Victoria was that the woman had a miscarriage and suffered a complete psychological breakdown. Pietro took her away to Barranguitas, a mountain region, and the woman is unlikely to be found again. The unavailability of Victoria will lead to the indefinite postponement of the trial, during which Fonny is likely to be held in jail. The only good plan as a result is to ask for bail to get Fonny out.

Tish shares the news with Fonny, who is devasted by it. Fonny reconciles himself to the fact that the stay in jail may be permanent. He begins acquainting himself with the other men imprisoned with him. Tish brings him books and papers. Fonny is placed in solitary for “refusing to be raped” (192), and Tish frequently finds him with new injuries when she visits. They finally manage to secure the bail determination, but the amount is high.

Tish knows that the baby will come any day now. One day, Fonny’s sister Adrienne calls. She is crying. Frank was fired from his job for stealing. He came home drunk and left in a bad state of mind. She asks Tish if she has seen Frank. Later that night, it’s revealed that Frank killed himself with exhaust fumes from his car. Tish passes out and goes into labor.

The novel ends with an ambiguous scene. Fonny is working on a sculpture, and in the background “from far away, but coming nearer, the baby cries and cries and cries […] like it means to wake the dead” (197). Fonny is either dreaming of his art while he is in prison, or else he is at work while his child cries in the background.

Part 2, Pages 177-197 Analysis

Baldwin closes the novel with a vision of Fonny sculpting as the baby cries in the background. This ending has multiple meanings. On the one hand, perhaps the family managed to secure the bail and Fonny is out in time to be there with his young, new family. On the other hand, this may be yet another dream that Fonny uses to pass the time in jail now that his detention is indefinite.

The optimistic interpretation of that ending would imply that despite all the forces arrayed against them, Fonny, Tish, and the other members of the Rivers family have used their resources—family, love, art—to survive for another day. The pairing of Fonny and the baby is one Tish makes earlier when she realizes both Fonny and the baby “want out” (162)—they wish to be free. Fonny’s creation of more art as well as the cries of the baby would imply that they won out and are now engaging in acts of self-assertion and self-expression that allow them to go beyond just surviving.

On the other hand, Fonny’s sculpting and the sound of the baby’s cries may simply be acts of imagination. Fonny’s vision of sculpting as he sits in the jail cell would allow him to a achieve a moment of psychological freedom despite his physical incarceration. Fonny’s vision of the cries of the child would allow him to achieve a moment of connection to the child from afar, despite his inability to be there as physically present father because of his incarceration. In short, Fonny would simply have to imagine being the Black artist and patriarch because of the efforts of the criminal justice system to separate him from his vocation and family.

Baldwin gives this section the title of “zion,” a name that echoes the reference to “Lord, I’m Troubled About My Soul,” in which the speaker’s many troubles are enumerated and the hope for redemption and relief in some distant future. As a writer associated with the Civil Rights Movement and Black Arts, Baldwin bore witness to how African Americans survived despite the racism of American society. The ending of the novel and the section title show that no matter what the actual outcome, love for one another and acts of imagination and creativity are central to African American identity. 

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