This will come as a total surprise, but I really like James Baldwin. I know, it’s shocking. I always kept it subtle, like how I named this podcast after his book The Fire Next Time, and how I have been bringing him up every other episode for years, and how I have a shelf that is just for books by him and about him. The reason I like James Baldwin is that I’ve found something for me in his work, something that I can not just relate to but also use to understand the wider world, including my own world. This is a curious thing in the context of Baldwin because he was, ultimately, an American writer. An African-American writer, to be exact of course, but his Americanness is something which he took to heart. Not in a weird nationalist way but rather in a sort of matter-of-factly kind of way. So how did I come to relate to him? That’s one of the questions we explored here, but to be honest it’s not even the main one. What I wanted to know, and what my guest John E. Drabinski has explored in his book So Unimaginable a Price: Baldwin and the Black Atlantic, is why did Baldwin, a man clearly concerned with the fate of the world, rarely engage with the Black Atlantic and might even be described as an ‘anti-diaspora’ thinker, at least to some extent. This is a conversation about Baldwin, yes, but ultimately it is a conversation about shifting identities and perspectives in a rapidly changing world, one which seems to be changing even faster now than it did during Baldwin’s time.John E. Drabinski is Professor in the Department of African American and Africana Studies, with a joint appointment in the Department of English. Along with Ashley Newby and Brie Gorrell, he co-hosts The Black Studies Podcast, which documents the history and future of the field of Black Studies from the perspective of students, professors, artists, and activists. He is both co-editor of Journal of French and Francophone Philosophy and co-editor of the book series Global Black Critical Thought on Cambridge University Press.Mentioned:James Baldwin ReviewBlack Cultural Archives, BrixtonBeing Black and British with David OlusogaThis episode was first released for Patreon supporters on 14 August 2026 and made public on 24 August 2026.------If you’d like to support The Fire These Times, the best way to do it is through Patreon.com/thefirethesetimes. In return, you’ll get early access to everything I record, exclusive videos, the mini-series all at once, access to the monthly hangout, discounts on my classes and newsletter, the class recordings (all of them), an invitation to join the Discord chat, merch, personalised thank you cards, and more stuff to come.Registrations for the November class (online) on modern Lebanese history and politics are now open: https://thefirethesetimes.com/lebanonclass ------Social Media: Elia (Bluesky, Instagram), TFTT (Bluesky, Instagram)For feedback, requests etc: ayoub@thefirethesetimes.comEverything else is archived on the website.------Elia's recent piecesShadoMag: The Belfast pogrom was predictable972Mag: Lebanon walks into Israel’s trapAlso, for HauntologiesReport from Belfast. Day 1.Recent Podcast interviewsIt Could Happen Here: The Media Context for the Belfast PogromIt Could Happen Here: Lebanon's Agreement with Israel------CreditsElia Ayoub (host, producer, episode design), the rosa artist (TFTT theme design), Wenyi Geng (TFTT theme design), Molly Crabapple (my profile pic), Rap and Revenge (Music), and Antidote Zine (Transcriptions)As always, thank you for listening and take care.
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