Since the Black Lives Matter movement in 2013, James Baldwin’s life and work have undergone a renaissance in and outside of the academy. His penultimate novel, If Beale Street Could Talk, which recounts the story of a young African American man who is falsely imprisoned, resonates not only with the Black Lives Matter movement but with the history of mass incarceration. As scholars such as Elizabeth Hinton have demonstrated, draconian prison sentences and police surveillance were inextricably linked to the Civil Rights Movement. If Beale Street Could Talk can be read as a novel that responds directly to the oppressive shifts in policing measures during the 1960s. In fact, as scholars such as D. Quentin Miller have argued, much of Baldwin’s work is preoccupied with what the writer called “the criminal power” of white authority. Examining one of Baldwin’s least studied novels through the lens of carceral studies sheds light on his development as a writer at a point in his career when critics were dismissing him as out of touch with the harsh realities of American political life.

The concluding two chapters take up cultural responses to the ongoing violence perpetuated by mass incarceration and the global cycles of warfare and terror. Dennis R. Childs examines narratives of immobility based on police and state violence, imprisonment, and detention and deportation at national borders. He argues that “anti-carceral hip-hop” is the “aesthetic practice [that] represents the quintessential storytelling method for those most commonly targeted for police killing and imprisonment.” Reading hip-hop narratives within a “long twenty-first century” of radical literary, political, and musical practices since the 1970s, he links recent works by Dead Prez, Reyna Grande, Ann Jaramillo, Kendrick Lamar, Monifa Love, Main Source, Invincible, and Askari X to those of James Baldwin, Angela Davis, Public Enemy, Chester Himes, George Jackson, Audre Lorde, Toni Morrison, Assata Shakur, and Malcolm X.