Like the people who write them, books depend on and are sustained by
complex and changing relationships with others. This one has led me to
many who share my enthusiasm for James Baldwin’s works—colleagues,
students, artists, archivists, and interview subjects in Turkey, the United
States, France, and Switzerland. Some of them have become close friends
in the process, some disappeared from my life. So many others had fleeting
contact with various parts of my work—commenting on my ideas at con-
ferences, discussing my writing after guest lectures or workshops, or volun-
teering observations about Baldwin and information about resources—that
I fear I cannot include them all here. Before I begin, then, let me apologize
for that, as well as thanking all for their support and encouragement. This
project has occasioned a veritable welcome table.
First, I would like to thank the anonymous readers for Duke University
Press, and the editors who oversaw my book’s transition from a manuscript
to published volume: Reynolds Smith, who encouraged me to focus exclu-
sively on Turkey and whose colorful tales of his own hippie-year travels in
Istanbul added an unexpected bonus to our meetings; Bill Henry, who served
as the copy editor; Pam Morrison and Sharon Torian, who helped to make
the final product appear worthy of its subject; Amy Ruth Buchanan, who
designed the beautiful cover and oversaw the placement of Sedat Pakay’s
wonderful photographs and other visuals throughout the volume.
Second, I began planning this book during my last year at Aarhus Uni-
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