I want to avoid generalities as far as possible. (1) In some of the most quoted lines from his essays, Baldwin owns up to the difficulty for the 'Negro writer' to tap the source of his creative energy: One writes out of one thing only-one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give ... The difficulty then for me, of being a Negro writer was the fact that I was, in effect, prohibited from examining my own experience too closely by the tremendous demands and the very real dangers of my social situation. (NNSo, p8, italics mine) The 'Negro writer' is estranged from his experience as an individual by his social condition that acts as a barrier between individual experience and creative talent. (2) The urgency of survival, the ever-present risks of an untimely death, and the necessities of life are linked to the condition of being black. What makes him write is precisely what this 'condition' prevents him from accessing. This obstacle echoes the geographical distance that Baldwin placed between himself and America when he felt he had to write. It spells the necessity of exile, an exile that merely doubles up the exile of his condition. (3) His first novel Go Tell it on the Mountain took ten years to complete and was finished abroad. Baldwin claimed that his leaving for France was not a deliberate choice, but rather his way of separating himself from America: 'I left America much more than I went to live in France. I simply left. I got out of where I was because I was becoming a dangerous person to myself '.' (4) A year later, in answer to Henry Louis Gates's questions, that predicament is even clearer: 'The only thing standing between my writing had to be me: it was I, it was me-I had to see that. Because the French left me alone, I was freed of crutches, the crutches of race' (CJB, p264). The biblical metaphor of the cripple spells the paradox of having to reach a place where 'race' is both the obstacle to writing and what needs to be probed in writing. The recurrence of the danger that one is to oneself as a black American, rooted in death by suicide or as a result of police brutality or of street violence, lies at the core of the advent of writing. (5) Much later, commenting on his leaving the church, Baldwin wrote that the leap demanded: 'commit[ing himself] to the clear impossibility of writing, and attempting to save [his] family at that' (DFW, p503, italics mine). The experience of his adolescent friend Eugene Worth who threw himself from the George Washington Bridge, a recurrent memory transposed into his texts, haunts his writing, mixed with his remorse at not having declared his love for him. (6) For the black writer writes under the threat of death, the menace that he may lose his life. (7) Conversely, writing can be a way out of suicide, as when Baldwin returned to writing at the end of his stay in Corsica after attempting to drown himself. His thoughts are conveyed in a long confessional journal entry entitled 'The Last Days' (JBB, p131). That Baldwin's essays are grounded in autobiography is a common-place of Baldwin's criticism. Indeed, the essays and the various speech genres that his writing inhabits-notes, letters, addresses, speeches-almost all develop around an autobiographical core. (8) Yet the modality of the articulation of personal memories with a didactic stance needs to be addressed. Another obvious instance of autobiographical anchoring in Baldwin's work is the slightly veiled transposition of real-life characters into the fictional characters of his plays and novels and the use of real-life incidents in the fiction. Thus 'autobiography' is present in both the author's non-fiction and fiction to such an extent that one can wonder about the necessity of its anchoring, the modality of its combination with the rest of the text and the effects of its presence throughout the output. …