In Me and My House: James Baldwin’s Last Decade in France, Magdalena J. Zaborowska delivers a wide-ranging argument for the influence of James Baldwin’s final home in St. Paul-de-Vence in the South of France on his late works. The book follows her similarly site-specific monograph, James Baldwin’s Turkish Decade: Erotics of Exile (Duke UP, 2009). Me and My House’s greatest strengths lie in Zaborowska’s curatorial impulse, or what she likens to the “vitrine” (43–45), or display. This creative practice from her childhood spent in Cold War Poland involved her and her friends each digging a hole in the ground in which to create whimsical artworks from found materials; they would then place a piece of glass over their art, creating a “vitrine,” and bury their projects to reveal to one another at a later time. Zaborowska links this playful approach to Baldwin’s own oeuvre, but such assemblages also provide a strong analogue for her own critical method in Me and My House, in which she gathers together and displays for the reader a sweeping array of Baldwin’s materials focused on his last years, from 1971–1987, across media and visual cultures.

中文翻译：

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我和我的房子：詹姆斯·鲍德温在法国的最后十年，玛格达莱娜·J. 扎博罗斯卡 (Magdalena J. Zaborowska)

在《我和我的房子：詹姆斯·鲍德温在法国的最后十年》一书中，玛格达莱娜·J·扎博罗斯卡 (Magdalena J. Zaborowska) 就詹姆斯·鲍德温 (James Baldwin) 在法国南部圣保罗-德旺斯 (St. Paul-de-Vence) 的最后故居对其晚期作品的影响提出了广泛的论点。这本书遵循她类似的特定地点专着，詹姆斯鲍德温的土耳其十年：流放的色情（Duke UP，2009）。我和我的房子最大的优势在于 Zaborowska 的策展冲动，或者她将其比作“玻璃橱窗”（43-45）或展示。她童年在冷战波兰度过的这一创造性实践让她和她的朋友们各自在地上挖了一个洞，用找到的材料创造出异想天开的艺术品；然后，他们会将一块玻璃放在他们的艺术品上，创造一个“玻璃橱窗”，然后将他们的项目埋起来，以便日后向彼此展示。