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This essay argues for the importance of James Baldwin’s last house, located in St. Paul-de-Vence in the south of France, to his late works written during the productive period of 1971–87:  No Name in the Street  (1972),  If Beale Street Could Talk  (1974),  The Devil Finds Work  (1976),  Just Above My Head  (1979),  The Evidence of Things Not Seen  (1985), and the unpublished play  The Welcome Table  (1987). That period ushered in a new Baldwin, more complex and mature as an author, who became disillusioned while growing older as a black queer American who had no choice but to live abroad to get his work done  and  to feel safe. Having established his most enduring household at “Chez Baldwin,” as the property was known locally, the writer engaged in literary genre experimentation and challenged normative binaries of race, gender, and sexuality with his conceptions of spatially contingent national identity. The late Baldwin created unprecedented models of black queer domesticity and humanism that, having been excluded from U.S. cultural narratives until recently, offer novel ways to reconceptualize what it means to be an American intellectual in the twenty-first-century world.

“You have to get to where you are before you can see where you’ve been”: Searching for Black Queer Domesticity at Chez Baldwin