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Baldwin's first 3 novels -Go Tell It on the Mountain, Giovanni's Room, and yet another Country-boil over with rage, prejudice, and hatred, yet the principal force his characters must contend with is love. Not modest or mawkish but "...something busy, more like fire, like the end" (qtd. In O'Neale 126), the Baldwin's idea of love could defeat the horrors of culture and also pave the way to "emotional security" (Kinnamon 5). His recipe calls for a established identity, a confrontation with and acceptance of reality, and ultimately, an openminded, committed relationship. Even though Baldwin's characters desperately need love, they fail to satisfy these personal requirements, as well as also the seeds of love that they sow not take root and grow into fruition. Baldwin's fixation with love, especially a romance refused, appears from his past, which colors need to of his own writings. Baldwin never knew his dad. He suffered the brunt of the stepfather's abuse only because he was not his child. Similarly, Baldwin's characters not receive familial love and so are cast out, with neither support nor an comprehension of romance, into a world of hatred. Baldwin never forgot his own cold, strict, intolerant stepfather, David Baldwin, also this neglected relationship between father and son forms the foundation for his first novel, Go Tell It on the Mountain. Also fundamental to Baldwin's functions is his homosexuality, which plays a vital role in Giovanni's Room and yet another Country. He favors the gay characters, that come closest to achieving love, not only due to their novelty, but since they tend to fulfill more of Baldwin's prerequisites: "In his most elegant formula, [Baldwin] remarked that the word homosexual may be an afterthought, perhaps a.. .