Baldwin's other later novels If Beale Street Could Talk and Just Above My Head, as less interesting and complex than Baldwin's earlier works. However, she argues that these novels build upon, revise, and refocus his previous considerations of racial and sexual identity in America by "exploring the sources of personal and cultural resistance to the pressures of a deforming context" rather than "mapping the experience of internalized racism and homophobia". Upon its publication the Tell Me How Long the Train's Been Gone received largely negative reviews. White male critics, such as Mario Puzo, tended to suggest that Baldwin's politics had compromised its literary merits. Puzo's review for the New York Times, called the book "simpleminded" and argued that a "propaganda novel" cannot be called art. The "absolute inadequacy and overall misguided nature of this initial response" has been discussed by Scott, who observes that this contemporary critical reception reflects white Americans' decreasing sympathy with the Civil Rights movement during the late 1960s in the face of increasing militancy and assertions of Black Power, with which Baldwin was associated. Omari Weekes has, more recently, described Tell Me How Long the Train's Been Gone as "criminally underread", noting how the novel's descriptions of "the loneliness of being Black in a white room" and Leo Proudhammer's attempts to navigate being perceived as "too young, gifted and Black" continue to resonate strongly in the twenty-first century. References 1968 American novels Dial Press books Novels by James Baldwin Novels set in New York City Novels about actors Novels with gay themes Novels with bisexual themes 1960s LGBT novels Male bisexuality in fiction African-American novels