Reviewing the novel in The New York Times in 1974, the novelist Joyce Carol Oates described the book as "a moving, painful story" but "ultimately optimistic. It stresses the communal bond between members of an oppressed minority, especially between members of a family," offering
"a quite moving and very traditional celebration of love. It affirms not only love between a man and a woman, but love of a type that is dealt with only rarely in contemporary fiction--that between members of a family, which may involve extremes of sacrifice."[2]
Anatole Broyard, also writing for The New York Times, was less sanguine. Deeming the novel a "sentimental love story," he writes,
I get the feeling that Mr. Baldwin doesn't worry overmuch about the authenticity of his books. He knows that, with all his faults, a sizable proportion of the American public will love him still. He is a brand name by now. In fact, he is so dated—I think even Richard Wright is more contemporary—that he might even qualify for our current nostalgia craze. An urbanized "Perils of Pauline," his book could make it equally well as a "gothic" novel, sending thrills of synthetic terror down the spine of that legendary old lady in Dubuque.[5]
In 2015, Stacia L. Brown, writing in Gawker, similarly found Beale Street "belong[ed] to a collection of literature that seeks to humanize black men, through their relationships with parents, lovers, siblings, and children. It swan-dives from optimism to bleakness and rises from the ash of dashed hopes."[1]
When Baldwin spoke to Hugh Hebert of The Guardian upon the release of Beale Street in 1974, he said about his work: "Every poet is an optimist... But on the way to that optimism 'you have to reach a certain level of despair to deal with your life at all.'"[6]
