Mixed Race Studies

Neo-Passing: Performing Identity after Jim Crow

University of Illinois Press
March 2018
296 pages
6 x 9 in.
11 black & white photographs
Cloth ISBN: 978-0-252-04158-7
Paper ISBN: 978-0-252-08323-5
Ebook ISBN: 978-0-252-05024-4

Edited by:

Mollie Godfrey, Assistant Professor of English
James Madison University, Harrisonburg, Virginia

Vershawn Ashanti Young, Associate Professor of Drama and Speech Communication
University of Waterloo, Waterloo, Ontario, Canada

Crossing old boundaries to create new identities

African Americans once passed as whites to escape the pains of racism. Today’s neo-passing has pushed the old idea of passing in extraordinary new directions. A white author uses an Asian pen name; heterosexuals live “out” as gay; and, irony of ironies, whites try to pass as black.

Mollie Godfrey and Vershawn Ashanti Young present essays that explore practices, performances, and texts of neo-passing in our supposedly postracial moment. The authors move from the postracial imagery of Angry Black White Boy and the issues of sexual orientation and race in ZZ Packer’s short fiction to the politics of Dave Chappelle’s skits as a black President George W. Bush. Together, the works reveal that the questions raised by neo-passing—questions about performing and contesting identity in relation to social norms—remain as relevant today as in the past.

Gale Wald offers a foreword and Michele Elam an afterword.

Contributors: Derek Adams, Christopher M. Brown, Martha J. Cutter, Marcia Alesan Dawkins, Alisha Gaines, Jennifer Glaser, Allyson Hobbs, Brandon J. Manning, Loran Marsan, Lara Narcisi, Eden Osucha, and Deborah Elizabeth Whaley

Multicultural Cities in Frank Yerby

Interminable Rambling
2018-03-16

Matthew Teutsch, Instructor
Department of English
Auburn University, Auburn, Alabama

Throughout his oeuvre, Frank Yerby works to deconstruct myths of the Old South and historical misinformation. Along with these goals, he also dismantles the dichotomy of Black and White; instead, he populates his works with individuals and scenes that defy a simplistic characterization. In this manner, Yerby shows that race is not a biological fact; rather, it is a social construct. One of the key ways that Yerby accomplishes this, especially in regard to the commingling of individuals, is through his descriptions of cities and the multitude of different people that populate the space. Today, I want to look at a couple of scenes where he does this from his first novel The Foxes of Harrow (1946) and his seventh novel The Saracen Blade (1952). I chose these two texts because the first takes place in antebellum New Orleans and the second occurs in thirteenth century Italy. Both, though, comment on issues of class and race during the mid-twentieth century.

Walking through the Vieux Carre to catch a glimpse of the Marquis de Lafayette in The Foxes of Harrow, Andre LeBlanc gives Stephen Fox an education in the rules, customs, and racial stratification of New Orleans, a stratification that does not fall easily into the dichotomy of Black and White…

Read the entire article here.

What do Meghan Markle and Chicago woman who wrote ‘Passing’ have in common?

The Chicago Tribune
2018-02-23

Christopher Borrelli

Nella Larsen, author of “Passing.” (Carl Van Vechten)

Nella Larsen was a mystery in life, and a mystery after her death in 1964. According to biographers, when she died her half sister inherited the $35,000 that remained in Larsen’s savings, then said she didn’t know she had a half sister.

Which wasn’t true.

Yet, in many ways, it’s the response you expect.

Nella Larsen was born Nellie Walker in 1891, in Chicago.

Or Nella Larsen was born Nella Larsen, 1892, in Chicago.

Or Nella Larsen was born Nellye Larson, 1893, in Chicago.

Biographers have run across a few possibilities, and the agreed-upon details are this: Nella Larsen was born in 1891, in Chicago, as Nellie Walker. Larsen fudged her vitals on occasion, depending on who was asking and what form she was completing. She lived her life at times with a sort of concentrated vagueness — “in the shadows,” wrote George Hutchinson, one of her biographers. Just as her career was taking off, she broke ties with her closest friends, and she spent her last three decades working as a nurse, living in a relative, self-imposed anonymity. Which sounds melodramatic, yet Larsen — who had been a major star of the Harlem Renaissance after leaving Chicago (but never quite cast aside the rejection that she felt here) — lived a life that could fuel melodramas.

As it happens, she left great ones, slim novels that amount to 250 pages, combined. Indeed, “Quicksand” (1928) and “Passing” (1929) constitute most of her published work. Yet both are portraits of Chicago women who, like Larsen, navigated the blurriest of racial lines in the early 20th century, having been born to one black parent and one white parent. Both novels are about women who “passed” — that is, they presented themselves, day to day, as white. Her biographers say it’s unlikely Larsen herself did this, yet her protagonists are haunted by identity, frozen out by the black bourgeois, not at ease in white society, torn by the task of self-identifying in a binary-minded country…

Read the entire article here.

“Making the Beast with two Backs” – Interracial Relationships in Early Modern England

Literature Compass
Volume 12, Issue 1, January 2015
Pages 22–37
DOI: 10.1111/lic3.12200

Miranda Kaufmann, Senior Research Fellow
Institute of Commonwealth Studies, School of Advanced Study
University of London

Shakespeare’s tragedy of Othello and Desdemona has long attracted critics to consider the issues of interracial relationships and miscegenation in early modern England. More recently, other black characters have been found in Renaissance literature and an African presence in 16th and 17th century England has been demonstrated from archival sources. This article gives an overview of these developments and their implications for the study of interracial relationships in early modern literature. Evidence from the archives is brought to bear on different aspects of relationships both between black men and white women and between black women and white men. This new information about interracial marriages, as well as sexual intercourse or “fornication”, prostitution and the resulting mixed race children must be incorporated into the discussion of interracial relationships in Renaissance literature.

Read or purchase the article here.

White Supremacy and the Dangerous Discourse of Liberal Tolerance

The Paris Review
2018-02-13

Ismail Muhammad
Oakland, California

A scene at the race disturbance in Wilmington, North Carolina. Originally published in Colliers Weekly, November 26, 1898.

Watching Donald Trump speak about the violent white-supremacist rally that took place in Charlottesville last summer was a surreal experience. Not the first press conference where he referred to neo-Nazi protestors as “very fine people.” I mean the second time, when he repudiated those fine people. “Racism,” he intoned, clearly reading from a teleprompter, “is evil … white supremacists and other hate groups are repugnant to everything we hold dear as Americans.” Nobody could mistake his droning boredom for actual investment in the words he was speaking: his attempt to embrace the decorous discourse of liberal tolerance was baldly hypocritical.

As the summer ended and the fall semester began at U.C. Berkeley, where I study literature, far-right agitators descended along with the cool weather. A succession of activists and pundits—Ben Shapiro, Milo Yiannopoulos, and their ilk—made their way to campus. They brought the far-right protestors and threats of violence along with them, all the while invoking the language of tolerance and free speech. Berkeley’s former chancellor Nicholas Dirks even cited the campus community’s “values of tolerance” in defending Yiannopoulos’s appearance. The myriad ways in which people were deploying the word tolerance managed to drain the already-insufficient term of its content. All that was left was am empty concept that could accommodate any agenda. It was more clear than ever that the language of tolerance had become ineffective, just a mask behind which antipluralist demagogues could hide.

Admitting that Trump and the far right are capable of surprising me makes me feel unforgivably naive. At this point, to be surprised feels like a luxury, and I find myself bored with the chorus of outraged liberal critics who sound the alarm every time Trump breaks another democratic norm. But it’s worth inquiring why white supremacy continues to surprise us when white-race hatred is such an intractable aspect of American society. And how our shock perpetuates that violence.

In Charlottesville’s aftermath, I turned to Charles Chesnutt’s 1901 novel, The Marrow of Tradition. In his novel, Chesnutt—an impossibly industrious author, activist, lawyer, and educator—looks back at the wreckage of post-Reconstruction racial politics and attempts to answer these questions via historical fiction. Marrow is, among other things, an examination of how the genteel language of tolerance obscures and enables antiblack violence. In his focus on historical calamity—the Wilmington massacre narrowly and the collapse of Reconstruction more broadly—Chesnutt uses the form of the novel to examine how our shared language reinforces white supremacy’s grip on American society…

Read the entire article here.

Kit de Waal: ‘Make room for working class writers’

The Guardian
2018-02-10

Kit de Waal

‘A writing career never entered my head.’ … Kit de Waal. Photograph: Sarah Lee for the Guardian

When Kit de Waal was growing up in 1970s Birmingham, no one like her – poor, black and Irish – wrote books. Forty years on, the author asks, what has changed?

Reading at school was agony. A slow, child by child rotation around the class, six pages each. Great Expectations. Vanity Fair. The Mill on the bloody Floss. The boys with their flatline monotones. The girls, careful not to stumble and be humiliated. English was my best subject, so this process was painful. I wanted to race ahead and get to the end of the story. Yet the idea of taking that book home to read later and finish, that never occurred to me. Not when we owned the ultimate big novel: the Bible. We were Jehovah’s Witnesses and three times a week we’d sit in a draughty hall on the backstreets of Sparkbrook in Birmingham, wrapped around a paraffin heater discussing the 66 books that made up the Old and the New Testaments. I’ve read it cover to cover at least five times.

Leviticus and Numbers were hard going, all that counting and recounting, all those laws and exhortations, but there were very beautiful passages, too. The Song of Solomon, Psalms, Proverbs. The Gospels, too, four different takes on one big adventure. They had the ingredients of a good thriller with a hero, a call to arms, a savage tragedy. Without realising it, I was learning what you had to do to write well, how to characterise, how to keep your reader turning the page without the threat of eternal damnation as an incentive.

But writing as a career? That never entered my head. The only writers I knew were dead. And apart from Enid Blyton, they were dead men. And white. And posh. Even when I began to read widely in my 20s, it was still a case of: if you can’t see it, you can’t be it. No one from my background – poor, black and Irish – wrote books. It just wasn’t an option…

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The Pedagogy and Politics of Racial Passing: Examining Media Literacy in Turn-of-the-Century Activist Periodicals

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy
Volume 4, Issue 1 (Winter 2017)

Tara Propper, Senior Lecturer
Department of Literature and Languages
University of Texas, Tyler

This article explores how we can use African American activist media to theorize the role of pedagogy in the public sphere. Focusing on how racial passing stories expose the limiting (and often tropic) binaries through which racial identity is deciphered, this analysis further highlights the extent to which these binary constructions of identity are learned through media narration.

Using the December, 1912, issue of W.E.B. Du Bois’s Crisis Magazine as a touchstone for investigation, this analysis considers how pedagogy is taken up as both a theme and project in the magazine. Foregrounding the degree to which Crisis critiques and counternarrates the demeaning and derogatory portrayals of African American identity in early twentieth-century media, this article suggests that Du Bois’s magazine not only indicts dominant visual systems of seeing and evaluating African American identity but also reveals the extent to which such systems of seeing and interpreting blackness are learned and can be remediated through media intervention.

The ultimate aim of this article is to derive an interpretive framework that understands pedagogy as not simply a method for inscribing pre-existent dominant norms but rather as a means for intervening, questioning, and challenging dominant systems of representation and public articulation. Moreover, this analysis intends to reveal the hidden pedagogies within dominant cultural paraphernalia for the purposes of advancing an approach to media literacy that recognizes and endeavors to transform the tropes and archetypes applied to marginal and minority communities.

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Colouring the Caribbean: Race and the art of Agostino Brunias

Manchester University Press
December 2017
272 pages
Hardcover ISBN: 978-1-5261-2045-8
eBook ISBN: 978-1-5261-2047-2

Mia L. Bagneris, Jesse Poesch Junior Professor of Art History
Tulane University, New Orleans, Louisiana

Colouring the Caribbean offers the first comprehensive study of Agostino Brunias’s intriguing pictures of colonial West Indians of colour – so called ‘Red’ and ‘Black’ Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race – made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias’s paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias’s work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time.

Contents

• Introduction
• 1. Brunias’s tarred brush, or painting Indians black: race-ing the Carib divide
• 2. Merry and contented slaves and other island myths: representing Africans and Afro-Creoles in the Anglxexo-American world
• 3. Brown-skinned booty, or colonising Diana: mixed-race Venuses and Vixens as the fruits of imperial enterprise
• 4. Can you find the white woman in this picture? Agostino Brunias’s ‘ladies’ of ambiguous race
• Coda – Pushing Brunias’s buttons, or re-branding the plantocracy’s painter: the afterlife of Brunias’s imagery
• Index

‘Twisting herself into all shapes’: blackface minstrelsy and comic performance in Harriet Wilson’s Our Nig

European Journal of American Studies
9-1 | 2014 : Spring 2014

Elizabeth Boyle, Lecturer
Department of English
University of Hull, Hull, United Kingdom

Figure 1: Caroline Fox Howard as ‘Topsy’ in Uncle Tom’s Cabin, c. 1854.

This article argues that the practical jokes running throughout Wilson’s novel Our Nig; or Sketches from the Life of a Free Black (1859) are evidence of a deliberate and sophisticated comic strategy that exploits the spectacular body’s potential for subversive performance and works against the alienating conditions of social and political marginalisation experienced by African Americans in the antebellum period. Initially utilising the crude humour of minstrelsy, Wilson deliberately capitalised on her readers’ laughter in order to defamiliarise the ‘spectacle’ of blackness in both popular performance culture and indentured servitude. Using movement, costume and material props, Wilson imagines new ways to present her protagonist’s body through the minstrel stereotypes of Topsy, Jim Crow, Zip Coon and Jasper Jack. Wilson then turns the joke on her white readers, ultimately demonstrating that whiteness, like blackness, is a performative identity. Taken as a whole, Wilson’s comic strategy, with its ‘embodied insurgency’, aligns her with the period’s most politically racial African American performers.

1. Introduction

The idea for this article sprang from a seemingly simple question: why are there so many practical jokes played in Harriet Wilson’s novel, Our Nig (1859)? Although the novel—generally recognised as the first to be published in the United States by an African American—centres on the tragic story of a young, mulatto indentured servant mistreated by her Northern mistress, the narrative consistently undermines its mid-nineteenth century sentimental framework by including short comic sketches performed by the supposedly tragic protagonist, who nevertheless ‘was ever at some sly prank’, and would often ‘venture far beyond propriety’ in entertaining herself and those around her (Wilson 38). Are these comic interruptions evidence of narrative inconsistency? Or, is Wilson’s persistent inclusion of the figure of the black comic performer in fact a shrewd exploration of a powerfully resonant theatrical tradition and its manifold racial discourses? And what does it mean for a female African American author writing at the crux of the ‘slavery question’ in the run-up to the Civil War—and near the peak of blackface minstrel popularity—to delve into the complex social meanings behind popular comic performances of blackness? Why these pranks, in this manner, at this time?…

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“Black Matters”: Race and Literary History in Mat Johnson’s Pym

European Journal of American Studies
11-1 | 2016 : Special Issue: Intimate Frictions: History and Literature in the United States from the 19th to the 21st Century

Jennifer M. Wilks, Associate Professor of English
University of Texas, Austin

After being denied tenure for expanding his teaching of race and literary history beyond exclusively African American texts, Chris Jaynes, the protagonist of Mat Johnson’s novel Pym (2011), sets out to retrace the voyage from Edgar Allan Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket. This essay examines how Johnson uses Jaynes’ own shipwreck—he and his crew are stranded in Antarctica—to posit the history of race in the United States as a national disaster that overdetermines contemporary social dynamics. Using intertextuality and satire, Johnson follows Toni Morrison’s precedent in depicting blackness and whiteness as constructs that are inextricably bound and that cannot be understood one without the other. Central to this claim are Johnson’s mirroring of the progressive, 21st-century African American Jaynes with his narrative foil: the pickled, ancient Anglo American Arthur Gordon Pym. I contend that Johnson not only revisits Morrison’s argument but also expands upon it; for, as Jaynes and his fellow characters confront the thorny legacy of race and racism in the United States, they must also face a future in which the country’s changing demographics will render questions of identity more, rather than less, complicated.

Read the entire article here.