Mixed Race Studies

Passing: Intersections of Race, Gender, Sexuality and Class

Virginia Polytechnic Institute and State University
2017-07-17
379 pages

Dana Christine Volk

Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In ASPECT: Alliance for Social, Political, Ethical, and Cultural Thought

African American Literature in the 20th century engaged many social and racial issues that mainstream white America marginalized during the pre-civil rights era through the use of rhetoric, setting, plot, narrative, and characterization. The use of passing fostered an outlet for many light-skinned men and women for inclusion. This trope also allowed for a closer investigation of the racial division in the United States during the 20th century. These issues included questions of the color line, or more specifically, how light-skinned men and women passed as white to obtain elevated economic and social status. Secondary issues in these earlier passing novels included gender and sexuality, raising questions as to whether these too existed as fixed identities in society. As such, the phenomenon of passing illustrates not just issues associated with the color line, but also social, economic, and gender structure within society. Human beings exist in a matrix, and as such, passing is not plausible if viewed solely as a process occurring within only one of these social constructs, but, rather, insists upon a viewpoint of an intersectional construct of social fluidity itself. This paper will re-theorize passing from a description solely concerning racial movements into a theory that explores passing as an intersectional understanding of gender, sexuality, race, and class. This paper will focus on contemporary cultural products (e.g., novels) of passing that challenge the traditional notion of passing and focus on an intersectional linkage between race, gender, sexuality, and class.

Read the entire dissertation here.

In Passing: Arab American Poetry and the Politics of Race

Ethnic Studies Review
Volume 28, Issue 2 (2005)
pages 17-36

Katherine Wardi-Zonna
Gannon University, Erie, Pennsylvania

Anissa Janine Wardi
Chatham College, Pittsburgh, Pennsylvania

Racial passing has a long history in America. In fact, there are manifold reasons for passing, not the least of which is to reap benefits-social, economic and legal-routinely denied to people of color. Passing is conventionally understood to be a volitional act that either situationally or permanently allows members of marginalized groups to assimilate into a privileged culture. While it could be argued that those who choose to pass are, in a sense, race traitors, betraying familial, historical and cultural ties to personhood,¹ Wald provides another way of reading passing, or “crossing the line,” as a “practice that emerges from subjects’ desires to control the terms of their racial definition, rather than be subject to the definitions of white supremacy” (6). She further contends that racial distinction, itself, “is a basis of racial oppression and exploitation” (6).

Read the entire article here.

Hypatia’s Editor and Reviews Editor Resign; Authority of Associate Editors “Temporarily Suspended”

Daily Nous: News For and About the Philosophy Profession
2017-07-21

Justin W.

The editor of feminist philosophy journal, Hypatia, Sally Scholz (Villanova University) and the editor of Hypatia Reviews Online, Shelley Wilcox (San Francisco State University), are resigning from their positions in the wake of the controversy surrounding the publication of “In Defense of Transracialism” by Rebecca Tuvel (Rhodes College). Meanwhile, the Board of Directors of Hypatia, the non-profit corporation that owns the journal, is taking “emergency measures to restore the academic integrity of the journal” and has “temporarily suspended the authority of the Associate Editorial Board.”

Readers may recall that the associate editors of Hypatia, responding to criticism on social media of the journal’s decision to publish Tuvel’s article, issued an unofficial apology in which they stated that the article “should not have been published.”…

Read the entire article here.

New Perspectives on James Weldon Johnson’s The Autobiography of an Ex-Colored Man

University of Georgia Press
2017-07-15
272 pages
Trim size: 6 x 9
Hardcover ISBN: 978-0-8203-5097-4
Ebook ISBN: 978-0-8203-5096-7

Edited by

Noelle Morrissette, Associate Professor of English
University of North Carolina, Greensboro

James Weldon Johnson (1871–1938) exemplified the ideal of the American public intellectual as a writer, educator, songwriter, diplomat, key figure of the Harlem Renaissance, and first African American executive of the NAACP. Originally published anonymously in 1912, Johnson’s novel The Autobiography of an Ex-Colored Man is considered one of the foundational works of twentieth-century African American literature, and its themes and forms have been taken up by other writers, from Ralph Ellison to Teju Cole.

Johnson’s novel provocatively engages with political and cultural strains still prevalent in American discourse today, and it remains in print over a century after its initial publication. New Perspectives contains fresh essays that analyze the book’s reverberations, the contexts within which it was created and received, the aesthetic and intellectual developments of its author, and its continuing influence on American literature and global culture.

NBCBLK Summer Book Club: ‘New People’ by Danzy Senna

NBCBLK
NBC News
2017-07-14

Donna Owens

Danzy Senna (Mara Casey)

NEW PEOPLE
By Danzy Senna
229 pp. Riverhead Books, $26

The literati have always loved Danzy Senna.

In 1998, the biracial Boston native dazzled literary circles with her debut novel, `Caucasia.’ The coming of age tale—which tackled race, class and gender before terms like `intersectionality’ entered the mainstream lexicon—nabbed awards, and was hailed an instant classic.

Senna’s follow-up novel, `Symptomatic,’ (2001) further explored mixed-race characters. Her memoir, `Where Did You Sleep Last Night?: A Personal History,’ (2009) and story collection, `You Are Free,’ (2011) continued probing identity politics.

Now the scribe is back with her anticipated third novel,`New People.’ As with Senna’s previous work, it mines the complex themes of race, sex, and class. The tale unfolds through the adventures of Maria, a hip Brooklynite whose enviable lifestyle unravels behind her obsession with a man she barely knows…

…You’re biracial—White mom and African American father — and your writing delves frequently into race. Is it a painful topic for you?

So for me, I’m not so much writing about race as I am writing about America. And to me, the American story is one of race, money and class. We do live in a racialized world, and I’ve spent my whole life in this space. I find it strange when writers don’t address it. I’m almost always assumed to be white. I’ve been privy to a lot of racism and conversations in rooms where I unintentionally disappeared into whiteness. I think there were periods when it was a struggle. But I’m at a place in my life when I’m very clear on who I am, my own story and who I come from…

Read the entire interview and book excerpt here.

‘Krazy Kat,’ and all that jazz

The Boston Globe
2017-06-23

Matthew Guerrieri, Globe Correspondent

This Sunday is the anniversary of the end of one of the greatest comic strips of all time. On June 25, 1944, the final installment of “Krazy Kat” was published, two months after the death of its creator, George Herriman. In various forms since 1910, the strip’s essential paradox — Ignatz, a mouse, forever beans Krazy with bricks, who nevertheless loves him back — yielded seemingly inexhaustible variations.

In its day, “Krazy Kat” was more a critical than a popular favorite, though publisher William Randolph Hearst, a fan, continued to give Herriman carte blanche despite the strip’s sometimes meager readership. But its dreamlike artwork, linguistic fantasy, and self-referential tinkering with comic-strip form influenced numerous other art forms — music included.

The dense, idiosyncratic argot of Herriman’s dialogue and his precisely-dashed linework and zig-zagging scenery (a stylization of Herriman’s beloved southwestern landscapes) found its musical counterpart in syncopation. As early as 1911 — only a year after Krazy and Ignatz first appeared in the margins of Herriman’s strip “The Dingbat Family” — a New York composer-pianist named Ben Ritchie published “Krazy Kat Rag,” with a Herriman illustration on the cover. In later years, saxophonist Frankie Trumbauer’s Orchestra (which included such jazz luminaries as Bix Beiderbecke, Eddie Lang, and Joe Venuti), expatriate bandleader Sam Wooding, and clarinetist Artie Shaw all recorded “Krazy Kat” tributes.

Most ambitious was composer John Alden Carpenter’s “Krazy Kat” ballet, subtitled “A Jazz Pantomime.” First performed by the Chicago Symphony Orchestra in 1921, and first staged in 1922 — choreographed by Russian-born Adolph Bolm, with scenery designed by Herriman himself (he also illustrated the sheet music) — the ballet was well-received, but Carpenter’s score (possibly the first concert work to include the word “jazz” in the title) was soon overshadowed by more overt rapprochements between jazz and classical music. Carpenter’s version of jazz was tame, owing more to the “sweet” jazz of white dance bands than the “hot” jazz of their African-American counterparts. But the composer effectively mined jazz’s capacity for charm and whimsy…

Read the entire article here.

Stuart Hall and the Rise of Cultural Studies

The New Yorker
2017-07-17

Hua Hsu

Thirty years ago, many academics considered the study of popular culture beneath them. Stuart Hall helped change that. Photograph by Eamonn McCabe / Camera Press / Redux

In the summer of 1983, the Jamaican scholar Stuart Hall, who lived and taught in England, travelled to the University of Illinois at Urbana-Champaign, to deliver a series of lectures on something called “Cultural Studies.” At the time, many academics still considered the serious study of popular culture beneath them; a much starker division existed, then, between what Hall termed the “authenticated, validated” tastes of the upper classes and the unrefined culture of the masses. But Hall did not regard this hierarchy as useful. Culture, he argued, does not consist of what the educated élites happen to fancy, such as classical music or the fine arts. It is, simply, “experience lived, experience interpreted, experience defined.” And it can tell us things about the world, he believed, that more traditional studies of politics or economics alone could not.

A masterful orator, Hall energized the audience in Illinois, a group of thinkers and writers from around the world who had gathered for a summer institute devoted to parsing Marxist approaches to cultural analysis. A young scholar named Jennifer Daryl Slack believed she was witnessing something special and decided to tape and transcribe the lectures. After more than a decade of coaxing, Hall finally agreed to edit these transcripts for publication, a process that took years. The result is “Cultural Studies 1983: A Theoretical History,” which was published, last fall, as part of an ongoing Duke University Press series called “Stuart Hall: Selected Writings,” chronicling the career and influence of Hall, who died in 2014…

Read the entire article here.

Through an Indian’s Looking-Glass: A Cultural Biography of William Apess, Pequot

University of Massachusetts Press
January 2017
310 pages
16 b&w illustrations
6.125 x 9.25
Paper ISBN: 978-1-62534-259-1
Cloth ISBN: 978-1-62534-258-4

Drew Lopenzina, Associate Professor of English
Old Dominion University, Norfolk, Virginia

New insights on an important Native American writer

The life of William Apess (1798–1839), a Pequot Indian, Methodist preacher, and widely celebrated writer, provides a lens through which to comprehend the complex dynamics of indigenous survival and resistance in the era of America’s early nationhood. Apess’s life intersects with multiple aspects of indigenous identity and existence in this period, including indentured servitude, slavery, service in the armed forces, syncretic engagements with Christian spirituality, and Native struggles for political and cultural autonomy. Even more, Apess offers a powerful and provocative voice for the persistence of Native presence in a time and place that was long supposed to have settled its “Indian question” in favor of extinction.

Through meticulous archival research, close readings of Apess’s key works, and informed and imaginative speculation about his largely enigmatic life, Drew Lopenzina provides a vivid portrait of this singular Native American figure. This new biography will sit alongside Apess’s own writing as vital reading for those interested in early America and indigeneity.

Liminality, hybridity and ‘Third Space:’ Bessie Head’s A question of power

Neohelicon
First Online: 2017-06-07
pages 1–17
DOI: 10.1007/s11059-017-0387-8

Sayyede Maryam Hosseini
University of Tehran, Tehran, Iran

Hybridity has been a controversial issue not only in eugenic hypotheses of the nineteenth century but also in the postcolonial, cultural, linguistic, and geographical contexts. It can be seen as a ‘Janus-faced’ entity. Theorists like Bhabha consider it as a ‘Third Space’ which is fraught with ambiguities, while some use the term ‘liminal’ to point to its location in history, culture, and society in general. This essay deals with a ‘coloured’ writer’s coloured character in the light of hybridity. Elizabeth, the coloured protagonist of Bessie Head’s A question of power lives as a hybrid in a state of liminality, and tries to dismiss the worldview of colonialism and the postcolonial nationalism of South Africa and reconstruct her shattered identity in the ‘Third Space’ of Motabeng. Elizabeth’s hybridity and her iconoclastic condition are intensified by rampant liminal elements in the novel. The essay follows the intricate interrelationships of hybrid elements in terms of Elizabeth’s multi-faceted character, her garden, and the borders she crosses in the course of the novel. Hybridity here is by no means a mere inter-racial issue, the attempt here is to relate this concept to the anti-conventional and iconoclastic; the things that are liminal and indefinable within established epistemology.

Read or purchase the article here.

A Mysterious Heart: ‘Passing’ and the Narrative Enigma in Faulkner’s “Light in August” and “Absalom, Absalom!”

Amerikastudien / American Studies
Volume 58, Number 1, 2013
pages 51-78

Marta Puxan-Oliva
Department of Modern Language and Literatures and English Studies
University of Barcelona , Barcelona, Spain

This essay argues that William Faulkner’s Light in August and Absalom, Absalom! use the device of the narrative enigma to effectively tell stories in which the cultural practice of ‘passing for white‘ in the United States under the Jim Crow system is strongly suggested. The secret is the essential feature of the social practice of passing, which makes the construction of the plot around a narrative enigma especially suitable. By not resolving the narrative enigma, the novels not only preserve the secret of the supposed ‘passers,’ but construct a narrative that departs from the most important conventions of the so-called genre of the passing novel. The truly modernist narrative strategy of placing an unresolved mystery to drive the plot even allows Faulkner to go a step further: the narrative can portray the Southern white fear of passing with even more significance than the actual act of passing itself. It is precisely the fact that the main characters, Joe Christmas and Charles Bon, have uncertain blood origins that allows and even urges the white community of Jefferson to build a story set only upon conjecture along established racial patterns. Therefore, the effect of the narrative enigma is twofold: it retains the racialization of the story and preserves the secret of the passers, while ambiguously uncovering the false grounds upon which the fear of miscegenation constructs and maintains racial boundaries.

He passes away under a cloud, inscrutable at heart, forgotten. unforgiven, and excessively romantic.
Joseph Conrad, Lord Jim

Sometimes literature illuminates in a striking way the emotional and historical effects that contemporary social practices—no longer operative today—had in the past, providing an understanding that an analysis from the viewpoint of our transformed, contemporary societies cannot offer. This is the case with the practice of ‘passing’ in the United States, and with the series of novels that constitute what has been labeled the passing novel genre. Joel Williamson defines ‘passing’ as “crossing the race line and winning acceptance as white in the white world” (100). Movement in the opposite direction is less common. Even though the practice survives—broadened to include gender passing, but still primarily denoting racial or ethnic mobility—the force and historical function that passing for white had during the Jim Crow period, which peaks in the late nineteenth century and the interwar period, perished with the end of segregation. Viewed as a genre, the…