Mixed Race Studies

Traveling Texts and the Work of Afro-Japanese Cultural Production: Two Haiku and a Microphone

Lexington Books (an imprint of Rowman & Littlefield)
June 2015
302 pages
6 1/2 x 9 1/4
Hardback ISBN: 978-1-4985-0547-5
eBook ISBN: 978-1-4985-0548-2

Edited by:

William H. Bridges IV, Assistant Professor of Japanese Studies
University of California, Irvine

Nina Cornyetz, Associate Professor
Gallatin School of Individualized Study
New York University

Traveling Texts and the Work of Afro-Japanese Cultural Production analyzes the complex conversations taking place in texts of all sorts traveling between Africans, African Diasporas, and Japanese across disciplinary, geographic, racial, ethnic, linguistic, and cultural borders. Be it focused on the make-up of the blackface ganguro or the haiku of Richard Wright, Rastafari communities in Japan or the black enka singer Jero, the volume turns its attention away from questions of representation to ones concerning the generative aspects of transcultural production. The contributors are interested primarily in texts in motion—the contradictory motion within texts, the traveling of texts, and the action that such kinetic energy inspires in readers, viewers, listeners, and travelers. As our texts travel and travail, the originary nodal points that anchor them to set significations loosen and are transformed; the essays trace how, in the process of traveling, the bodies and subjectivities of those working to reimagine the text(s) in new sites moderate, accommodate, and transfigure both the texts and themselves.

The Hip Hop & Obama Reader

Oxford University Press
2015-10-14
336 Pages
6-1/8 x 9-1/4 inches
Hardcover ISBN: 9780199341801
Paperback ISBN: 9780199341818

Edited by:

Travis L. Gosa, Assistant Professor of Africana Studies
Cornell University, Ithaca, New York

Erik Nielson, Assistant Professor of Liberal Arts
University of Richmond

• Offers a comprehensive, scholarly analysis of the relationship between hip hop and politics in the era of Obama.
• The first hip hop anthology to center on contemporary politics, activism, and social change.
• Features contributions from distinguished scholars, award-winning journalists, and public intellectuals.

Barack Obama flipped the script on more than three decades of conventional wisdom when he openly embraced hip hop–often regarded as politically radioactive–in his presidential campaigns. Just as important was the extent to which hip hop artists and activists embraced him in return. This new relationship fundamentally altered the dynamics between popular culture, race, youth, and national politics. But what does this relationship look like now, and what will it look like in the decades to come?

The Hip Hop & Obama Reader attempts to answer these questions by offering the first systematic analysis of hip hop and politics in the Obama era and beyond. Over the course of 14 chapters, leading scholars and activists offer new perspectives on hip hop’s role in political mobilization, grassroots organizing, campaign branding, and voter turnout, as well as the ever-changing linguistic, cultural, racial, and gendered dimensions of hip hop in the U.S. and abroad. Inviting readers to reassess how Obama’s presidency continues to be shaped by the voice of hip hop and, conversely, how hip hop music and politics have been shaped by Obama, The Hip Hop & Obama Reader critically examines hip hop’s potential to effect social change in the 21st century. This volume is essential reading for scholars and fans of hip hop, as well as those interested in the shifting relationship between democracy and popular culture.

Table of Contents

• Preface
• About the Contributors
• Foreword Tricia Rose, Brown University
• Introduction: The State of Hip Hop in the Age of Obama / Erik Nielson, University of Richmond; Travis L. Gosa, Cornell University
• PART I: MOVE THE CROWD: HIP HOP POLITICS IN THE U.S. AND ABROAD
  • 1. Message from the Grassroots: Hip Hop Activism, Millennials, and the Race for the White House / Jeffrey O. G. Ogbar, University of Connecticut
  • 2. It’s Bigger Than Barack: Hip Hop Political Organizing, 2004-2013 / Elizabeth Méndez Berry, New York University; Bakari Kitwana, Author and CEO, Rap Sessions
  • 3. “There Are No Saviors”: Hip Hop and Community Activism in the Obama Era / Kevin Powell, Author and Activist
  • 4. “Obama Nation”: Hip Hop and Global Protest / Sujatha Fernandes, Queens College and the Graduate Center of the City University of New York
  • 5. “Record! I am Arab”: Paranoid Arab Boys, Global Cyphers, and Hip Hop Nationalism / Torie Rose DeGhett, Columbia University
• PART II: CHANGE WE CAN BELIEVE IN? THE CONTESTED DISCOURSE OF OBAMA & HIP HOP
  • 6. Obama, Hip Hop, African American History, and “Historical Revivalism” / Pero G. Dagbovie, Michigan State University
  • 7. “Change That Wouldn’t Fill a Homeless Man’s Cup Up”: Filipino-American Political Hip Hop and Community Organizing in the Age of Obama / Anthony Kwame Harrison, Virginia Tech
  • 8. Obama/Time: The President in the Hip-Hop Nation / Murray Forman, Northeastern University
  • 9. One Day It Will All Make Sense: Obama, Politics and Common Sense / Charlie Braxton, Author and Activist
  • 10. “New Slaves”: The Soul of Hip-Hop Sold to Da Massah in the Age of Obama / Raphael Heaggans, Niagara University
• PART III: REPRESENT: GENDER AND LANGUAGE IN THE OBAMA ERA
  • 11. YouTube and Bad Bitches: Hip Hop’s Seduction Of Girls and The Distortion Of Participatory Culture / Kyra D. Gaunt, City University of New York
  • 12. A Performative Account of Black Girlhood / Ruth Nicole Brown, University of Illinois Urbana-Champaign
  • 13. The King’s English: Obama, Jay Z, and the Science of Code Switching / Michael P. Jeffries, Wellesley College
  • 14. My President is Black: Speech Act Theory and Presidential Allusions in the Lyrics of Rap Music / James Peterson and Cynthia Estremera, Lehigh University
  • Afterword: When Will Black Lives Matter? Neoliberalism, Democracy, and the Queering of American Activism in the Post-Obama Era / Cathy J. Cohen, University of Chicago
• Subject Index

Remixing Reggaetón: The Cultural Politics of Race in Puerto Rico

Duke University Press
2015
240 pages
11 illustrations
Cloth ISBN: 978-0-8223-5945-6
Paperback ISBN: 978-0-8223-5945-6

Petra R. Rivera-Rideau, Assistant Professor of Africana Studies
Virginia Polytechnic Institute and State University

Puerto Rico is often depicted as a “racial democracy” in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaetón, Petra R. Rivera-Rideau shows how reggaetón musicians critique racial democracy’s privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as as Tego Calderón criticize the Puerto Rican mainstream’s tendency to praise black culture but neglecting and marginalizing the island’s black population, while Ivy Queen, the genre’s most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetón, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetón’s origins and its transformation from the music of San Juan’s slums into a global pop phenomenon. Reggaetón, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

Table of Contents

• Acknowledgments
• Introduction. Reggaetón Takes Its Place
• 1. Iron Fist against Rap
• 2. The Perils of Perreo
• 3. Loíza
• 4. Fingernails con Feeling
• 5. Enter the Hurbans
• Conclusion. Reggaetón’s Limits, Possibilities, and Futures
• Notes
• Bibliography
• Index

The Femme Fatale in American Literature

Cambria Press
2008-09-28
192 pages
5.5 x 8.5 in or 216 x 140 mm
ISBN: 9781604975352

Ghada Suleiman Sasa, Assistant Professor of English Literature
Hashemite University, Zarqa, Jordan

Characters in the literary tradition of American naturalism are usually perceived as passive, lacking in will, weak, and predetermined. They are constantly seen as the victims of heredity and environment, and their lives are shaped according to these strong forces that operate upon them.

This interesting book examines the representation of female characters in American naturalism and argues that women in American naturalism are often represented as femmes fatales. Since heredity and environment are the determining factors in their lives, they are victims who have no control. However, with characters such as Trina Sieppe in Frank Norris’s McTeague, Caroline Meeber in Theodore Dreiser’s Sister Carrie, Edna Pontellier in Kate Chopin’s The Awakening, and Helga Crane in Nella Larsen’s Quicksand, these women victims gradually turn themselves into victimizers in order to conquer both heredity and environment. They consciously and deliberately use the only power they have that can help them overcome the naturalistic world in which they are entrapped––the power of the feminine.

The book explains who exactly the femme fatale that has been born out of American naturalism is, and explores images of women in American realism who precede the femme fatale of American naturalism. This study examines characters like Trina Sieppe, Caroline Meeber, Edna Pontellier, and Helga Crane. It analyzes these women’s backgrounds, their demeanors, their temperaments, their experiences, and their settings, and explains how and when each woman decides to use her sexuality. There is also a brief discussion of other femmes fatales in American naturalism, such as Stephen Crane’s Maggie: A Girl of the Streets.

Although the perception of women in nineteenth-century American literature has always had its place in discussions of literary texts, this book is unique in its argument that women in American naturalism are neither weak nor passive, but rather are strong and daring women who try diligently to find a means of fighting back.

This book is an important addition to collections in literature and Women’s studies.

Table of Contents

• Foreword
• Acknowledgements
• Chapter One: The Femme Fatale in American Naturalism: An Introduction
  • Background and Definitions of the Femme Fatale
  • Background and Definitions of American Naturalism
  • The Femme Fatale and American Naturalism
• Chapter Two: Trina “took her place in the operating chair”: Trina Sieppe as Femme Fatale in Frank Norris’s McTeague
  • The Emergence of the Femme Fatale
  • Trina Wins the Lottery
• Chapter Three: “I am yours truly”: Caroline Meeber as Femme Fatale in Theodore Dreiser’s Sister Carrie
  • The Formulation of the Femme Fatale
  • The Femme Fatale in Full Action
  • The Fall of the Femme Fatale
  • Trina and Carrie
• Chapter Four: “A language which nobody understood”: Edna Pontellier as Femme Fatale in Kate Chopin’s The Awakening
  • The Imprisonment of Edna
  • Edna Breaks Free
  • McTeague, Sister Carrie, The Awakening: Trina, Carrie, and Edna
  • Edna’s suicide
• Chapter Five: “It had begun, a new life for Helga Crane”: Helga Crane as Femme Fatale in Nella Larsen’s Quicksand
  • Twentieth Century American Naturalism
  • The Plight of the Tragic Mulatto Figure
  • Helga Crane’s Liberation
• Chapter Six: Examples of Other Femmes Fatales in American Naturalism
• Primary Bibliography
• Secondary Bibliography
• Index

They Pretend To Be Us While Pretending We Don’t Exist

BuzzFeed
2015-09-11

Jenny Zhang, BuzzFeed Contributor

Will Varner / BuzzFeed

White poet Michael Derrick Hudson’s use of the Chinese pen name Yi-Fen Chou was an act of yellowface that is part of a long tradition of white voices drowning out those of color in the literary world.

To be Other in America is to be coveted and hated at the same time. It’s never been enough to know that I feel it, but I know I am often asked to prove it before I am allowed to speak on it. When I was a graduate student at the Iowa Writers’ Workshop for fiction writing, I felt both coveted and hated. My white classmates never failed to remind me that I was more fortunate than they were at this particular juncture in American literature. “No one is going to pay attention to a name like mine,” a white dude who exclusively wrote stories about white dudes said to me one time when I was feeling particularly low about my writing. I couldn’t enjoy a scrap of validation or wallow in a sliver of self-doubt without someone interjecting some version of “You’re so lucky. You’re going to have an easier time than any of us getting published.” They were shameless about their envy, not shy or coy at all about their certainty that my race and gender were an undeniable asset, which, in turn, implied that I could be as mediocre and shitty as I wanted and still succeed. This was how some of my white classmates imagined the wild spoils of my literary trajectory. This was how they managed to turn themselves into the victims.

…I won’t be scandalized because what Hudson is doing isn’t anything that white male writers haven’t already been doing since the first recorded instance of our culture embracing any kind of excellence that did not include them: scramble to come up with ways to keep the playing field uneven, to keep the odds stacked in their favor. The scandal of Hudson performing the laziest act of yellowface (co-opting a Chinese name) to get his poem published and accepted into the Best American Poetry anthology is lurid fodder for our cultural conversation because of its explicitness, but it should not be strange or unbelievable. White people have always slipped in and out of the experiences of people of color and been praised extravagantly for it. After all, 50 years ago, when black voices were fighting to be heard, when their stories of trauma and abuse were struggling for legitimacy, it took John Howard Griffin, a white man who dyed his skin black and wrote about his experiences as a “black” man in his book, Black Like Me, for white Americans to believe that yes, black people were telling the truth about their lived experiences in the Jim Crow South. He was hailed a singular hero. Studs Terkel once said, “Griffin was one of the most remarkable people I have ever encountered. He was just one of those guys that comes along once or twice in a century and lifts the hearts of the rest of us.” It may seem totally nuts now, but as far as who gets credit for simply being affected by black pain, it doesn’t seem very removed from our current world where we heap lavish praise on someone like Jon Stewart for announcing on the Daily Show that he was too heartbroken to make jokes after the Charleston church shooting, as if all throughout this country’s present and past, black people and people of color have not been so heartbroken and so violated that we were left humorless, or worse, dead. To praise Stewart as excessively as he was praised is to say to black people: Your pain is unexceptional and does not matter until a white man feels it too…

Read the entire article here.

Bottles, Bubbles, and Blood: Jean Toomer and the Limits of Racial Epidermalism

Modernism/modernity
Volume 22, Number 2, April 2015
pages 279-302
DOI: 10.1353/mod.2015.0041

Catherine Keyser, Associate Professor of English Language and Literature
University of South Carolina

In an unpublished 1935 memoir, Jean Toomer reminisces about his job as a soda jerk in high school and exults in his hard-won expertise:

I got my white coat. Under my friends [sic] guidance I learned to work the fountain, draw sodas, pile sundaes, brew special concoctions. Of course, I had imprinted upon me indelibly what my fellow-men consider tasty thirst-quenching drinks. … I was a serious youth at first, in every way an eager, earnest student of the job. … I soon became familiar with the store’s stock, the patent medicines, the chemicals in jars. Sime [sic] times I watched the doctor compound prescriptions and I had a feeling of fascination and mystery as if there were some magic about this and I were in—not the prosaic back of a modern drug store but in the work shop of an alchemist.

Toomer’s verbs animate the process of intermixture and especially his active role in that process: “work,” “draw,” “pile,” “brew.” While popular taste renders the soda jerk passive, even textual (“I had imprinted upon me indelibly”), the model of the doctor compounding prescriptions promises active and expert authorship. In this combination, we can see an alter ego for the literary modernist, reformulating the materials of popular culture with expertise. The audience for the work is meant to imbibe its results, to incorporate the concoction in the body, and thus to experience the senses anew. The pharmacist models not only form (as formula) and bricolage (as compounds), but also the radical transformation of the consumer of this “magic.” This alchemical metaphor for modernist practice suits Toomer’s approach to race as well as his approach to art. Mark Whalan observes that Toomer uses technological metaphors in his masterwork Cane in order to imagine a “dynamic process” of racial transformation: “At the centre of this exists the figure of the artist, transforming through a process of mechanical efficiency material forms which degrade or oppress into forms which offer liberation and agency.”

The outside world encroaches on this idyllic magician’s workshop. Toomer’s longed-for imaginative transformation of racial categorization was not so easily performed in the segregated spaces of the Jim Crow era, and the anecdote in his memoir bears this out. His grandmother disapproves of his ambition to work at a soda fountain: “I could not bring myself to ask my grandmother. I could hear her exclaim, ‘My grandson a soda boy!’” Her hesitation (and his) is telling. A notoriously segregated city, Washington, D.C., had an anti-discrimination law on the books from 1872 stating that “keepers of ice-cream saloons or places where soda-water is kept for sale” would be fined for “refusing to sell or wait upon any respectable, well-behaved person, without regard to race, color, or previous condition of servitude,” but in practice, this statute was ignored. Is this a soda fountain for white patrons, where a black teenager could work behind the counter but not sit in front of it? Or is this a soda fountain for black patrons, a safe but lower-class space? It is not a surprise that Toomer, frustrated at what he elsewhere calls “color labels,” fails to mention the race of his friends, colleagues, or patrons in the soda fountain, but the fact that he does not do so draws attention to the racial politics that he tries to overlook. Soda fountains were a common symbol of segregation and racial tension. In 1918, James Weldon Johnson wrote that “the denial of the privilege of drinking ice cream soda in certain places on account of race or color is a phase of the denial of full citizenship and common democracy.” For many Harlem Renaissance writers, the soda fountain represented social barriers rather than chemical recombinations. In George Schuyler’s Black No More (1931), his newly white protagonist learns about a local Klan rally at a soda fountain. In The Big Sea (1940), Langston Hughes recalls stopping in St. Louis during a train trip in 1918 and being turned away from “the soda fountain where cool drinks were being served” because he was “colored.” Hughes sardonically concludes the anecdote: “I knew I was home in…

Read or purchase the article here.

The Time of the Multiracial

American Literary History
Volume 27, Number 3, Fall 2015
pages 549-556
DOI: 10.1093/alh/ajv026

Habiba Ibrahim, Associate Professor of English
University of Washington, Seattle

Habiba Ibrahim is the author of  Troubling the Family: The Promise of Personhood and the Rise of Multiracialism (2012). Her current book project, Oceanic Lifespans, examines how age and racial blackness have been mutually constituted.

• Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction. Diana Rebekkah Paulin. U of Minnesota P, 2012.
• The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880–1930. Jolie A. Sheffer. Rutgers UP, 2013.
• Transatlantic Spectacles of Race: The Tragic Mulatta and the Tragic Muse. Kimberly Snyder Manganelli. Rutgers UP, 2012.

These three recent studies all read how mixed racialism expresses and challenges the terms of US nationalism during the nineteenth and early twentieth centuries. Collectively, they account for a period when the nation developed as a global force through a series of racializing projects, implemented through intra- and international war, imperialist expansion and conquest, and the consolidation of the color line at home. Tropes such as miscegenation, tragic mulatta, and genres of mixedness such as the “racial romance” (Sheffer 3) reveal a key aspect of the cultural imagination during the turbulent era that led up to and inaugurated the “American Century.” Figures of deviant intimacy—interracial sex, incest, same-sex filiation—and figures of gender, such as the mulatto/a, and the tragic muse revealed the cultural outcomes of the unfinished project of nation building. All of these studies take racial mixedness and its correlating categories as key analytical starting points for unmasking the neutrality or invisibility of state power. Thus, they bring to mind the urgency of the current moment: what analytics can interrupt the post-ness—postracialism, postfeminism, and postidentitarianism—of the present?

1. Neoliberalism, Postidentity

Twenty years ago, mixed racialism first appealed to literary scholars because it offered a critical space in which to explore the era’s political contradictions and transitions. During the heyday of the so-called multiracial movement, key developments in the cultural politics of identity were well under way. The culture wars were still raging with neoconservative moralists and left-of-center liberals vying for influence over social and political life. At the same time, neoconservatives  and neoliberals converged around the erosion of identitarian categories as social tools for making political and historical critiques. By the neoliberal era of the 1980s and 1990s identity was increasingly viewed as the stuff of separatist and single-issue groupthink, rather than as an instrument through which to analyze the operations and historicity of power. Perhaps this explains the remarkably accelerating cultural and scholarly interest in multiracial identity by the mid-1990s. After all, what did the appearance of the multiracial indicate? Under the umbrella term “multiracialism,” subjects with competing social, political, and cultural views formulated clashing accounts of how to situate race in US discourse. As a diagnostic tool, multiracialism bore the potential to cut through the present.

2. Gender, Sexuality, Family

Twenty years later, interdisciplinary scholarship in philosophy, performance studies, literary, and cultural studies increasingly take multiracialism as a starting point for thinking historically about social identities and cultural production. Current literary scholarship retrieves unfamiliar, forgotten history in order to diagnose the present, or to reconsider our present-day relationship to the historical. Some scholars have started with how multiracialism is treated within current US discourse—as the balm of postracial transcendence on the one side, as another separatist identity on the other—to ask how we’ve arrived at these particular interpretations. This line of inquiry denaturalizes present-day meanings attached to the multiracial and clearly departs from work that vehemently argues one position or the other.

What stands out about more recent studies—Kimberly Snyder Manganelli’s Transatlantic Spectacles of Race (2012), Jolie A. Sheffer’s The Romance of Race (2013), and Diana Rebekkah Paulin’s Imperfect Unions (2012)—is the way they represent a decisive turn toward staunchly comparativist, even transnational approach to multiracial literary studies. Comparativism indicates that the field is broadening its spatial and analytical scope to pursue fuller explorations of the historical and historiographical. Such a broadened scope repositions interest in the cultural politics of gender, sexuality, and family as deep engagements with the modern.

Like Suzanne Bost’s Mulattas and Mestizas (2003), Teresa Zackodnik’s The Mulatta and the Politics of Race (2004), and Eve Allegra Raimon’s The “Tragic Mulatta” Revisited (2004), Transatlantic Spectacles of Race, investigates early intersections between racial amalgamation and womanhood by exploring how the figurative feminization of racial mixedness has been instrumentalized to vie for various nationalist and counter-nationalist outcomes over the long nineteenth century. Manganelli’s unique contribution is to read the mixed-race “tragic mulatta” of the Americas alongside its heretofore-unacknowledged counterpart, the Jewish “tragic muse” of Victorian British literature, thereby positioning both blackness and Jewishness along the same…

Read or purchase the review of the three books here.

Mixed Messages: The Role of the Multiracial Character in Children’s Literature

theracetoread: Children’s Literature and Issues of Race
2015-08-20

Karen Sands-O’Connor, Professor
English Department
Buffalo State, The State University of New York, Buffalo, New York

In 19th and early 20th century children’s literature, the multiracial character generally evoked one of two responses: fear, or pity. Tom Sawyer’s Injun Joe, for example, was much feared by Tom and his gang, Tom even having nightmares about the character coming to get him. In Caddie Woodlawn, the children of an Indian mother and white father are “half savage” and the recipient of Caddie’s attempts to “civilize” them by paying for new clothes. Other examples can be found in British Empire literature—the “ugly mulatto” being a stock character of fear in books by G.A. Henty, H. Rider Haggard, and others; and the pitiable female “half-breed” or “mulatto” who cannot ultimately be saved by the white hero also figures in the works of these authors.

After World War II, as civil rights in the US and changing immigration patterns in Britain meant increasing, often hostile, interaction between racial groups, the multiracial character in children’s literature nearly disappeared for a time. But a generation later, many things had changed. More and more children were born who had parents of different races, but it was unclear where they would fit in to a post-civil rights society. Both American and British authors produced books dealing with this issue, but for this blog, I’m just going to look at two from Britain: Anthony Masters’ Streetwise (London: Methuen, 1987), and Jacqueline Roy’s Soul Daddy (London: Collins, 1990)…

Read the entire article here.

Dr. Seuss and Racial Passing

theracetoread: Children’s Literature and Issues of Race
2015-02-11

Karen Sands-O’Connor, Professor
English Department
Buffalo State, The State University of New York, Buffalo, New York

A Star-Belly Sneetch’s worst fear: that we might not be able to tell “them” from “us”.

Dr. Seuss is one of the most beloved children’s authors in America. He also has a rather mixed record on issues of race and diversity. As a young man, Dr. Seuss wrote and drew for various magazines and college publications. In these, Seuss portrayed Africans and Asians in stereotypical fashion. During World War II, Seuss drew some political cartoons which sympathized with African-Americans and Jewish people and others that accused Japanese-Americans of perpetrating acts of sabotage.

After the war, Seuss’s attitudes changed. These changes in attitude came about, in part, because of his writing commissions. He visited Japan on assignment for Life magazine, and saw the devastation caused by the atomic bombs his country dropped. His writing for children also began to take off. Both of these things resulted in a measurable difference in his public attitudes toward racism…

Read the entire article here.

“These narratives of racial passing have risen from the dead”

Rutgers, The State University of New Jersey
May 2015
275 pages
DOI: 10.7282/T38G8NJG

Donavan L. Ramon

Ph.D. Dissertation

Instead of concurring with most critics that racial passing literature reached its apex during the Harlem Renaissance, this project highlights its persistence, as evidenced in the texts examined from 1900 to 2014. Using psychoanalysis, this dissertation recovers non-canonical and white-authored narratives that critics overlook, thus reconceptualizing the genre of passing literature to forge a new genealogy for this tradition. This new genealogy includes novels, life writings, and short stories. In arguing for the genre’s continued relevance and production, this project offers a rejoinder to critics who contend that racial passing literature is obsolete. Part one of this dissertation complicates the notion that characters pass only in response to witnessing a lynching or to improve their socioeconomic status, by asserting that racial passing begins in the classroom for male characters and at home for their female counterparts. It thus precedes the threat of violence or middle class aspirations. Whereas the first half of this project is preoccupied with the gendered beginnings of racial passing, the second half examines its effects, on both writing and death. This project explores racial passing in Charles Chesnutt’s The House Behind the Cedars (1900), James Weldon Johnson’s The Autobiography of an Ex-Colored Man (1912), Jessie Fauset’s Plum Bun (1929), Vera Caspary’s The White Girl (1929), Alice Dunbar-Nelson’s The Stones of the Village (1988), Danzy Senna’s Caucasia (1999), Philip Roth’s The Human Stain (2000), Bliss Broyard’s One Drop (2003) and Anita Reynolds’ American Cocktail (2014).