Mixed Race Studies

Defying Categorization: The Work of Suzette Mayr

Canadian Woman Studies / Les Caheiers de la Femme
Volume 23, Number 2 (2004)
pages 71-75

Katie Petersen

Le corpus littéraire de Suzette Mayr examine les croisements raciaux, la sexualité marginalisée et la formation de l’identité personnelle dans des espaces indéfinis. Ses recueils de poemès et ses nouvelles ont tous remis en question la situation et le classement des populations. L’auteure a exploré et validé les espaces non explorés et non compartimentés qui sont présents dans les réalités traditionelles.

The literary corpus of Suzette Mayr examines racial mixing, marginalized sexuality and the formation of personal identity in undefined spaces. Her collections of poems and novels have questioned the status and the classification of the groups concerned. The author has explored and validated the unexplored spaces and those spaces not compartmentalized that are present in traditional realities.

In the afterword to her Master’s thesis “Chimaera Lips” (1992), the Calgary poet and novelist Suzette Mayr states that

a positive approach to categorization would not rely on having to distinguish oneself through comparison to another group, but would emphasize the whole or merged self, rather than the categorized self. (59)

In this work, Mayr explores “existence between ‘realities.'” She investigates and attempts to undermine the binary constructions surrounding race, sexuality and gender, by writing about, and presumably from within, what she terms “middle spaces;” spaces which exist between the starkly delineated realities commonly associated with various racial, sexual and gender categories (61). Mayr posits an absorption of “realities” by these in-between spaces, leading to an integrated system in which neither reality nor intermediate space dominates. The novels Mayr wrote following “Chimaera Lips,” Moon Honey (1995) and The Widows (1998), and her chapbook of poems, Zebra Talk (1991), all serve to challenge the ways in which people are necessarily located or categorized and to explore, expose, and validate uncharted, uncompartmentalized middle spaces…

Mayr’s chapbook, Zebra Talk, is a collection of poems of a relatively personal nature which describe Mayr’s own perceptions as a lesbian and a Canadian of mixed, Black-Caucasian, race. She explores issues of race and sexuality, identity and family, describing middle and hybrid spaces. Mayr treats her poetic subjects in much the same way as she does the characters in her novels; their appearances, actions and significances are described in unique, creative and at times ambiguous ways which emphasize the difficulty, if not impossibility, of categorizing individuals without that action being destructive and/or reductive.

Zebra Talk contains poems which discuss the idea of being a “zebra,” a person of mixed race. Mayr details the process of coming to terms with racial hybridity and of understand ing how a person of mixed race locates herself within a multiracial family setting and within the larger setting of a multiracial community or nation. Clearly, racial and cultural hybridity create new spaces. People of in-between colors and in-between cultures have to forge in-between identities and locations for themselves. However, what stands in the middle cannot be identified simply in relation to the poles it stands between.

Mayr’s use of the repetitive imagery of skin, invertebrates, volcanic insides, and people made of earth turns ordered family and romantic structures into a tempestuous and vividly multicolored mixture. In the first poem, the speaker describes her family:

The skin on a drum
The skin stretched over a moving rib cage
The skin stretched and bitten by two other heads on this
three-headed body
2 brothers 1 sister 3 heads and 1 body
plus 1 and 1 parents. (2)

The children, each different versions of the same mixture, form a three-headed being, sharing a body. The parents, “1 and 1,” remain separate. The skin to which Mayr refers appears thin but strong, stretched and fitted over skeleton and roiling core: “(Zebra pelt stretched over a hot and bloody centre)” (2). This particular mixture of heat and blood and guts is never given a clear meaning. It could be a reference, as George Elliott Clarke suggests in “Canadian Biraciality and Its ‘Zebra’ Poetics,” to “a volcanic core—a history of violence and death … O the same seething hurt,” an internal upheaval particular to people of mixed race (233). Or, Mayr could be pointing out that everyone, regardless of race, is, at the core, composed of the same unstable material, which cannot be classified or associated in any way with outside appearance…

Read the entire article here.

“The Quiltings of Human Flesh”—Constructions of Racial Hybridity in Contemporary African-Canadian Literature

University of Greifswald, Greifswald, Germany
2010-05-02
366 pages

Heike Bast

Dissertation to obtain the academic degree of Doctor of Philosophy, Division of the Humanities, University of Greifswald

TABLE OF CONTENTS

• ‘RACE’ MATTERS’: A PERSONAL NOTE ON BELONGING
• 1. INTRODUCTION: ‘SOLE OR WHOLE’ – QUILTING THE RACIALIZED SUBJECT
• 2. SIGNIFYING THE IN-BETWEEN: ‘RACE’, ‘RACIAL HYBRIDITY’ AND QUESTIONS OF BELONGING
  • 2.1. The Language of ‘Race’ – Notes on Terminology
  • 2.2. Identities in Flux: Discourses on ‘Race’ and Subjectivity
    • 2.2.1 ‘Race Theory’ – a Brief Historical Review
    • 2.2.2. “Identities Without Guarantees” and the Critique of Sameness: Contemporary Race Theory
  • 2.3. Uncertain Crossings: Racial Hybridity and Post-Colonial Belonging
• 3. APPROACHING AFRICAN-CANADIAN BORDERLANDS
  • 3.1. The African-Canadian Experience: Unearthing the History of Miscegenation in Canada
  • 3.2. Canadian Multiculturalism and Cultural Violence: Mixed-Race Identities and the Intricacies of Belonging
  • 3.3. Living and Writing the In-Between: Tracing a Black Literary Tradition in Canada
  • 3.4. From ‘Tragic Mulatto’ to ‘Zebra Poetics’? – Racial Hybridity in African-Canadian literature
• 4. EXPLORING AFRICAN-CANADIAN BORDERLANDS
  • 4.1. Borderlands Poetics in the Writings of Suzette Mayr
    • 4.1.1. Suzette Mayr’s Zebra Talk (1991)
    • 4.1.2. Metamorphoses and the Racialized Body: Suzette Mayr’s Moon Honey (1995)
    • 4.1.3. Canadian Hodgepodge in Suzette Mayr’s The Widows (1998)
  • 4.2. ‘Reverse Doublestuff’, or from Halfness to Wholeness: The Poetry of Mercedes Baines
  • 4.3. Polyvalent Blackness in African-Canadian Drama: Difference and Healing in Maxine Bailey’s and Sharon Lewis’s Sistahs (1994)
  • 4.4. ‘An Exile in the Land of My Birth’: Racial Mixture and National Belonging in the Autobiographical Writings of Camille Hernandez-Ramdwar
  • 4.5. Anti-Mulatto Rhetoric in Haitian and Haitian-Canadian History, Literature, and Culture
    • 4.5.1. Unmasking the Carnival: Max Dorsinville’s Erzulie Loves Shango (1998)
    • 4.5.2. Torment, Memory and Desire: Gérard Étienne’s La Pacotille (1991)
  • 4.6. ‘In Pursuit of Wholeness’: ‘Race’, Class and Black Masculinity in Kim Barry Brunhuber’s Kameleon Man (2003)
• 5. ‘FROM SOLE TO WHOLE’ – AFRICAN-CANADIAN MIXED-RACE POETICS
• 6. BIBLIOGRAPHY
• APPENDIX I: BIO-BIBLIOGRAPHICAL NOTES ON AUTHORS
• APPENDIX II: INTERVIEW WITH SUZETTE MAYR (JULY 25TH, 2009)
• Danksagung

Read the entire dissertation here.

Miscegenetic Melville: Race and Reconstruction in Clarel

Zach Hutchins, Assistant Professor of English
Colorado State University

ELH
Volume 80, Number 4, Winter 2013
pages 1173-1203
DOI: 10.1353/elh.2013.0039

This essay investigates Herman Melville’s views on Reconstruction and racism in Clarel, the national epic published in the centennial year of 1876. In Clarel, Melville points toward miscegenation as the solution to problems of ethnic conflict festering since the Civil War, the key to rebuilding a nation torn apart by the economic exploitation and lingering racism of Reconstruction. Miscegenation is an ideal Melville pointed to somewhat naïvely in his earlier prose, but Clarel is Melville’s most sustained narrative commentary on race published after Benito Cereno and reflects a more sober assessment of racial realities and possibilities in the United States.

Assimilation in Charles W. Chesnutt’s Works

University of New Orleans
2013-05-17
41 pages

Mary C. Harris

A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements for the degree of Master of Arts In English

Charles W. Chesnutt captures the essence of the Post Civil War period and gives examples of the assimilation process for African Americans into dominant white culture. In doing so, he shows the resistance of the dominant culture as well as the resilience of the African American culture. It is his belief that through literature he could encourage moral reform and eliminate racial discrimination. As an African American author who could pass for white, he is able to share his own experiences and todevelop black characters who are ambitious and intelligent. As a result, he leaves behind a legacy of great works that are both informative and entertaining.

Read the entire thesis here.

Chesnutt’s Genuine Blacks and Future Americans

MELUS: Multi-Ethnic Literature of the United States
Volume 15, Number 3, Discovery: Research and Interpretation (Autumn, 1988)
pages 109-119

SallyAnn H. Ferguson, Professor of English
University of North Carolina, Greensboro

Scholarship on novelist and short story writer Charles W. Chesnutt stagnates in recent years because his critics have failed to address substantively the controversial issues raised by his essays. Indeed, many scholars either minimize or ignore the fact that these writings complement his fiction and, more importantly, that they often reveal unflattering aspects of Chesnutt the social reformer and artist. In a much-quoted journal entry of 16 March 1880, Chesnutt himself explicitly links his literary art with social reform, saying he would write for a “high, holy purpose,” “not so much [for] the elevation of the colored people as the elevation of the whites/’ Using the most sophisticated artistic skills at his command, he ultimately hopes to expose the latter to a variety of positive and non-stereotypic images of the “colored people” and thereby mitigate white racism. As he remarks in a 29 May 1880 entry, “it is the province of literature to open the way for him [the colored person] to get it [equality]—to accustom the public mind to the idea; and while amusing them [whites], to lead people out, imperceptibly, unconsciously, step by step, to the desired state of feeling.” Throughout his entire literary career, Chesnutt never strays far from these basic reasons for writing, in fiction and nonfiction alike.

It is in his essays, however, that Chesnutt most clearly reveals the limited nature of his social and literary goals. Armed with such familiar journal passages as those cited above, scholars have incorrectly presumed that this writer seeks to use literature primarily as a means for alleviating white color prejudice against all black people in this country. But, while the critics romantically hail him as a black artist championing the cause of his people, Chesnutt, as his essays show, is essentially a social and literary accommodationist who pointedly and repeatedly confines his reformist impulses to the “colored people”—a term that he almost always applies either to color-line blacks or those of mixed races. This self-imposed limitation probably stems from the fact that he wrote during a time of intense color hatred in America,…

Witnessing Charles Chesnutt: The Contexts of “The Dumb Witness”

MELUS: Multi-Ethnic Literature of the United States
Volume 38, Issue 4 (December 2013)
pages 103-121
DOI: 10.1093/melus/mlt045

Benjamin S. Lawson
Florida State University

The silence and silencing of the character Viney in Charles Chesnutt’s short story, “The Dumb Witness” (c. 1897), artfully addresses the issue of exploitation related to race, gender, and slavery. Viney has no voice, no speaking, and no say-so; however, she employs this voicelessness for her own subversive ends. The story’s technique of embedded narratives problematizes issues of identity and consequent uses of power. Who is exploiting whom? Chesnutt’s narrator is a sympathetic white outsider who gains knowledge of the rural South by quizzing a slave, Uncle Julius. Yet Uncle Julius solidifies his own status by being a story-telling virtuoso who knows and narrates the tale of the mixed-race Viney and her cruel master. The suggestiveness of this theme expands beyond the story’s borders, for scholars have posited that Chesnutt himself was a black voice censored and exploited by his white publisher. Or was Chesnutt actually using his publisher to promote his own reputation? Decades later, African American studies appropriated Chesnutt as a primarily black rather than Southern writer. Mainstream and African American academic institutions and publishers promote him variously to express their own perspectives. We as readers continue to dictate the parameters of his realities—to manipulate his voice—as we use him for our own academic and political purposes. We forget that Chesnutt himself was immensely complex and conflicted as an Ohio-born and mostly-white man. Just as we witness Charles Chesnutt, he witnesses us: he interrogates our motives.

Read or purchase the article here.

Creating Multiracial Identities in the Work of Rebecca Walker and Kip Fulbeck: A Collective Critique of American Liberal Multiculturalism

MELUS: Multi-Ethnic Literature of the United States
Volume 38, Issue 4 (December 2013)
pages 171-190
DOI: 10.1093/melus/mlt053

Gino Michael Pellegrini, Adjunct Assistant Professor of English
Pierce College, Woodland Hills, California

Americans of multiracial descent recently have become noticeable, respectable, marketable, and, in the case of Barack Obama, presidential. In the last two decades, a growing body of creative and critical work about multiracial lives and issues has materialized. This social and historical development has become an ideological battleground for advocates, politicians, scholars, journalists, and marketers who have appropriated and interpreted its products and personalities in relation to their own beliefs, objectives, and commitments. According to many popular and political accounts, the growing number of interracial marriages and self-identified multiracials indicates that American society quickly is becoming post-racial. Scholars of this development, however, have been mostly skeptical of accounts that claim or assume that race-mixing leads to post-racial societies. Among scholars, there is ongoing debate over the precise impact that the emergent self-identified multiracial population is having on race, racial hierarchy, and white supremacy. Many scholars agree with G. Reginald Daniel, who claims that self-identified multiracials challenge race and racial hierarchy. However, Rainier Spencer and others argue the opposite: self-identified multiracials maintain racial hierarchy and reproduce race insofar as they rely on established racial categories to articulate their experiences and identities. Hence, this debate is at an impasse.

One way to negotiate this impasse is to shift the focus of the debate from the impact that self-identified multiracials have had on race and racial hierarchy to the conditions that have made mixed-race individuals possible in ethno-racial combinations besides black and white. Of course, scholars who analyze this development through a black/white framework will likely object to this move on the grounds that all other ethno-racial categories must fall between black and white in the racial hierarchy, thus orienting multiracial identities, old and new, toward whiteness and away from blackness. Their objection, however, presumes stable racial categories, groups, and ways…

Read or purchase the article here.

Legal Fictions: Constituting Race, Composing Literature

Duke University Press
January 2014
176 pages
3 photographs
Paperback ISBN: 978-0-8223-5595-3
Cloth ISBN: 978-0-8223-5581-6

Karla FC Holloway, James B. Duke Professor of English; Professor of Law; Professor of Women’s Studies
Duke University

In Legal Fictions, Karla FC Holloway both argues that U.S. racial identity is the creation of U.S. law and demonstrates how black authors of literary fiction have engaged with the law’s constructions of race since the era of slavery. Exploring the resonance between U.S. literature and U.S. jurisprudence, Holloway reveals Toni Morrison’s Beloved and Charles Johnson’s Middle Passage as stories about personhood and property, David Bradley’s The Chaneysville Incident and Ralph Ellison’s Invisible Man as structured by evidence law, and Nella Larsen’s Passing as intimately related to contract law. Holloway engages the intentional, contradictory, and capricious constructions of race embedded in the law with the same energy that she brings to her masterful interpretations of fiction by U.S. writers. Her readings shed new light on the many ways that black U.S. authors have reframed fundamental questions about racial identity, personhood, and the law from the nineteenth into the twenty-first centuries. Legal Fictions is a bold declaration that the black body is thoroughly bound by law and an unflinching look at the implications of that claim.

Table of Contents

• Preface
• Introduction: Bound by Law
  • Intimate Intersectionalities—Scalar Reflections
  • Public Fictions, Private Facts
  • Simile as Precedent
  • Property, Contract, and Evidentiary Values
• 1. The Claims of Property: On Being and Belonging
  • The Capital in Question
  • Imagined Liberalism
  • Mapping Racial Reason
  • Being in Place: Landscape, Never Inscape
• 2. Bodies as Evidence (of Things Not Seen)
  • Secondhand Tales and Hearsay
  • Black Legibility—Can I Get a Witness?
  • Trying to Read Me
• 3. Composing Contract
  • “A novel-like tenor”
  • Passing and Protection
  • A Secluded Colored Neighborhood
• Epilogue. When and Where “All the Dark-Glass Boys” Enter
• A Contagion of Madness
• Notes
• References
• Acknowledgments
• Index

One Drop, but Many Views on Race

The New York Times
2013-12-16

Maurice Berger, Research Professor and Chief Curator
Center for Art, Design and Visual Culture
University of Maryland, Baltimore County

In the 2010 census — when respondents could check more than one racial group — President Obama, the son of a black African father and a white mother, checked a single box: “Black, African-American or Negro.” Mr. Obama himself was unequivocal about it: “I self-identify as African-American — that’s how I am treated and that’s how I am viewed. And I’m proud of it.”

Yet the president’s words are nuanced: While he opts to classify himself as black, he implies that his racial identity is also contingent on how he is seen and treated by others in a nation prone to racial absolutes, no matter how he sees himself.

Those observations are among the provocative arguments presented by Yaba Blay in “(1)ne Drop: Shifting the Lens on Race” (BLACKprint Press), which examine what it means to be black. In it, she demonstrates how racial identity is not just biological or genetic but also a matter of context and even personal choice. It is revealing that the president’s definitive answer came after years of being dogged by outside doubters who questioned not just his race, but also his very nationality.

“(1)ne Drop” explores the intricate and fraught issue of race through the observations of 60 contributors from 25 countries who self-identify, at least partly, as black, even if they are not always seen as such because of light skin, facial features or interracial ancestry. Their words are accompanied by portraits by Noelle Théard and a team of photographers directed by her. The book challenges narrow conceptions about blackness, both as an identity and as an experience, and the stereotypes and rigid boundaries of color that continue to divide us…

…The books subject’s recount how their efforts to define themselves clashed with society’s imperative to assign neat racial categories in order to “make something that is fluid and uncertain more certain,” as a contributor, Deborah Thomas, noted. Some described the bewilderment and prying questions of acquaintances, co-workers and strangers attempting to discern their race. Others pointed to the social stigma of having complexions that are frustratingly — or insultingly — viewed as too dark or too light…

Read the entire review here.