Mixed Race Studies

Fade to Black and White: Interracial Images in Popular Culture

Rowman & Littlefield
May 2009
250 pages
Cloth: 0-7425-6079-1 / 978-0-7425-6079-6
Paper: 0-7425-6080-5 / 978-0-7425-6080-2

Erica Chito Childs, Associate Professor of Sociology
Hunter College, City University of New York

There is no teasing apart what interracial couples think of themselves from what society shows them about themselves. Following on her earlier ground-breaking study of the social worlds of interracial couples, Erica Chito Childs considers the larger context of social messages, conveyed by the media, that inform how we think about love across the color line. Examining a range of media—from movies to music to the web—Fade to Black and White offers an informative and provocative account of how the perception of interracial sexuality as “deviant” has been transformed in the course of the 20th century and how race relations are understood today.

Table of Contents

• Introduction: Fade to Black and White
• 1. Historical Realities and Media Representations of Race and Sexuality
• 2. The Prime-Time Color-Line: Interracial Couples and Television
• 3. It’s a (White) Man’s World
• 4. When Good Girls Go Bad
• 5. Playing the Color-Blind Card: Seeing Black and White in News Media
• 6. Multiracial Utopias: Youth, Sports and Music
• Conclusion

Jean Toomer and the History of Passing

Reviews in American History
Volume 41, Number 1, March 2013
pages 113-121
DOI: 10.1353/rah.2013.0016

Matthew Pratt Guterl, Professor of Africana Studies and American Studies
Brown University

Jean Toomer. Cane. With a new afterword by Rudolph B. Byrd, and Henry Louis Gates, Jr. New York: W. W. Norton, 2011. 472 pp.(paper).

In 2011, Rudolph Byrd and Henry Louis Gates, Jr., issued a new Norton Critical edition of Jean Toomer’s 1923 novel, Cane, a work widely seen as one of the finest expressions of black culture in the twentieth century. Both men have written on Toomer, on race, and on literature. Byrd, recently deceased, was the author of the finely wrought Jean Toomer’s Years With Gurdjieff (1990). Gates is a famous scholar of African American studies. In op-eds for the Chronicle of Higher Education, in the pages of the New York Times, and on the radio stream of NPR, the editors, drumming up attention, accused Toomer of “passing” for white, a provocation rooted, they felt, in the evidence, but also sure to guarantee book sales and critical attention. “He was running away from a cultural identity that he had inherited,” Gates said to Felicia Lee in one of these paratextual interviews; “He never, ever wrote anything remotely approaching the originality and genius of Cane. I believe it’s because he spent so much time running away from his identity.” Gates then added, “I feel sorry for him.”

This damning conclusion that Toomer engaged in racial subterfuge is somewhat off-putting because it runs counter to just about everything written about Toomer since the 1980s. It also pushes back against the foundational assumptions of the “bi-racial” and “mixed-race” movements—both of which prioritize self-identification and self-fashioning outside of official categories—and challenges recent histories of race and passing. Still, because of the unique editorial authority of this pair, the new edition of Cane will surely become a consumer triumph.

“Jean Toomer may have been a bit of a cad and a man who had a fondness for the company of white women,” wrote Sharon Toomer, the author’s great granddaughter, in response to an interview with Gates in the New York Times, “but to say . . . that he decidedly passed for white is an explosive accusation that demands nothing short of evidence—€”not interpretation.” She continued: “In countless documents, Toomer said he wanted to be identified as an American. That is different from deciding to pass for white.” But how is it different? And what is that evidence? And what, finally, is that interpretation? Answering these questions brings us to the far edge of African American studies, African American history, and African American literature; indeed, it carries us across a threshold where, as Kenneth Warren recently suggested, the future of these robust and important fields is decidedly uncertain. Answering them also clarifies the purpose of this new edition of Cane, which appears designed to rewrite the past and redirect the future.

Every American historian should be familiar with Cane because the work captures so many themes and plot points of the post-WWI era. Uniquely structured even in an era of formal experimentation, Cane was a revolutionary text when first published, and it remains an object of extraordinary debate today. The loosely organized, scattershot novella gathers up familiar plot points of post-emancipation African American history and rearranges them into discrete vignettes, capturing a race increasingly adrift in an age of traumatic transformations: from rural to urban, from the violent medieval to the depersonalized modern, from locally grounded to wandering and migratory. Each little piece was saturated with symbolic or metaphorical detail. And the book, slender and enigmatically titled, looked different, too, with cryptic arcs and half-circles appearing in no discernable sequence, marking major thematic breaks. Readers of Cane knew they held in their hands something special and exciting, even if they weren’t entirely certain what to make of it.

Toomer believed firmly and consistently that he was neither white nor black, but both and much more. The tall, lanky descendent of P. B. S. Pinchback—€”the Reconstruction-era governor of Louisiana (a whimsical man who occasionally enjoyed playing at white)—€”Jean Toomer was, in the years prior to the publication of Cane, a questing soul in search of a racial identity outside of contemporary realities, hoping…

Mixed Bloods and Other Crosses: Rethinking American Literature from the Revolution to the Culture Wars

University of Pennsylvania Press
2004
288 pages
6×9; 24 illustrations
Cloth: ISBN 978-0-8122-3844-0

Betsy Erkkilä, Henry Sanborn Noyes Professor of Literature
Northwestern University

In Mixed Bloods and Other Crosses, Betsy Erkkilä argues that it is through the historical and psychological dramas of blood as a marker of violence, or race, or sex, or kinship that Americans have struggled over the meanings of democracy, citizenship, culture, national belonging, and the idea of America itself as it was constituted and contested in its relations with others and the world. Whether blood is construed as setting up a boundary incapable of being crossed or is perceived as a site of mixing and hybridity, its imagery has saturated the literature of the American republic from the time of the founding. Erkkilä moves from a consideration of contests about territorial, sexual, racial, class, national, and aesthetic borders in the Revolutionary period and the nineteenth century to a discussion of recent contests about the boundaries of culture and the disciplines and the relation between aesthetics and politics, identity and difference, nationalism and cosmopolitanism, the local and the global.

Erkkilä’s American literature is a field of cultural and political struggle, one she examines in scenes of mixture and crossing, miscegenation and incest, doubling and hybridity that subvert, alter, or undo the boundary-building imperatives of American history. While she is concerned with the “crosses” of sex, race, class, and blood, she also looks at the ways history and “blood” impinge on the putatively pure realms of culture, literature, and aesthetics in the writings of Thomas Jefferson, Edgar Allan Poe, Emily Dickinson, Herman Melville, and the Caribbean writer C. L. R. James; she explores the ways the hybridity or mixture of social languages becomes a force for resistance and New World transformation in the writings of Phillis Wheatley and Abigail Adams, Walt Whitman and Harriet Jacobs; and she considers the ways modern subjectivity and the Freudian unconscious bear the markings of the dark, savage, sexual, and alien others that were expelled by the disciplinary logic of the Western Enlightenment and its legacy of blood in the Americas.

Table of Contents

• Preface
• 1. Blood, Sex, and Other American Crosses
• 2. Mixed Bloods: Jefferson, Revolution, and the Boundaries of America
• 3. Revolutionary Women
• 4. The Poetics of Whiteness: Poe and the Racial Imaginary
• 5. Whitman and the Homosexual Republic
• 6. Emily Dickinson and Class
• 7. Beyond the Boundaries: C.L.R. James to Herman Melville
• Notes
• Index
• Acknowledgments

Read the Preface here.

346-Comparative Ethnic Literatures (Reg. No. 22253)

University of Buffalo, The State University of New York
Spring 2013

Susan Muchshima Moynihan, Assistant Professor of English

This course brings together Asian American and African American texts to destabilize our understandings of race; to situate racial formations in political and historical moments marked by the intersections of race, class, gender, sexuality, and national and transnational affiliations; and to consider how literary strategies facilitate political engagement with these issues. The course will proceed in four parts.

Part I “Racial Ambiguity and the Dynamics of Passing” will engage Charles Chesnutt’s The House Behind the Cedars and short stories and essays by Edith Eaton (Sui Sin Far) and Winnifred Eaton (Onoto Watanna) to address how literary representations of the late-19th and early 20th centuries deployed mixed-race identities and attempts to pass within strict racial hierarchies marked by national and international politics…

For more information, click here.

Barack Obama and the Contest for Identity through Self-Representation: HIST-UA 413

New York University
Spring 2013

Jeffrey Sammons, Professor of History

This course will explore the life and career path of the nation’s first “black” president through a focus on his two autobiographies, which will be studied for their content, style, and grounding in the genre and relationship to select canonical texts of the more distant as well as recent past. The course also will pay close attention to representations by others of Obama by critics, supporters, and neutral commentators through a variety of media from books to film to television and radio to social media. As important as Obama is for his unprecendented political achievements, his multi-racial, multi-cultural, multi-national and multi-religious background and experience make him an ideal subject for exploring personal and group identity in a time of apparently increasing concern with Otherness.

Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896-1937

New York University Press
October 2011
228 pages
Hardcover ISBN: 9780814752555
Paper ISBN: 9780814752562

Julia H. Lee, Assistant Professor of English and Asian American Studies
University of Texas, Austin

2013 Honorable Mention, Asian American Studies Association’s prize in Literary Studies

Why do black characters appear so frequently in Asian American literary works and Asian characters appear in African American literary works in the early twentieth century? Interracial Encounters attempts to answer this rather straightforward literary question, arguing that scenes depicting Black-Asian interactions, relationships, and conflicts capture the constitution of African American and Asian American identities as each group struggled to negotiate the racially exclusionary nature of American identity.

In this nuanced study, Julia H. Lee argues that the diversity and ambiguity that characterize these textual moments radically undermine the popular notion that the history of Afro-Asian relations can be reduced to a monolithic, media-friendly narrative, whether of cooperation or antagonism. Drawing on works by Charles Chesnutt, Wu Tingfang, Edith and Winnifred Eaton, Nella Larsen, W.E.B. Du Bois, and Younghill Kang, Interracial Encounters foregrounds how these reciprocal representations emerged from the nation’s pervasive pairing of the figure of the “Negro” and the “Asiatic” in oppositional, overlapping, or analogous relationships within a wide variety of popular, scientific, legal, and cultural discourses. Historicizing these interracial encounters within a national and global context highlights how multiple racial groups shaped the narrative of race and national identity in the early twentieth century, as well as how early twentieth century American literature emerged from that multiracial political context.

Contents

• Acknowledgments
• 1. Introduction
• 2. The “Negro Problem” and the “Yellow Peril”: Early Twentieth-Century America’s Views on Blacks and Asians
• 3. Estrangement on a Train: Race and Narratives of American Identity in The Marrow of Tradition and America through the Spectacles of an Oriental Diplomat
• 4. The Eaton Sisters Go to Jamaica
• 5. Quicksand and the Racial Aesthetics of Chinoiserie
• 6. Nation, Narration, and the Afro-Asian Encounter in W. E. B. Du Bois’s Dark Princess and Younghill Kang’s East Goes West
• 7. Coda
• Notes
• Bibliography
• Index
• About the Author

Dividing Lines: Class Anxiety and Postbellum Black Fiction

University of Michigan Press
2013
232 pages
6 x 9
Hardcover ISBN: 978-0-472-11861-8
Ebook ISBN: 978-0-472-02890-0

Andreá N. Williams, Associate Professor of English
Ohio State University

Photograph of John and Lugenia Burns Hope and family, undated, Atlanta University Photographs—Individuals, Atlanta University Center Robert W. Woodruff Library (Pictured from left to right: Dr. John Hope, Edward Hope, John Hope, II, and and Lugenia Burns Hope)

New insights on the intersection of race and class in black fiction from the 1880s to 1900s

Dividing Lines is one of the most extensive studies of class in nineteenth-century African American literature. Clear and engaging, this book unveils how black fiction writers represented the uneasy relationship between class differences, racial solidarity, and the quest for civil rights in black communities.

By portraying complex, highly stratified communities with a growing black middle class, these authors dispelled popular notions that black Americans were uniformly poor or uncivilized. But even as the writers highlighted middle-class achievement, they worried over whether class distinctions would help or sabotage collective black protest against racial prejudice. Andreá N. Williams argues that the signs of class anxiety are embedded in postbellum fiction: from the verbal stammer or prim speech of class-conscious characters to fissures in the fiction’s form. In these telling moments, authors innovatively dared to address the sensitive topic of class differences—a topic inextricably related to American civil rights and social opportunity.

Williams delves into the familiar and lesser-known works of Frances E. W. Harper, Pauline Hopkins, Charles W. Chesnutt, Sutton Griggs, and Paul Laurence Dunbar, showing how these texts mediate class through discussions of labor, moral respectability, ancestry, spatial boundaries, and skin complexion. Dividing Lines also draws on reader responses—from book reviews, editorials, and letters—to show how the class anxiety expressed in African American fiction directly sparked reader concerns over the status of black Americans in the U.S. social order. Weaving literary history with compelling textual analyses, this study yields new insights about the intersection of race and class in black novels and short stories from the 1880s to 1900s.

Contents

• Introduction: Contending Classes, Dividing Lines
• 1. The Language of Class: Taxonomy and Respectability in Frances E. W. Harper’s Trial and Triumph and Iola Leroy
• 2. Working through Class: The Black Body, Labor, and Leisure in Sutton Griggs’s Overshadowed
• 3. Mapping Class Difference: Space and Social Mobility in Paul L. Dunbar’s Short Fiction
• 4. Blood and the Mark of Class: Pauline Hopkins’s Genealogies of Status
• 5. Classing the Color Line: Class-Passing, Antiracism, and Charles W. Chesnutt
• Epilogue: Beyond the Talented Tenth
• Notes
• Bibliography
• Index

From the Golden Gate to the Green Mountains: A Hapa Educational Autobiography and Meta-Critical Reflection

University of Vermont
October 2012
65 pages

Noelle Brassey

A Thesis Presented to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in English

As a former UC Berkeley undergraduate and a University of Vermont graduate student, this is an educational autobiography of a self-identified Hapa, or mixed-race Asian American, through the lens of race and identity. Exploring what it means to be “white” and “privileged,” and realizing that these concepts—like identity—are fluid, this thesis adopts a dual methodology that includes personal narrative, as well as a meta-critical reflection. This thesis focuses on three memoirs: Bone Black and Wounds of Passion by bell hooks, and Hunger of Memory by Richard Rodriguez, each of which explore themes of reclaiming voice and reconstructing identity with regards to race, class, and culture.

Read the entire thesis here.

Interview with PhD Student Karla Lucht: Children’s Literature about Mixed-Race Asian Americans/Canadians

The Center for Children’s Books
Graduate School of Library and Information Science
University of Illinois at Urbana-Champaign
February 2013

Tad Andracki, CCB Outreach Coordinator

“Everyone deserves to see themselves represented in a book. And a good book at that.”

GSLIS doctoral student Karla Lucht visited the School of Library, Archival, and Information Studies at the University of British Columbia as part of the iSchool Doctoral Student Exchange Program in November 2012. The CCB decided to meet with Karla to discuss her trip and her research. Lucht describes her research as looking at the representations of mixed-race Asian Americans and Canadians in youth literature with a critical race theory lens.

Why do you see your research as important to the field of youth services and children’s literature? Why is it important?

To start with, there’s a gap in this research with lots of underrepresented groups, but with mixed-race people especially. Everyone deserves to see themselves represented in a book… and a good book at that. In the past, we’ve seen some books about mixed-race people, but a lot of them weren’t good. I’m trying to fill in those gaps.

What are some challenges you see in your particular field of research? What are some opportunities?

One primary challenge is just finding titles, especially using subject headings. The Library of Congress Subject Heading that’s closest to my work is Racially Mixed People–Fiction, which isn’t very descriptive. I’ve been sifting through books with that heading. I’m also trying other keywords—adoption, immigration, multiracial, multiethnic, multicultural–and then looking at the books to see if they have the content I’m interested in.

Another problem is that, especially in the late 1980s and the 90s, a lot of the YA books on this topic are a bit problematic and poorly written. You find books that really invest in Othering a character’s Asian side and putting whiteness on a pedestal. In those books, the character vists the Asian side of the family, and it’s always a big problem–the Asianness is “too weird” or something…

Read the entire interview here.

Japanese-Brazilian Music and Ethnic Identity in the Post-Dekasegi Era: A lecture by Shanna Lorenz

Barnard College, Columbia University
Sulzberger Parlor, 3rd Floor Barnard Hall
3009 Broadway, New York, New York
2013-02-28, 18:00 EST (Local Time)

Shanna Lorenz, Assistant Professor, Music; Advisory Committee, Latino/a and Latin American Studies
Occidental College, Los Angeles

This talk explores how circular migration between Brazil and Japan since 1990 has led Japanese-Brazilians to push back against the stereotypes that have circumscribed their participation in Brazilian society and, in some cases, to assert more forcefully their allegiance with the Brazilian nation. At the forefront of these social changes, musicians are using their art to redefine perceptions of the Nikkei community in Brazil, reshaping the musical resources and national mythologies of Japan and Brazil.

For more information, click here.