Mixed Race Studies

A Hideous Monster of the Mind: American Race Theory in the Early Republic

Harvard University Press
February 2003
334 pages
6 x 9-15/16 inches
Hardcove ISBN: 9780674009462

Bruce Dain, Associate Professor of History
University of Utah

The intellectual history of race, one of the most pernicious and enduring ideas in American history, has remained segregated into studies of black or white traditions. Bruce Dain breaks this separatist pattern with an integrated account of the emergence of modern racial consciousness in the United States from the Revolution to the Civil War. A Hideous Monster of the Mind reveals that ideas on race crossed racial boundaries in a process that produced not only well-known theories of biological racism but also countertheories that were early expressions of cultural relativism, cultural pluralism, and latter-day Afrocentrism.

From 1800 to 1830 in particular, race took on a new reality as Americans, black and white, reacted to postrevolutionary disillusionment, the events of the Haitian Revolution, the rise of cotton culture, and the entrenchment of slavery. Dain examines not only major white figures like Thomas Jefferson and Samuel Stanhope Smith, but also the first self-consciously “black” African-American writers. These various thinkers transformed late-eighteenth-century European environmentalist “natural history” into race theories that combined culture and biology and set the terms for later controversies over slavery and abolition. In those debates, the ethnology of Samuel George Morton and Josiah Nott intertwined conceptually with important writing by black authors who have been largely forgotten, like Hosea Easton and James McCune Smith. Scientific racism and the idea of races as cultural constructions were thus interrelated aspects of the same effort to explain human differences.

In retrieving neglected African-American thinkers, reestablishing the European intellectual background to American racial theory, and demonstrating the deep confusion “race” caused for thinkers black and white, A Hideous Monster of the Mind offers an engaging and enlightening new perspective on modern American racial thought.

Table of Contents

• Preface
• 1. The Face of Nature
• 2. Culture and the Persistence of Race
• 3. The Horrors of St. Domingue
• 4. The Mutability of Human Affairs
• 5. Conceiving Universal Equality
• 6. Black Immediatism
• 7. The New Ethnology

The White Negress: Literature, Minstrelsy, and the Black-Jewish Imaginary (review)

Shofar: An Interdisciplinary Journal of Jewish Studies
Volume 31, Number 1, Fall 2012
pages 206-208
DOI: 10.1353/sho.2012.0123

Andrea Levine
George Washington University

This volume’s title signals its central critical intervention, a challenge to the masculine biases that have shaped studies of minstrelsy and of cross-racial appropriation and desire more broadly. Most conspicuously, Lori Harrison-Kahan takes on the influential paradigm established by Michael Rogin in his 1996 Blackface, White Noise. Rogin, of course, argues that early twentieth-century Jewish blackface performances worked to confirm the still-contested “whiteness” of Jewish entertainers, a “true” whiteness that presumably resided beneath the “mask” of blackface.

Harrison-Kahan, in fact, identifies Rogin’s paradigm as one of two predominant, “oppositional,” modes of reading Jewish investment in black culture; in the second paradigm, which she traces back at least to Irving Howe, Jews “empathetically identify” with black suffering (p. 4). In practice, though, she contends much more consistently with Rogin’s well-known charges of appropriation and exploitation.

The White Negress demonstrates that once we begin to look at women’s engagement with “cross-cultural exchange” (p. 15), these transactions appear far more nuanced than such binary approaches allow. Harrison-Kahan reads a number of early twentieth-century Jewish American women’s texts and performances as invested less in claiming “whiteness” than in destabilizing it, in part through assertions—if frequently ambivalent ones—of Jewish identity. Her analysis places considerable weight on the resistance to sanctioned gender and sexual roles on the part of such Jewish American female performers and writers as Sophie Tucker and Fannie Hurst. The author also revises “unidirectional” narratives of Jewish American cultural appropriations of “blackness,” suggesting that scholars should acknowledge the more “reciprocal” transactions that obtain among African American and Jewish American cultural producers and historical actors. So, for instance, she reads Zora Neale Hurston’s 1939 novel, Moses, Man of the Mountain, as a send-up, rather than a reinscription, of minstrel conventions, one that explores both the power dynamics and the mutual “cross-identifications” that attended Black-Jewish coalitions in the early years of the civil rights movement.

In another acute challenge to prevailing scholarship, Harrison-Kahan argues that the racial politics of Edna Ferber’s Showboat look quite different when one reads the novel that served as the basis for the Broadway musical, much-maligned for its traffic in sentimental and demeaning representations of African American characters. Harrison-Kahan emphasizes the novel’s “pluralistic” rendering of Jewishness and its emphasis on racial “mixing.” Similarly, she re-reads Hurst’s 1933 novel, Imitation of Life, which provided the basis for both the 1934 and 1959 film versions, texts far more familiar to most scholars than Hurst’s original novel. Harrison-Kahan argues that Hurst’s novel interrogates and exposes the commodification of “blackness” on which its protagonist’s business rests—and that these challenges to racial stereotypes work in conjunction with the challenges that Bea Pullman, as a “working woman,” poses to normative scripts of white femininity and maternity. As in the chapter on Ferber, the author makes a persuasive case for the under-examination of Hurst as a Jewish American author, in part because her biography deviated from that of the largely New York-based Eastern European Jewish immigrants whose work dominates the Jewish American “canon,” and in part—as with so many women writers—because her work was consistently marginalized by critics for its commercial success. One might, however, suggest that even given the historical frame of Harrison-Kahan’s project, her own privileging of “working” white femininity as a disruptive version of femininity is rather a circumscribed choice, leaving heterosexuality, among other indices of normative femininity, largely intact.

Harrison-Kahan’s readings are subtle and deft, and to her credit, she does not over-state the radicalism of either her own approach or the texts she reconsiders. A characteristic passage reads, “Hurst’s novel thus negotiates a fine line between being an additional inculcation of the mammy myth and a commentary on it” (p. 124). Harrison-Kahan works cogently and intelligently in the ambivalent space she charts, writing in the conclusion that whiteness can be “produced and destabilized through cross-racial performances and encounters” (p. 179).

This volume makes an important contribution to a scholarly…

Jackie Kay: a poetic imagining of post-racial (be)longing

darkmatter: in the ruins of imperial culture
ISSN: 2041-3254
Post-Racial Imaginaries [9.2] (2012-11-29)

Katy Massey

Jackie Kay is a prolific and well-loved writer who, though she has written in many forms, is best-known for her poetry. A mixed-race Scot who lives in the north of England, her work frequently utilises the facts of her own life as a means to ponder wider issues of identity, loss and sexual desire. Her approach challenges some of the key categories of social identification such as race, culture and belonging. Her work also spotlights some of the most cherished concepts of post-colonialism, most notably hybridity, plurality and the condition of the ‘in-between’.

In this article I suggest that, as Kay’s work explores the process of racial mixing, a ‘mixed’ reading is required in order to fully expose the subtleties within it. Such a reading is innovative in that it exposes two previously unarticulated ideas. First, the idea that mixedness can form a site of creative production as it is a condition which demands new identifications are continually brought into being. Second, that this process serves as a site of political resistance because it has a destabilising influence on fixed notions of ‘race’ and the operation of racialised thinking. It is exactly such a reading of Kay’s first autobiographical collection, The Adoption Papers, that this article attempts.

In suggesting the existence of a politically-resistant ‘mixed’ perspective, this article utilises ideas around racial mixing which have been developed in the field of in social science and cultural studies but have rarely been applied in literary criticism. For example, in the title of her book Mixed-race, Post-race: Gender, New Ethnicities and Cultural Practices Suki Ali boldly positions the state of mixedness as ‘post-race’. By positioning ‘mixed’ status as sitting outside fixed racial identifiers, and in this sense ‘post’ or beyond established discourses around race, she opens a space for thinking about ‘race’ which leaves room for uncertainty, for a ‘betweeness’ which remains undefined because perpetually in a state of re-creation…

Read the entire article here.

Identity in “Passing”

Allison Tetreault, Journalist and Student
November 2011

Allison Tetreault

Nella Larsen’s Passing destabilizes the traditional conception of ethnic, racial, and gender integrity, revolutionizing the very idea of an accepted definition of identity. By developing unstable characters, Larsen conveys how easy it is to lose one’s sense of self. Clare Kendry, who breaks the tragic mulatto stereotype, never has the chance to align to a particular race because of her untimely death, while Irene Redfield, who becomes obsessed with and jealous of Clare, single-handedly destroys her own sense of self by committing psychological suicide. Nella Larsen herself wrestles with identity, as she was raised in an all-white household after her father, a black West Indian, disappeared from her life; her own struggle identifying with other people leads to a modernist expression of delusion, uncertainty and ambiguity in her novellas. While overtly discussing racial passing, the novella also covertly analyzes gender passing, or a person’s ability to reify society’s expectations of a certain gender through physical and behavioral cues. Irene’s relationship with Clare is based on desire, jealousy, and obsession, and she develops an infatuation for her that combats societal expectations. In addition, Larsen attempts to pass not only her characters, but herself as a novelist and her novel as a fiction. By exposing the convention of the mulatto as unsympathetic instead of tragic, Larsen ironically captures her readers. She tries to “pass” her novel by writing about something she thinks they will want to read, but destroys their expectations by shattering the mulatto stereotype and concentrating more on gender passing, eventually exposing presupposed identity for what it is: malleable, even nonexistent. Both Clare and Irene fail in trying to pinpoint their identities, and by offering nothing but ambiguity in the point of view and the final scene of the novella, Larsen presents identity itself as ambiguous, transient, and never fully identifiable…

Read the entire essay here.

Staged Bodies: Passing, Performance, and Masquerade in Charles W. Chesnutt’s The House Behind the Cedars

MELUS: Multi-Ethnic Literature of the U.S.
Volume 37, Number 4, Winter 2012
pages 69-91
DOI: 10.1353/mel.2012.0062

Margaret Toth, Assistant Professor of English
Manhattan College, Riverdale, New York

Henry Louis Gates, Jr., claims that “one of the ironies” of the New Negro Movement “is that words, not the tactics of visual representation, were the tools blacks used to assert their self-image” (xliv). While we can point to exceptions that complicate this observation—James Van Der Zee’s photography, Archibald Motley’s paintings, or W. E. B. Du Bois’s photographic collection Types of American Negroes, Georgia, U. S. A. (1900)—Gates identifies an important gap in the history of African American self-imaging. What happens, however, when we open up Gates’s terms to examine how authors using words might simultaneously employ “tactics of visual representation”? These written and visual representational modes are not easily or neatly separated. In fact, early African American literature regularly combined them. The first African American novelists creatively integrated these methods of representation in their texts, strategically dismantling racist visual iconography by developing an ocular language that invited consumers of their fiction not just to read their words but also to see the images those words conjured. This practice became even more prevalent during the New Negro Movement, particularly in passing novels that sought to embody mixed-race characters for socio-political purposes. This essay thus revises Gates’s claim that “until the 1920s there was virtually no black counterpoint to the hegemony of racist visual images that dominated the popular arts and more subtly infiltrated the fine arts” (xliv). Authors of the written word were developing a specific language, a visual discourse that sought to topple the hegemony Gates describes.

Visual discourse builds on the practice of “word painting” that dominated US realist writing by the turn of the twentieth century. Edith Wharton identifies word painting as highly descriptive language that “help[s] to make [a character] bodily visible” (485). While not the only tool available for “conferring visibility” to “the reader’s mind” (484), the artist’s brush, when applied to the written page, aided realists who sought to convey an “acute visibility which makes the [reader’s] heart throb and the marrow tingle at the flesh-and-blood aliveness” of literary characters (481). Word painting facilitates the textual or readerly gaze; it encourages the reader to picture or see a character.

Authors deploying visual discourse certainly rely on evocative word painting, but they push beyond descriptive language into a more complex discursive register. They emphasize ocularity by consciously staging their descriptions. For example, when William Wells Brown provides his first portrait of the eponymous heroine in Clotel; Or, The President’s Daughter (1853)—describing her creamy skin, “her long black wavy hair done up in the neatest manner; her form tall and graceful” (47)—he embeds it within a framework that underscores the act of looking. Specifically, Clotel is on the auction block, being inspected by a crowd of potential buyers. In this passage, which the narrator explicitly refers to as a “scene” (48), the straightforward description of Clotel, or what Wharton calls the “vivid picturing” (485) of a character, functions within a layered linguistic system that both relies on and foregrounds the mediated gaze. Fictional characters within the novel look at Clotel, and readers look along with them.

Moreover, authors exploiting visual discourse often allude to—and sometimes rework the codes of—traditional visual and performing arts such as painting and theater, photography, and, by the early twentieth century, silent film. Another early text, Julia C. Collins’s The Curse of Caste; Or The Slave Bride (1865), provides an informative illustration of how this practice functions to generate the textual gaze. In the ekphrastic veiled portrait scenes of the novel, readers behold Richard rendered as art: his haunting face dominates the vivid oil painting, which appears “lifelike and breathing” (57). At the same time, readers are compelled to see the similarities between Richard and his mixed-race daughter Claire, who gazes at the image’s “dark, noble beauty, with quivering lips and flushed cheeks”; as the narrator puts it, the “two…

Left of Black S2:E33 | Race, Writing and the Attack on Black Studies with Adam Mansbach and La TaSha Levy on Season Finale of Left of Black

Left of Black
John Hope Franklin Center
Duke University
2012-11-19

Mark Anthony Neal, Host and Professor of African & African American Studies
Duke University

Host and Duke University Professor Mark Anthony Neal is joined via Skype by writer Adam Mansbach, the author of several books including Angry Black White Boy (2005), The End of the Jews  (2008) and the New York Times Bestseller Go the Fuck to Sleep.  Mansbach discusses the inspiration for Macon Detornay—the protagonist of Angry Black White Boy—the surprise success of his “adult children’s book” and his new graphic novel Nature of the Beast.  Finally Neal and Mansbach discuss race in the Obama era and the legacy of the Beastie Boys…

CNN’s Soledad O’Brien keeps own story under wraps while exploring colorism in “Who is Black in America?

Tampa Bay Times
The Feed
2012-12-07

Eric Deggans, TV/Media Critic

More than any other, one moment crystallizes the confusing, sometimes comically absurd contortions built up around racial identity unveiled in CNN’s latest documentary Who Is Black in America?
 
It’s not the 7-year-old, dark-skinned black girl who turns to her mother and insists light skin is pretty. It’s not the professor [William A. Darity, Jr.] who cites studies showing dark-skinned black men suffer a 10 to 12 percent income inequality compared to white men.
 
It’s when Becca Khalil, a Philadelphia-based high schooler who is the light-skinned child of Egyptian parents, feels compelled to identify herself as white on a college scholarship application.
 
Declaring to CNN’s cameras that she identifies as black personally, Khalil is nevertheless challenged by a friend born of African-American parents, who says she hasn’t had a “black experience.”…

…When most of the youths in CNN’s documentary talk about being black, they mean African American. But [Soledad] O’Brien, who also self-identifies as black, has her non-white roots in Cuba, a Hispanic-centered culture that’s different than the environment for black folks raised in Atlanta or Detroit.
 
And unlike some of the kids she profiles, O’Brien doesn’t believe anyone gets to choose their racial identity.
 
“This idea that someone gets to choose seems odd,” added the anchor. “I’m lighter-skinned than the president of the United States, but my mom is black, my brothers and sisters are black, my mom has a short afro. I never thought I had a choice about how I identified … My identity was given to me very early by my parents.”…

…O’Brien’s documentary also doesn’t mention the most famous person navigating issues of race and identity in modern times: President Barack Obama. And the reason Obama isn’t featured is the same reason O’Brien doesn’t tell her story, even though the details — she was raised as an Afro-Cuban/Irish child in an all-white neighborhood where she felt “people like me weren’t attractive” — seems the embodiment of the documentary’s spirit…

Read the entire article here.

Dismantling the Race Myth

Kyoto International Conference Center
Kyoto, Japan
2012-12-15 through 2012-12-16

Poster (PDF, Japanese)

Institute for Research in Humanities, Kyoto University presents International Symposium.
 
“Race” still has social reality even though it has no biological reality. This symposium aims to dismantle the race myth by bringing together scholars in a wide range of disciplines from Japan and abroad. While race studies have hitherto been confined to trans-Atlantic experiences, we will shed lights on “invisibility,” “ambiguity,” and “in-between-ness” with special reference to Japanese and Asian experiences.

Schedule

• Saturday, December 15, 2012
  • Part I. Invisibility: Representation of Invisible Race
    • Takashi Fujitani (Toronto University) / Appearances Can Be Deceiving: Tennosei, Global Modernity, and the Anxieties of Ocular-centric Racism
    • Ayako Saito (Meiji Gakuin University) / Note on the Film Representation of the “Hisabetsu Burakumin”
    • Joong-Seop Kim (Gyeongsang National University) / The Formation of an Invisible Race: the case of the Korean “Paekjong”
    • Ariela Gross (University of Southern California) / Laws of Blood: The Science and Performance of Race in U.S. Courtrooms
    • Relay Talk and Poster Session by Junior Researchers
    • Social Hour
• Sunday, December 16, 2012
  • Part II. Knowledge: Co-production of Science and Society
    • Arnaud Nanta (Centre National de la Recherche Scientifique) / Critique on the Idea of “Race” in French Anthropology, 1930s-1940s
    • Wataru Kusaka (Kyoto University) / American Colonial Public Health and the Leprosy Patients’ Revolt: Discipline and Desire on Culion Island, Philippines
    • Miho Ishii (Kyoto University) / Blood, Gifts, and “Community” in India: Betwixt and Between Marking and Anonymisation
    • Yasuko Takezawa (Kyoto University), Kazuto Kato (Osaka University), Hiroki Oota (Kitazato University) / Population Descriptors in Genetic Studies and Biomedicine
  • Part III. Hybridity: Beyond the Politics of “Blood”
    • Ryuichi Narita (Japan Women’s University) / Politics of “Mixed Race” in Modern Japan
    • Mika Ko (Rikkyo University) / Cinematic Representations of “Mixed-Race” People in 1930s Japanese Cinema: The Two Faces of Japan’s Modernity
    • Masako Kudo (Kyoto Women’s University) / Border-crossing and Identity Construction by Children of Japanese-Pakistani Marriage
    • Duncan Williams (University of Southern California) / Japan and Its Global Mixed Race History

This is part of a joint research project, a Japan-based Global Study of Racial Representations with Grants-in-Aid for Scientific Research (S). The organizers are grateful to Japan Society for the Promotion of Science for its sponsorship of this event. We are also thankful to Science Council of Japan for their support.

For more information, click here.

Kant’s Race Theory, Forster’s Counter, and the Metaphysics of Color

The Eighteenth Century
Volume 53, Number 4, Winter 2012
pages 393-412
DOI: 10.1353/ecy.2012.0032

Sally Hatch Gray, Assistant Professor of German
Mississippi State University

This article argues for an understanding of Kant’s race theory as an integral part of his idea of nature and of humans in nature as presented in his Critique of the Power of Judgment (Kritik der Urteilskraft, 1790). It places an examination of Kant and Forster’s debate over race, which was ignited in 1785 upon the publication of Kant’s second essay on race, “Definition of a Concept of a Human Race” (“Bestimmung des Begriffs einer Menschenrace”), in the context of an illumination of the connections between aesthetics and anthropology in Kant’s Observations on the Feeling of the Beautiful and Sublime (Beobachtungen über das Gefühl des Schönen und Erhabenen, 1764) and Forster’s Voyage round the World (Reise um die Welt 1777). Forster responded to Kant’s new “race” classifications, which were based essentially on skin color, with “Still More about the Human Races” (“Noch etwas über Menschenraßen,” 1786). This article shows that Kant then developed his scientific theory and his idea of a teleological nature as presented in his Critique of the Power of Judgment, at least in part, in order to provide a unifying theoretical basis for his race theory so that it could withstand the scrutiny of an empirical scientific method based on deductive logic, such as that advanced by Forster. While Forster’s strict empiricism, perspectivism, and rejection of “race” as a scientific classification reflect an underlying, distinctly modern, concept of the natural world, Kant’s nature, as presented in his third Critique, reveals a metaphysically-based structure supporting a universal cosmopolitanism, but veils a particular European perspective that allows a damaging global authority on difference.

At a key moment in his 1777 travelogue A Voyage Round the World (Reise um die Welt) describing his adventures aboard Captain Cook’s second exploratory journey into the Antarctic, the narrative of the young German naturalist Georg Forster (1754-94), takes on a decidedly more excited tone. In August 1773, he and his traveling companions were enjoying the charms of the Society Islands, when, during a banquet featuring traditional dancing, the atmosphere became sexually charged. The sailors bribed the women with bits of meat to continue making seemingly indiscreet dance movements, while the hosts treated the British officers and Prussian naturalists to a peek into the dancers’ dressing room. Forster writes:

To complete our entertainment this day, the chief gave orders for performing another heeva, and we were admitted (behind the scenes} to see the ladies dressing for that purpose.  They obtained some string of beads on this occasion, with which we took it into our heads to improve upon their ornaments, much to their own satisfaction. Among the spectators we observed several of the prettiest women of this country, and one of them was remarkable for the whitest complexion we had ever seen in all these islands. Her colour resembled that of white wax a little sullied, without having the least appearance of sickness, which that hue commonly conveys; and her fine black eyes and hair contrasted so well with it, that she was admired by us all.

Forster’s excitement helps to relay the intense experience of a special event which “perfects the joys of the day” as he writes in German, “Um die Freuden dieses Tages volkommen zu machen.” In this moment, they have not only been released from the physical hardship of months at sea aboard an eighteenth-century sailing vessel, but they are taken with “einstimmige Bewunderung” a kind of “unanimous wonderment.” beyond their immediate reality in their response…

The Modern Girl and the Vamp: Hollywood Film in Tanizaki Jun’ichirô’s Early Novels

positions: asia critique
Volume 20, Number 4 (2012)
pages 1067-1093
DOI: 10.1215/10679847-1717672

Deborah Shamoon, Assistant Professor of Japanese Studies
National University of Singapore

Chijin no ai (Naomi, 1924) and Nikukai (A Lump of Flesh, 1923), by Tanizaki Jun’ichirô, were seminal texts in forming the image of the “modern girl” in Japan in the 1920s. In both novels, Hollywood actresses famous for playing vamp roles are central to the construction of the modern girl character. The title Chijin no ai references the Japanese title of the US film A Fool There Was (1915), starring Theda Bara as the prototypical vamp. In a US context, the vamp character embodies not only the threat of the sexual woman but also anxieties surrounding racial mixing. In importing the vamp narrative to a Japanese context, Tanizaki reproduces this racial tension. This article examines the actresses, including Mary Pickford, Gloria Swanson, Bebe Daniels, and others, that Tanizaki uses as models for the modern girl in these two novels. The existing narrative of the Hollywood vamp informs Tanizaki’s description of the modern girl, even as that narrative is necessarily transformed in a Japanese context. Furthermore, Tanizaki in both novels also employs a narrative voice that evokes the filmic mode of seeing, including the close-up and montage. This article examines Chijin no ai and Nikukai as intersections of filmic and novelistic modes of narrative. Tanizaki’s fascination with the new technology of cinema inspired him to experiment with new modes of narrative and intertextuality in prose fiction. However, his use of the cinematic mode of narrative, as well as the vamp character, also results in the highlighting of white/nonwhite racial tension and an attraction/repulsion toward racial impurity.

Read or purchase the article here.