Mixed Race Studies

The Color of Water: A Black Man’s Tribute to His White Mother (10th Anniversary Edition)

Riverhead an Imprint of Penguin Publishing Group
2006-02-07
352 pages
8.26 x 5.23in
Paperback ISBN: 9781594481925

James McBride

James McBride, journalist, musician, and son, explores his mother’s past, as well as his own upbringing and heritage, in a poignant and powerful debut.

Who is Ruth McBride Jordan? A self-declared “light-skinned” woman evasive about her ethnicity, yet steadfast in her love for her twelve black children. James McBride, journalist, musician, and son, explores his mother’s past, as well as his own upbringing and heritage, in a poignant and powerful debut, The Color Of Water: A Black Man’s Tribute to His White Mother.

The son of a black minister and a woman who would not admit she was white, James McBride grew up in “orchestrated chaos” with his eleven siblings in the poor, all-black projects of Red Hook, Brooklyn. “Mommy,” a fiercely protective woman with “dark eyes full of pep and fire,” herded her brood to Manhattan’s free cultural events, sent them off on buses to the best (and mainly Jewish) schools, demanded good grades, and commanded respect. As a young man, McBride saw his mother as a source of embarrassment, worry, and confusion—and reached thirty before he began to discover the truth about her early life and long-buried pain.

In The Color of Water, McBride retraces his mother’s footsteps and, through her searing and spirited voice, recreates her remarkable story. The daughter of a failed itinerant Orthodox rabbi, she was born Rachel Shilsky (actually Ruchel Dwara Zylska) in Poland on April 1, 1921. Fleeing pogroms, her family emigrated to America and ultimately settled in Suffolk, Virginia, a small town where anti-Semitism and racial tensions ran high. With candor and immediacy, Ruth describes her parents’ loveless marriage; her fragile, handicapped mother; her cruel, sexually-abusive father; and the rest of the family and life she abandoned.

At seventeen, after fleeing Virginia and settling in New York City, Ruth married a black minister and founded the all- black New Brown Memorial Baptist Church in her Red Hook living room. “God is the color of water,” Ruth McBride taught her children, firmly convinced that life’s blessings and life’s values transcend race. Twice widowed, and continually confronting overwhelming adversity and racism, Ruth’s determination, drive and discipline saw her dozen children through college—and most through graduate school. At age 65, she herself received a degree in social work from Temple University.

Interspersed throughout his mother’s compelling narrative, McBride shares candid recollections of his own experiences as a mixed-race child of poverty, his flirtations with drugs and violence, and his eventual self- realization and professional success. The Color of Water touches readers of all colors as a vivid portrait of growing up, a haunting meditation on race and identity, and a lyrical valentine to a mother from her son.

Rubén Trejo: Beyond Boundaries / Aztlán y más allá

University of Washington Press
Published with Northwest Museum of Arts and Culture
April 2010
160 pages
110 color illus., notes, bibliog., 9 x 10 in
Paperback ISBN: 9780295990040

Edited and Introduced by:

Ben Mitchell, Senior Curator of Art
Northwest Museum of Arts and Culture, Spokane, Washington

Essays By:

Tomás Ybarra-Frausto, Former Professor of Spanish and Portuguese
Stanford University
Former Associate Director for Creativity and Culture
Rockefeller Foundation

John Keeble, Professor Emeritus
Eastern Washington University

“Multiple backgrounds can form such two- and three-dimensional ideas that they take you to the brink of lunacy, but I have used this rich background and ethnic landscape for creating art. As a student at the University of Minnesota, I often wondered what the study of Russian history, Shakespeare, English literature, or Freud . . . had to do with cleaning onions in Hollandale, Minnesota, picking potatoes in Hoople, North Dakota, or visiting relatives in Michoacán. This diversity of ideas can produce a three-headed monster or an artist, and I chose the latter.” –Rubén Trejo

Rubén Trejo: Beyond Boundaries / Aztlán y más allá is the first comprehensive survey of Trejo’s art and career. It focuses on more than fifty works from 1964 through the present, including pieces from his delightful life-size, puppet-like Clothes for Day of the Dead series; works from the Calzones series – cast bronze underwear and jalapenos – that challenge the Spanish machismo culture; seminal examples of his lifelong exploration of the cruciform image; and much more. The volume includes biographical and interpretive essays, as well as a chronology, list of exhibitions, and bibliography.

Rubén Trejo (1937-2009) was born in a Chicago, Burlington and Quincy railroad yard in St. Paul, Minnesota, where his father, a mixed Tarascan Indian and Hispanic from Michoacán, Mexico, and his mother, from Ixtlan in the same Mexican province, had found a home for the family in a boxcar while his father worked for the railroad. Trejo became the first in his family to graduate from college, and in 1973 he moved to the Pacific Northwest, where he began a thirty-year association with Eastern Washington University as teacher and artist.

His isolation from major centers of Chicano culture led him to search for self-identity through his art. Influenced and inspired by such writers and artists as Octavio Paz and Guillermo Gómez-Peña, he explored a dynamic, multidimensional worldview through his sculpture and mixed-media pieces and created a body of work that deftly limns his identity as an artist and a Chicano. Throughout his long teaching career, he worked tirelessly to create opportunities for young Chicanos through tutoring and mentoring.

Table of Contents

• Preface by Ben Mitchell
• In a Garden of Ideas / Ben Mitchell
• Beyond Boundaries, Aztlán y más allá / Tomás Ybarra-Fraust
• Plates
• Trejo’s Perfect Havoc / John Keeble
• Chronology for Rubén Miguel Trejo
• Selected Exhibitions
• Selected Bibliography
• Patrons
• About the Authors

May Ayim: A Woman in the Margin of German Society

The Florida State University College of Arts and Scienes
Spring Semester, 2005
76 pages

Margaret MacCarroll, Professor of Modern Languages: German Division
Florida State University

A thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts

This work explores the life of the Afro-German writer May Ayim by analyzing her writings as well as by discussing the social circumstances in which she lived. Chapter 1 provides a look at the Ayim’s life, with special emphasis on major factors influencing her childhood. The effects of the personal as well as social pressures that Ayim dealt with as a child and young adult are also discussed. Chapter 2 focuses on the history of Afro-German children born shortly after World War II. Chapter 3 includes an explanation of Minor Literature and an examination of May Ayim as an author of such literature. Her importance as such is established. Due to Ayim’s position outside the mainstream of German society, social factors that greatly affected her life as a result of this situation are discussed in Chapter 4. These factors are: identity, culture, and ethnicity. In Chapter 5 Ayim’s attempts to incorporate both the white and black aspects of herself despite the deeply rooted history of racism in Germany are also discussed. Chapter 6 includes an examination of the toll that Ayim’s familial and social experiences played on her feelings of romantic love, especially toward another Afro-German. Chapter 7 examines the exhaustion that Ayim felt toward the end of her life.

Table of Contents

ABSTRACT
INTRODUCTION

1. GROWING UP BLACK IN GERMANY
    Ayim’s Struggle with “Otherness“
    Childhood Pressure
    The White World and Ayim’s Black Father
    Grasping her Africanness
    Desire for Whiteness even in Africa

2. HISTORY OF RACISM IN GERMANY
    Recent History of Racism and Mischlingskinder after World War II

3. MAY AYIM, AUTHOR OF MINOR LITERATURE
    The Afro-German Minority Represented in Ayim’s Poetry

4. THE IDENTITY, CULTURE AND ETHNICITY OF PEOPLE ON THE FRINGES

5. MINOR RACE IN MAJORITY CULTURE
    Racism on the Global Scale
    Incorporating Her White and Black Self

6. MAY AYIM’S LOVE LIFE

7. AYIM’S EXHAUSTION ON THE FRINGE OF SOCIETY

CONCLUSION
NOTES
BIBLIOGRAPHY
BIOGRAPHICAL SKETCH

Read the entire thesis here.

Don’t tell me who I am

The Guardian
2002-01-12

Libby Brooks, Deputy Comment Editor

Jackie Kay has become used to all kinds of assumptions being made about her identity—literary, national, sexual and familial. The more annoying, because the joy of being a writer is that you can create any persona you like. On the other hand, she does want to stand and be counted. She explains to Libby Brooks

Jackie Kay tells a tale of mistaken identity. “I went to sit down in this chair in a London pub and this woman says, ‘You cannae sit doon in that chair – that’s ma chair.’ I said, ‘Oh, you’re from Glasgow, aren’t you?’ and she said, ‘Aye, how did you know that?’ I said, ‘I’m from Glasgow myself.’ She said, ‘You’re not, are you, you foreign-looking bugger!'” Kay roars delightedly. “I still have Scottish people asking me where I’m from. They won’t actually hear my voice, because they’re too busy seeing my face.” Meanwhile, in Glasgow, her black female friends are stopped in the street and asked if they’re Jackie Kay…

…Born in Edinburgh to a Scottish mother and Nigerian father, Kay herself was adopted by a white couple and brought up in Glasgow. A lesbian – she lives in Manchester with poet Carol Ann Duffy, her own 13-year-old son, Matthew, and Duffy’s daughter, Ella, six – Kay has found her own identities too easily commodified for comfort. “Your characters are fiction, but when you’re a public writer people often try to make them you. Often, they have this real need, which seems to come out of our culture, to relate things back to this big thing called the personality. There’s something discomforting about that gaze being on you because, by writing, you’ve deliberately chosen to put yourself behind the scenes…

…Kay has always read and always written. As a young girl growing up in predominantly white Glasgow, books such as Anne Of Green Gables and the Famous Five series offered her other lives, while writing gave her the chance to create her own. When she was 12, she wrote the 80-page One Person, Two Names in a school jotter, illustrated by a pal, about a girl living in the States who was black but pretended to be white. “It interests me that I still write about the same things,” she notes dryly…

Read the entire article here.

Harry Chang: A Seminal Theorist of Racial Justice

Monthly Review
January 2007

Bob Wing

It is little known that a shy Korean immigrant named Harry Chang made vital contributions to the theory and practice of racial justice in the United States. In his most fruitful period, the 1970s, his work shaped the thinking and political work of numerous movement organizations, mostly led by people of color. Although he died prematurely in 1979, his work helped lay the foundations of two of the most progressive and influential theories of racism: the theory of racial formation and critical race theory.

To one degree or another, Harry may be credited with a number of ideas that were highly controversial in the 1970s but which in recent years have become much more accepted. His starting point was to highlight the centrality of the “one drop” rule that determines race in the United States (only). By analyzing this rule, he showed that racial categories are socio-historical categories, not genetic or genealogical, and that they are qualitatively distinct from class, ethnicity, or nation/nationality categories. Harry coined the term racial formation to underscore the necessity of analyzing racism as a historical process that encompasses the origins of racism, how and why it has changed over time, and the process of eliminating it in a given historical context. He also argued for the centrality of law to racial formation and the inseparability and mutual determination of racial and class formation. Clarifying the distinctiveness of racism also laid the basis for analyzing the intersection of race and nationality…

…Harry’s experience as an immigrant, his study of Cuba, and his analysis of racial categories highlighted the peculiarity of the dialectic of U.S. racial categories: the so-called hypodescent rule by which anyone who appeared to have a single drop of “black blood” was considered black. He commented on how U.S. racism often viciously divided immigrant siblings from Latin America and the Caribbean into black and white. Such anti-human racial categories, Harry recognized, are peculiar to the United States alone.

In fact, he argued, these categories themselves harbor a chauvinistic logic: “Inherent in the notion of ‘White’ is the requirement of genetic ‘purity’ while the notion of ‘Black’ harbors the assumption of genetic ‘contamination.’ One of the peculiarities of the racist psyche in the U.S. is that its sense of a ‘drop of African blood’ is unbelievably acute but it is practically blind to ‘a drop of European blood.’” “White” and “black” are not the least bit neutral; they contained the chauvinistic logic of pure versus contaminated, clean versus dirty, and pure breed versus mongrel. Racial categories, in other words, are not determined by natural science or genealogy, and were certainly not an attempt at neutral physical description. “Racial categories are not biological categories, but social-relational categories that fetishize genetic diversity.” The logic of racial categories is itself racist…

Read the entire article here.

Uma Mulata, Sim!: Araci Cortes, ‘the mulatta’ of the Teatro de Revista

Women & Performance: a journal of feminist theory
Volume 16, Issue 1 (March 2006)
pages 7-26
DOI: 10.1080/07407700500514996

Judith Michelle Williams, Professor of African and African-American Studies
University of Kansas

Araci Cortes, a mulata assumida, rose to be one of the most successful performers in Rio de Janeiro‘s teatro de revista (revue theatre) during the 1920s and 1930s. In this essay I place her career in the context of the Afro-Brazilian artists of her generation and evaluate how her embodiment of the Brazilian mulata on and off the stage interacted with the emerging discourse of Brazil as a mulatto nation. Lauded for her distinct Brazilianness and criticized for her petulant and uncompromising personality, Cortes excelled as a singer, dancer and comic actress, most often portraying the mulatta roles that before her fame were enacted by white actresses. Cortes is a complicated figure who was able to exploit the narratives and stereotypes that surrounded her mixed-race body and gain, fame, fortune and success. Although rather than leave behind her Afro-Brazilian connections she maintained relationships with even the most militant of Brazilian blacks she spoke about race only in the vague terms of her era. Yet through her emblematic performances she reconfigured ideas of gender and race in Brazil. She provides an example of how Afro-Brazilians have used performance to create an alternative discourse of race in Brazil.

Read or purchase the article here.

A Knock Out: A film by Tessa Boerman and Samuel Reiziger

Women Make Movies
Netherlands, 2004
53 minutes
Color, VHS/DVD
Subtitled
Order No. W05882

Boxing champion Michele Aboro grew up in South London, where life for a girl was never easy, let alone for a mixed-race lesbian girl. Thanks to her tenacious spirit and an uncanny talent for combat sports, she put her difficult past behind her and managed to sign a contract with the biggest boxing promoter in Europe. She won all 21 fights, 18 of them with a knockout – an exceptional achievement in women’s boxing. But despite her spectacular record in the ring, her career came to a sudden halt when her promoter broke her contract under the belief that she was not “promotable.”

Refusing to vamp up her image and pose naked in magazines, this undefeated world champion was abandoned by an industry more interested in selling sex than sport. A Knock Out interweaves Aboro’s personal story with interviews with boxers whose wild success strikes a painful contrast with Aboro’s struggles. Searching for logic behind Aboro’s case, this poignant documentary captures a universal story of fighting for one’s identity and offers a probing look at the intersection of gender, ethnicity, sexuality and the increased commercialization of women’s sports.

Passing for White: Race, Religion, and the Healy Family, 1820–1920

University of Massachusetts Press
July 2002
296 pages
6 illustrations
Cloth ISBN: 978-1-55849-341-7
Paper ISBN: 978-1-55849-417-6

James M. O’Toole, Clough Professor of History
Boston College, Boston, Massachusets

• An alternate selection of the Book-of-the-Month Club
• Winner of the New England Historical Association Book Award

The remarkable saga of a mixed-race family in nineteenth-century America

Through the prism of one family’s experience, this book explores questions of racial identity, religious tolerance, and black-white “passing” in America. Spanning the century from 1820 to 1920, it tells the story of Michael Morris Healy, a white Irish immigrant planter in Georgia; his African American slave Eliza Clark Healy, who was also his wife; and their nine children. Legally slaves, these brothers and sisters were smuggled north before the Civil War to be educated.

In spite of the hardships imposed by American society on persons of mixed racial heritage, the Healy children achieved considerable success. Rejecting the convention that defined as black anyone with “one drop of Negro blood,” they were able to transform themselves into white Americans. Their unlikely ally in this transition was the Catholic church, as several of them became priests or nuns. One brother served as a bishop in Maine, another as rector of the Cathedral in Boston, and a third as president of Georgetown University. Of the two sisters who became nuns, one was appointed the superior of convents in the United States and Canada. Another brother served for twenty years as a captain in the U.S. Coast Guard, enforcing law and order in the waters off Alaska.

The Healy children’s transition from black to white should not have been possible according to the prevailing understandings of race, but they accomplished it with apparent ease. Relying on their abilities, and in most cases choosing celibacy, which precluded mixed-race offspring, they forged a place for themselves. They also benefited from the support of people in the church and elsewhere. Even those white Americans who knew the family’s background chose to overlook their African ancestry and thereby help them to “get away” with passing.

By exploring the lifelong struggles of the members of the Healy family to redefine themselves in a racially polarized society, this book makes a distinctive contribution to our understanding of the enduring dilemma of race in America.

View a 58 minute-long discussion from 2002-12-04 with the author here.

Ambiguous Lives: Free Women of Color in Rural Georgia, 1789-1879

University of Arkansas Press
1992
304 pages
ISBN Cloth: 1-55728-214-5
ISBN Paper: 1-55728-215-3
Out of Print

Adele Logan Alexander, Professor of History
George Washington University, Washington, D.C.

1992 Winner, Gustavus Myers award as one of the year’s outstanding books promoting racial understanding.

Historians have produced scores of studies on white men, extraordinary white women, and even the often anonymous mass of enslaved Black people in the United States. But in this innovative work, Adele Logan Alexander chronicles there heretofore undocumented dilemmas of one of nineteenth-century America’s most marginalized groups—free women of color in the rural South.

Ambiguous Lives focuses on the women of Alexander’s own family as representative of this subcaste of the African-American community. Their forbears, in fact, included Africans, Native Americans, and whites. Neither black nor white, affluent nor impoverished, enslaved nor truly free, these women of color lived and died in a shadowy realm situated somewhere between the legal, social, and economic extremes of empowered whites and subjugated blacks. Yet, as Alexander persuasively argues, these lives are worthy of attention precisely because of these ambiguities—because the intricacies, gradations, and subtleties of their anomalous experience became part of the tangled skein of American history and exemplify our country’s endless diversity, complexity, and self-contradictions.

Written as a “reclamation” of a long-ignored substratum of our society, Ambiguous Lives is more than the story of one family—it is a well-researched and fascinating profile of America, its race and gender relations, and its complex cultural weave.

Husband And Wife Duo Paved The Way For Blacks In Diplomacy [Interview with Adele Logan Alexander]

Tell Me More
National Public Radio
2010-02-10

Michel Martin, Host of Tell Me More

with

Adele Logan Alexander, Professor of History
George Washington University

Tell Me More continues its Black History Month series with a conversation with Adele Logan Alexander. Alexander is professor of history at George Washington University and a member of the National Council on the Humanities. She’s also author of “Parallel Worlds,” a new book that details the lives of married couple William Henry Hunt and Ida Gibbs Hunt. William Henry Hunt was the first African-American to have a complete career in U.S. diplomacy; Ida Gibbs Hunt was an intellectual on world issues.

…MARTIN: And I have to ask you a question, which might be a delicate one for some people, which is these were both very light-skinned people.

Prof. ALEXANDER: Yes.

MARTIN: And, you know, this is an issue which has kind of newly surfaced because of, you know, Senate Majority Leader Harry Reid’s comments about Senator Obama, or rather President Obama’s complexion. But I do want to ask whether these two people moved in the world as African-Americans, or were they seen as white? Were they passing?

Prof. ALEXANDER: I am convinced, and many other sources that I quote in this book are convinced that one of the reasons he lasted so long with the State Department was that they really weren’t quite 100 percent sure. But one of the tricky points with this comes when what do you do when people simply assume in a world where you don’t think in the middle of France, where certainly the local people didn’t run into African-Americans all of that time – here is this sophisticated man, here is this consul who likes to do sporting things and ride horses and eat fine food and wine. He is not part of their image of what a black man is supposed to be. And, of course, in France a lot of the things that black people were pictured as had to do with their colonial visions, and they didn’t fit this picture…

 Listen to the interview and/or read the transcript here.