Mixed Race Studies

The Ambiguous and the Mundane: Racial Performance and Asian Americans

Contemporary Literature
Volume 57, Number 2, Summer 2016
pages 292-300

Josephine D. Lee, Professor of English and Asian American
University of Minnesota

Jennifer Ann Ho, Racial Ambiguity in Asian American Culture. New Brunswick, NJ, and London: Rutgers University Press, 2015. xi + 215 pp. $90.00 cloth; $31.95 paper.

Ju Yon Kim, The Racial Mundane: Asian American Performance and the Embodied Everyday. New York: New York University Press, 2015. x + 286 pp. $90.00 cloth; $28.00 paper.

Asian American studies scholars such as Karen Shimakawa (National Abjection: The Asian American Body Onstage), Leslie Bow (Betrayal and Other Acts of Subversion: Feminism, Sexual Politics, Asian American Women’s Literature), Tina Chen (Double Agency: Acts of Impersonation in Asian American Literature and Culture), Joshua Chambers-Letson (A Race So Different: Performance and Law in Asian America), and myself have drawn attention to the theatrical nature of Asian American racialization—the assumed incompatibility between Asian bodies and American loyalties that undergirds racial stereotypes such as the perpetual foreigner or the wartime enemy. The Asian American is imagined as a potential traitor or an economic threat whose essential nature is inherently at odds with American identity and whose apparently successful cultural assimilation is inherently untrustworthy. Throughout their long history, Asian Americans have been subject to the material and psychological consequences of this endgame, whether in the World War II incarceration of Japanese Americans or in outlandish expectations for the “model minority.”

Two recent books—Ju Yon Kim’s The Racial Mundane: Asian American Performance and the Embodied Everyday and Jennifer Ann Ho’s Racial Ambiguity in Asian American Culture—also envision Asian American racialization as a shifting and dynamic social performance, unpacking what “Asian American” does, rather than just assuming what it is. Both directly challenge fixed notions of racial epistemology as well as provide insightful, original commentary on historical and contemporary Asian American literature and culture.

Grounded in the theories of theatrical phenomenology and Asian American studies, Kim’s Racial Mundane specifically looks at the juxtaposition of Asian American culture (especially Asian American theater) and “everyday” life. Theater is often considered the realm of imaginative pretense as contrasted with the authentic world offstage. But as Kim points out, both theater and life are mainly constituted by repetitive habits and behaviors that define self and action. What Kim calls “the mundane” is the “fusion of the corporeal and the quotidian,” or as she eloquently puts it, “the slice of the everyday carried—and carried out—by the body” (3). For Asian Americans, these ordinary bodily practices are charged with racial significance. Asian exclusion and marginalization was founded on the premise that Asian immigrants and their descendants would never fully assimilate. Kim takes up different instances of this perceived gap between Asian body and American behavior; for instance, she reads the myth of the “model minority” in Justin Lin’s 2002 film Better Luck Tomorrow and Lauren Yee’s biting 2014 satire Ching Chong Chinaman as demonstrative of this racial slippage, whereby Asian American achievement is interpreted both as proof of a successful transition into Americanness and as accentuating a racial difference that belies assimilation.

Though Kim’s examples are largely contemporary, she opens with an analysis of a play that premiered in 1912. Now mostly forgotten, Harry Benrimo and George C. Hazelton Jr.’s The Yellow Jacket was praised in touring productions as well as Broadway revivals, drawing attention for its novel adaptation of the stage devices of Chinese opera as well as Chinese settings and characters. Kim juxtaposes the success of this play’s version of Chineseness with the uncertainty and suspicion with which Chinese immigrants were treated. If the “heathen Chinee” (as Bret Harte called the Chinese immigrant in his popular 1870 poem) was so reviled in early twentieth-century America, how do we explain the popularity of the Chinese characters (played by white actors) in The Yellow Jacket? Key to this contradiction was Benrimo and Hazelton’s inclusion of a “Property Man,” a character who manages the stage set and props while doing ordinary things such as eating, smoking, and reading a newspaper. This novel stage device may well have influenced Thornton Wilder’s creation of the Stage Manager for his…

Black as We Wanna Be

The Nation
2016-09-15

Matthew McKnight, Assistant Literary Editor

Frederick Douglass, February 21, 1895. (National Park Service, Frederick Douglass National Historic Site, Washington, DC)

Stauffer, John, Zoe Trodd, and Celeste-Marie Bernier, Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century’s Most Photographed American (New York: Liveright, 2015)

Fields, Karen E., and Barbara J. Fields, Racecraft: The Soul of Inequality in American Life (Brooklyn: Verso, 2012)

Trying to remedy racism on its own intellectual terrain is like trying to extinguish a fire by striking another match. The fiction must be unbelieved, the fire stamped out.

In her 2003 book Regarding the Pain of Others, Susan Sontag explored some questions about the ever-evolving technology of photography and what it does to us, particularly when it’s used to capture moments that would normally make us avert our eyes. “Perhaps the only people with the right to look at images of suffering of this extreme order,” Sontag wrote, “are those who could do something to alleviate it—say, the surgeons at the military hospital where the photograph was taken—or those who could learn from it. The rest of us are voyeurs, whether or not we mean to be.” Sontag spends much of the book discussing war photography; scant pages mention images and cruelties closer to home.

In the modern American context, there remains perhaps no more insidious cruelty than the belief—constantly manipulated and reinforced—that race is a natural and constant thing, something that should have any bearing on how we choose to organize our society and our lives. And though the convergence of racism and the photographic impulse isn’t new, the recent pictures and videos of killings by police officers have given renewed life to the questions that Sontag explored—and those she didn’t. Indeed, these images raise fewer questions about the act of looking at them than about the ways in which we view ourselves.

To modern eyes, the photographic portraits of Frederick Douglass are not so remarkable. Douglass was almost always photographed seated, wearing a dark suit, alternately staring directly into the camera and looking off to one side. As he abided by the portrait conventions of the era, only his skin color would have made these portraits remarkable in Douglass’s own time. The real joy of Picturing Frederick Douglass (2015)—a collection of 60 portraits, taken between 1841 and 1895; his four speeches on his theory of photography; and a critical essay by Henry Louis Gates Jr.—is to study his constancy. The changes in Douglass’s facial expressions across all of the portraits are mostly imperceptible: He looks serious, defiant, and proud.

The final portrait of Douglass was taken on February 21, 1895. He’d died the day before. That image shows him lying on his bed in Washington, DC. It is mostly a spectral gray-white. His hair and beard, his clothes, the bed linens, and the wall in the background all appear to be about the same color. There’s a faint outline of his profile, and with his hands crossed over his abdomen, he looks as dignified as ever…

Read the entire article here.

Mixed Blessings from a Cambridge Union

Camden Review
2016-09-15

Angela Cobbinah

Elizabeth Anionwu

THE early years of one’s life normally follow a predictable path with any unexpected twists and turns suitably documented for posterity.

But it was not until she was in her 60s that Elizabeth Anionwu, one of the country’s most senior nurses, was able to discover why she ended up spending the best part of her childhood in the care of Roman Catholic nuns.

The revelations came in the form of a thick blue dossier containing almost 60 documents handed over to her from a Catholic children’s home in Birmingham.

“It consisted mainly of letters dating back to my time in my mother’s womb to when I left care, and the words that jumped out of the pages took my breath away,” recalls Elizabeth. Up until then I had a few bits of oral history passed down, but literally only bits.”

Her mother, the darling daughter of devout Irish Catholics living in Liverpool, had fallen pregnant while studying classics at Newnham College, Cambridge. The frantic back and forth correspondence between the family and the reverend in charge centred on concealing the pregnancy and whether the baby should eventually be adopted.

“There was a great deal of stigma surrounding illegitimacy in those days but this was only the start of the drama – at this stage, my grandparents were unaware that my father was from Nigeria.”.

Despite their renewed shock, they supported her mother’s desire to keep the baby but insisted that Elizabeth be placed in a children’s home at the age of six months so she could resume her studies. But, as her mother reveals in further correspondence, she planned to marry her father, who was also studying at Cambridge, and bring her baby home again.

What happens next is told in Elizabeth’s forth­coming autobiography, Mixed Blessings from a Cambridge Union, how she did not get to live with her mother until she was nine, but then only briefly because of her step­father’s hostility, and only met her father at the age of 24…

Read the entire article here.

Books in Brief: Nonfiction

The New York Times
1997-10-26

Douglas A. Sylva

The New Colored People: The Mixed-Race Movement in America.
By Jon Michael Spencer.
New York University, $24.95.

Many members of minority groups have long argued that society must recognize and accept an individual’s racial identity for that individual to enjoy feelings of self-esteem. Ironically, however, the very success of this message threatens the black community, since many people traditionally considered black now think of themselves as multiracial or of mixed race. Some even demand the right to define themselves this way on government documents. In ”The New Colored People,” Jon Michael Spencer takes on the difficult task of explaining, from a civil-rights perspective, why government should refuse to recognize such a category. Spencer, who teaches American studies and music at the University of Richmond, worries that new classifications will sap the black community of skill and vigor. He also fears that Federal relief funds for blacks will dwindle if their officially registered population declines. Whether or not he is correct, this type of argument entails a plea to put aside the desire for recognition and self-esteem for the greater good of the community…

Read the entire review here.

Toronto Film Review: ‘Barry’

Variety
2016-09-10

Owen Gleiberman, Chief Film Critic

Devon Terrell in Barry. Courtesy of TIFF

Set in 1981, a canny and absorbing drama paints a highly convincing portrait of Barack Obama when he was a 20-year-old college student in New York, still piecing together who he was.

In the movie world, there is often a fine line between coincidence and karma. It’s not really all that hard to fathom how two filmmakers, within a year of each other, could each come up with the notion of making a kind of snapshot biopic about the young Barack Obama. Yet the fact that both movies are emerging near the tail-end of the Obama presidency is surely no accident. The time has come to take stock, and Obama, at the twilight of his leadership, with eight years of policy and scrutiny, controversy and (yes) celebrity behind him, is ripe for the kind of mythological intimacy that the movies, perhaps uniquely, can provide.

“Southside With You,” the Sundance hit that was released into theaters just two weeks ago, is a deft and observant talkathon that turns Barack and Michelle Obama’s first date into a touching political spin on “Before Sunrise.” The Barack of that movie, which is set on a single day in 1989, is still finding his way, but he’s already a precocious young version of the Obama we know: impeccable and confident, a fusion of insight and arrogance and clarity and empathy, speaking in those rolling information-age cadences.

The Barack Obama we meet in “Barry,” on the other hand (a movie set eight years earlier), is a very different sort of cat, a young man you feel you scarcely know at all, because he doesn’t totally know himself — which turns out to be the theme of the movie. As played by the canny Australian actor Devon Terrell, he’s not even Barack yet, he’s just Barry, rolling with the punches, a slightly gawky handsome angular dude with a fringe of Afro and a way of falling into pensive trances when he’s chain-smoking. Terrell nails the clipped vibe of awareness, and a youthful version of the stare, to an uncanny degree. His Barry is reasonably self-possessed, with a lot of ideas, but he doesn’t have a clue as to how they fit together. He’s not the talkative lawyer-professor we’re used to. He’s tentative, his brashness weighed down by hidden doubts…

Read the entire review here.

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction by Diana Rebekkah Paulin (review) [Ings]

African American Review
Volume 47, Number 1, Spring 2014

Katharine Nicholson Ings, Associate Professor of English
Manchester College, North Manchester, Indiana

Diana Rebekkah Paulin. Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction. Minneapolis: U of Minnesota P, 2012. 315 pp. $75.00 cloth/ $25.00 paper.

In Diana Rebekkah Paulin’s Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction, the author explores how the theatrical and literary production of miscegenation from the mid-nineteenth through the early twentieth centuries both dismantled and reinforced the black-white binary that bolstered individual and national identity during Reconstruction and the subsequent period of nation-building. Paulin analyzes race from a performative perspective—an approach she establishes as unfamiliar to a nineteenth-century American—and so she mines her texts for the complex and what she calls the “often unseen processes” (xii) by which interracial relationships become spectacular, or staged. But she also frames her topic of interracial unions as a methodology of its own: if her sources’ processes are “unseen,” Paulin consciously employs “miscegenated reading practices” (xii) by engaging with diverse fields of study, including American studies and transhemispheric studies alongside theatre and performance studies, comparative race and ethnic literary studies, and literary history.

Part of this book’s appeal comes from how Paulin herself stages the narratives within. Selecting an eclectic variety of texts, Paulin organizes her chapters by pairing and comparing; she often juxtaposes a playwright with a novelist or short-story writer—Dion Boucicault with Louisa May Alcott, Bartley Campbell with William Dean Howells, Thomas Dixon with Charles Chesnutt, Pauline Hopkins with the trio Bob Cole, J. Rosamond Johnson, and James Weldon Johnson—to emphasize the intersecting performative aspects of their works. She introduces each chapter by situating the authors and texts within their respective biographical and cultural contexts, paying particular attention to the performance history and reception of each play. This strategy is particularly successful for chapter one, “Under the Covers of Forbidden Desire,” Paulin’s treatments of Dion Boucicault’s play The Octoroon (1859) and Louisa May Alcott’s stories “M. L.” and “My Contraband” (both 1863). She develops her analysis beyond a familiar argument of how black blood in each work functions as either a catalyst for “chaos” (14) or exotic “art” (36) to a consideration of same-sex miscegenation (including audience reception). In Boucicault, for instance, a quadroon slave and an Indian have a friendship that Paulin locates “somewhere on the spectrum between the homosocial and the homoerotic” (20); in Alcott, white women in an authoritative, read “masculine” role express their same-sex desire for former slaves via the men’s “feminized characterizations” (41)…

Read the entire review here.

Sil Lai Abrams Blooms in Blackness

Los Angeles Review of Books
2016-08-31

Brooke Obie

Sil Lai Abrams, Black Lotus: A Woman’s Search for Racial Identity (New York: Gallery Books, 2016)

SIL LAI ABRAMS HAD HER SUSPICIONS about her race as a very young child. Her brown skin was much darker and her hair much curlier than her fair-skinned, straight-haired younger sister and brother. When she would walk down the street with her Chinese mother and White father, her White neighbors would stare and whisper.

“Your skin is brown because you were born in Hawaii,” her father would tell her anytime she asked, assuring her of her legitimacy as his own White child. It became her retort when she was met with “porch monkey” and other racist slurs by children at her majority-White school: “I’m Hawaiian!” she assured them, not Black.

The same father who raised her in Whiteness would strip her of that safety net of privilege when she was 14 years old. After Sil Lai laughs at racist jokes with her younger sister May Lai, one of which is how to “stop a nigger from jumping on the bed” — par for the course in her Seminole County, Florida, neighborhood — her father came into the room, appearing disgusted, only to say, “I don’t know why you’re laughing, Sil Lai. You’re one.”…

Read the entire review here.

Nicholas Guyatt’s ‘Bind Us Apart’

Book Reviews
The New York Times
2016-04-29

Eric Foner, DeWitt Clinton Professor of History
Columbia University, New York, New York

BIND US APART
How Enlightened Americans Invented Racial Segregation
By Nicholas Guyatt
Illustrated. 403 pp. Basic Books. $29.99.

Half a century ago, inspired by the Supreme Court’s decision in Brown v. Board of Education, historians embarked on an effort to identify the origins of racial segregation. C. Vann Woodward insisted that rather than existing from time immemorial, as the ruling’s opponents claimed, segregation emerged in the 1890s. Others located its genesis in Reconstruction or the pre-Civil War North.

Eventually, the debate faded. Now, Nicholas Guyatt offers a new interpretation. Segregation and its ideological justification “separate but equal,” he argues, originated in the early Republic in the efforts of “enlightened Americans” to uplift and protect Indians and African-­Americans. After trying and abandoning other policies, these reformers and policy makers concluded that only separation from whites — removal of Indians to the trans-Mississippi West and blacks to Africa — would enable these groups to enjoy their natural rights and achieve economic and cultural advancement. Thus, almost from the outset, the idea of separating the races was built into the DNA of the United States.

Guyatt, who teaches at the University of Cambridge, is the author of a well-­regarded book on the history of the idea (still very much alive today) that God has chosen this country for a special mission. In “Bind Us Apart” he addresses another theme central to our national identity: Who is an American? To find an answer he offers a detailed account of early national policies toward Indians and blacks…

…One of Guyatt’s surprising findings is how many liberals believed that the Indian population should be assimilated through intermarriage. “You will mix with us by marriage,” [Thomas] Jefferson told an Indian delegation in 1808. “We shall all be Americans.” Not all whites agreed, of course. In the 1820s “all hell broke loose” in Cornwall, Conn., when two young Indian men who arrived to study at a religious school ended up marrying local white women…

Read the entire review here.

“I’m Aboriginal. I’m Just Not The Aboriginal You Expect Me To Me.” // REVIEW OF “Am I Black Enough For You?” By Anita Heiss #AWW2016

A Keyboard and An Open Mind: The Blog of Avid Reader and Writer, Emily Witt
2016-08-15

Emily Witt

Title: Am I Black Enough For You?
Author: Anita Heiss
Genre: Memoir/Non-fiction
Date Read: 01/08/2016 – 09/08/2016
Rating: ★★★★

Normally memoirs don’t really get more than three stars from me. It’s not that they’re terrible, just that they’re not a genre I have much interest in, so even if I find the writer interesting, that’s not necessarily the case for the writing itself. Fortunately, I found Anita Heiss’ memoir to be thought-provoking and easy to read, and it helped me to understand how our Aboriginal Australians form their identity.

In 2009, Anita Heiss found herself as one of seventeen successful Aboriginal people targeted by “journalist” (I use that term loosely) Andrew Bolt, who accused them in his nationally-distributed newspaper column, as well as online, of “choosing” to identify as Aboriginal to further their careers. Four of these Aboriginal people took Bolt, and the Herald and Weekly Times to court, arguing that he had breached the Racial Discrimination Act (RDA). They won the case…

Read the entire review here.

On Race and Medicine: Insider Perspectives ed. by Richard Garcia (review)

American Studies
Volume 55, Number 1, 2016
pages 163-164
DOI: 10.1353/ams.2016.0057

David Colón-Cabrera

ON RACE AND MEDICINE: Insider Perspectives. Edited by Richard Garcia. Lanham, MD: Rowman & Littlefield. 2015.

The fields of anthropology and sociology, in addition to health sciences, have problematized the topic of race and medicine extensively. The dubious history of medical practice towards non-white bodies has left deep impacts on the manner in which biomedicine still speaks, treats, and cares for individuals who are not white. Medicine has its own white privilege problem in the way it often sets whiteness (and maleness) as the default body to research, treat, and care for. On Race and Medicine reflects on these challenges by providing an insight into the experiences of practitioners and researchers at the intersection of race and healthcare.

The book falls within the purview of current research and theory exploring the cultural, social, and political aspects of science. While the book does not specifically identify its aim and scope within Science and Technology Studies, it focuses on those involved in the production and practice of medicine. On Race and Medicine relies on narratives that characterize the multidisciplinary nature of medicine from the perspective of a diverse group of academics and health practitioners—though only a third are women. The book presents the experiences and trajectories of the collaborators and their induction to the topic of race within healthcare. Edited by Richard Garcia, the book’s four sections attempt to retrospectively challenge the manner in which health disparities have been evaluated in recent decades. The first section, Health Disparities, sets the tone by arguing how historical and environmental factors can help explain current health disparities. The Personal Essay presents the omnipresent effect that a racial and ethnic identity has in developing attitudes and behaviors towards healthcare. In Race and Medicine several collaborators reflect on their own biases, attitudes, privileges, and experiences at the intersection of race and medicine. Collaborators recount their challenging experiences encountering medicine while being an ethnic/racial other or being exposed to the ethnic/racial other. Finally, in Towards Solutions, the collaborators discuss the limitations that they deal with in their work and practice. The latter sections are the core of the book since they answer the editor’s central question: “But is this form—rather than the traditional writing of social science or public health—useful, or even necessary?” (31). The use of “forensic chapters” (4) by the collaborators exemplify the manner in which medicine deals with the lived experiences of ethnic and racial minorities, and invite the reader to reflect on those challenges.

Garcia and collaborators seem to be writing for health professionals who are reticent to appreciate the value of personal essays as a narrative tool to explain the complexity of race and healthcare. The editor makes a compelling, though limited, argument supporting the study of health disparities in the US. On Race and Medicine relies on an abundance of sociological and anthropological knowledge, but the editor’s discussions referencing these disciplines could have benefitted from more depth; for example, on pages 4–5 Garcia states: “I imagine the topic of health disparities as a section in a syllabus of an American studies course, along with the other sections that consider race in America.” He appears to overlook the fact that fields in anthropology, sociology, the humanities and public health have crafted entire programs and courses that examine race and medicine in a holistic manner. Similarly, Garcia’s exhortation, “I’d call for a moratorium on disparities studies if anyone were listening. We know. They exist. Enough studies already. Now let’s fix them” (160) misses the point by inadvertently minimizing the scholarship of the aforementioned disciplines.

Garcia and collaborators provide contrasting and dynamic insights that challenge some of the notions of race and healthcare in a very personal way. The value of this book lies in the personal contributions alluding to the diversity of socioeconomics and relative privilege within ethnic and racial communities, and their influence on health-seeking behaviors and attitudes. At the end of the book, in regard to the challenges that the interaction of race and healthcare cause, Garcia poses the question “What can I do?” (166). This seems an unspoken call…