Mixed Race Studies

Jane Marchant: A Century of Progress

Guernica / A Magazine of Art & Politics
2016-06-13

Jane Marchant

Uncovering the story of a grandmother’s racial passing and its effect on following generations.

It is winter here and there are no leaves in sight. I am standing in front of what was once 684 East 39th Street, once part of Chicago’s Ida B. Wells housing projects. Gray dust swirls to the sides of the roads; it also covers cars. Gray light shines through gray clouds and gray glass litters Bronzeville’s streets, in the South Side. The Chicago Housing Authority demolished my Grandma Barbara’s first home. In place of the two-bedroom apartment that housed my Grandma Barbara, her two siblings, and their mother – and generations after them, as the city’s public housing projects shifted from idyllic dream to dangerous nightmare – are three-story apartment buildings for rent or sale. Demolition of the Ida B. Wells Homes began in 2002 and construction for the Oakwood Shores replacement development is nearly complete. A manufactured park cuts the new housing development in two, Lake Michigan breaks against the shore barely a mile east, and skyscrapers rise in the distance. Barely five months ago, I did not know my Grandma Barbara grew up in Chicago’s first housing projects segregated for black residents. She kept many things hidden from me, and the outside world. Among Grandma Barbara’s secrets was that her mother was black.

I love my Grandma Barbara. I loved her as I grew up in a predominantly-white neighborhood; I loved her when I wasn’t allowed to play with her hair, when she ate peanuts and jelly beans at our dining-room table, and when I understood she and my mother were somehow different from the white mothers around us, but I did not understand why. I loved Grandma Barbara in her hospital bed, as she told the nurses she was from Spain, as she lay dying. I love her as she rests in a jar on my aunt’s mantelpiece. But Grandma Barbara told her children and grandchildren lies about who we are.

I find myself, repeatedly, asking, Why? Slavery’s dangers do not exist anymore. The segregation of Grandma Barbara’s youth does not legally exist anymore. When she was on her deathbed in 2007, she was no longer called a mulatto, my mother no longer called a quadroon; I am not called an octoroon, my children will not be named mustifees and my grandchildren will not be mustifinos. We are not in the French Southern States of the 1800s and my great-grandchildren will never be called quarterons, and their children sang-meles. Our one drop will no longer enslave us all. So what was Grandma Barbara hiding from?…

Read the entire article here.

Hybrid by Robert Wood

Mascara Literary Review
2015-10-04

Robert Wood

Robert Wood grew up in a multicultural household in Perth. He holds degrees from the Australian National University and the University of Pennsylvania, where he was a National Undergraduate Scholar and a Benjamin Franklin Fellow respectively. He has edited for Margaret River Press, Wild Dingo Press and Overland, and volunteered for the Small Press Network, Philadelphia Fringe Festival and Books through Bars. He has published work in literary journals such as Southerly, Plumwood Mountain and Counterpunch and a academic journals including Foucault Studies, JASAL and Journal of Poetics Research. He currently hosts a reading and conversation series at The School of Life and is a regular contributor to Cultural Weekly. His next book, heart-teeth, is due out from Electio Editions later this year.

What is the hybrid to do?

I have passed as a white man for most of my life. I have a name – Robert Wood – that is invisible in the hegemonic Anglo society of suburban Australia. I have a body that if a little tanned, a little hook nosed, a little ‘Latin’ or ‘Mediterranean’, is nevertheless unthreateningly, benignly unnoticeable. I present in dress and language, in what Pierre Bourdieu called habitus, as white. But I am also a person of colour. My mother is brown. She is Malayalee from Kerala in South India. Although there are degrees of complexity and complexion in the vales and folds of family history, through her I participate in a network of colouredness. Colouredness means both the aesthetic reality of the body itself, how we look, and the political meaning of bodies, how we are represented. In other words my mother’s skin is literally not ‘white’ (or for that matter ‘pink’, ‘yellow’ or ‘black’) and we have a shared history of colonial oppression that is racially based, which involves the British, the Portugese and northern India…

Read the entire article here.

“White Enough to Pass”: Uncovering the story of John Wesley Gibson

underbelly: From the Deepest Corners of the Maryland Historical Society Library
2016-01-21

Excerpt from William Still’s 1872 book, The Underground Railroad: A Record of Facts, Authentic Narratives, Letters, & c., Narrating the Hardships Hair-breadth Escapes and Death Struggles of the Slaves in their Efforts for Freedom, as Related by Themselves and Others, or Witnessed by the Author; Together with Sketches of Some of the Largest Stockholders, and Most Liberal Aiders and Advisors, of the Road, E450 .S85, MdHS. (reference photo)

“John Wesley Gibson represented himself to be not only the slave, but also the son of William Y. Day, of Taylor’s Mount, Maryland…” This is the opening statement of a slave narrative that tells the story of a man who chose freedom in a place and time that allowed slavery — Maryland in the 1850s. The short narrative offers details of his appearance (looks like his father); job description (farm foreman); his age (28); how he escaped (passed as a white man) and how he detested bondage (severe restrictions). Little else is known of John Wesley Gibson other than one paragraph of information in a 780-page history of the Underground Railroad published in 1872. After Gibson escaped, where did he go? What was his life like at Taylor’s Mount? Is there a way to verify the information in the narrative? His mother Harriet and sister Frances were mentioned in the story. What happened to them? How do we find out more info? Or are they lost to history?…

Read the entire article here.

Book Launch: A Chosen Exile: A History of Racial Passing in American Life by Allyson Hobbs

The Powerhouse Arena
37 Main Street
Brooklyn, New York 11201
Telephone: 718.666.3049
Wednesday 2016-06-15, 19:00-21:00 EDT (Local Time)

Focusing on individuals and their experiences, Allyson Hobbs examines how racial passing became both a strategy for survival and an avenue to loss.

About A Chosen Exile:

Racial passing is an exile, sometimes chosen, sometimes not. Between the late-eighteenth and midtwentieth centuries, countless African Americans passed as white, leaving behind families, friends, and communities, without any available avenue for return. Lives were lost only to be remembered in family stories. In A Chosen Exile: A History of Racial Passing in American Life, Allyson Hobbs helps us to understand how racial ambiguity can be a cross to bear as well as a blessing for those of indeterminate color.

Much of the existing literature on passing is dominated by a focus on what its practitioners gained socially, culturally, economically or politically through assuming a white identity; Hobbs departs from this interpretation by suggesting that passing also resulted in loss, most significantly the loss of family and community ties. To pass as white was to make the decision to turn one’s back on a black racial identity and to claim to belong to a group to which one was not legally assigned.

When one decided to pass as white, a sense of embeddedness in a community or a collectivity was lost. Passing reveals that the essence of identity is not in an individual’s qualities, but rather in the ways that one recognizes himself or herself and is recognized as kindred. These forms of recognition may begin with superficial markers such as skin color, speech, and dress, but these are only indicators of relations to powers, ways of being in the world, and an imagined sharing of a common origin and iconic experiences. Passing, then, works as a prism: it refracts different aspects of what we commonly think of as race and reveals what is left once an ascribed status is stripped away.

Hobbs explores how race-making goes beyond skin color to one’s connection to family, culture, and community as well as to the popular perception of race in the larger society. Focusing on individuals and their experiences, A Chosen Exile examines how passing became both a strategy for survival and an avenue to loss.

About the Author:

Allyson Hobbs is Assistant Professor in the Department of History at Stanford University. You can find more information on her website: http://allysonhobbs.com/.

For more information, click here.

Karin Tanabe: THE GILDED YEARS

Busboys and Poets
Langston Room
2021 14th Street, NW (14 & V Street, NW)
Washington, D.C. 20009
Tuesday, 2016-06-14, 18:30-20:30 EDT (Local Time)

Politics & Prose at Busboys and Poets 14th & V welcomes Karin Tanabe to present the new book “The Gilded Years.”

A Politico journalist turned novelist, Tanabe has reported on politics and society for Entertainment Tonight, CNN, and Inside Edition, experience she drew on for the Washington insider fiction of The List and The Price of Inheritance. Her third novel looks at class, race, and ambition in the Gilded Age, following smart and talented Anita Hemmings—daughter of a janitor—as she realizes her dream of attending Vassar. But Anita is also the descendent of slaves, and though her pale skin allows her to “pass” for white, as she moves among the wealthy elite of 1897 high society, she walks an increasingly tense line concerning her identity.

Tanabe will be in conversation with LaFleur Paysour, communications director for the National Museum of African American History and Culture.

For more information, click here.

Texas slave passes as Mexican millionaire

San Antonio Express-News
San Antonio, Texas
2016-06-11

Joe O’Connell

Former slave passes as Mexican millionaire

Historian Karl Jacoby was driving near the Texas-Mexico border when he was stopped by the U.S. Border Patrol, the agency charged with keeping Mexicans out of the United States.

He explained, to their dismay, that he was writing a book about a Texan who had tried desperately to cross into Mexico.

In the completed book, “The Strange Career of William Ellis,” Jacoby has pieced together of the life a former slave who transformed himself into a wealthy Mexican.

Ellis was born to a mixed-race mother on a cotton plantation in Victoria one year before slavery ended, but found transformation in San Antonio, then the hub of commerce between the United States and Mexico.

“He was born ‘in between’ in multiple ways,” Jacoby said. “There was this fault line between slavery and freedom and what that might mean. There was also a fault line between the United States and Mexico.”

Both nations were courting immigrants as business boomed in the Gilded Age at the end of the 19th century…

Read the entire article here.

The Agonies Of “Passing” – Considering the Murder Mystery ‘Sapphire’

IndieWire
July 2014

Sergio

The Agonies Of “Passing” – Considering the Murder Mystery ‘Sapphire‘

Starting in the late 1940’s, and continuing through to the end of the ‘50’s, Hollywood seemed to be obsessed with the concept of “passing” –light skinned black people passing for white. Though it wasn’t new, of course, somehow it caught Tinseltown’s attention and a slew of films were made, almost all them dealing with women in particular, who passed for white and the tragedies and sorrow that they encountered.

Elia Kazan’s “Pinky,” “Lost Boundaries,” “Imitation Of Life,” “Band of Angels,” “The Night of the Quarter Moon,” “I Passed for White,” and the would-be “Gone with the Wind” rip-off, “Raintree County,” with Elizabeth Taylor and Montgomery Clift, which, technically may not be a “passing” movie, though it deals with a pre-Civil war, antebellum Southern belle (Taylor), who goes slowly insane because she believes her real mother was a slave, who was her father’s lover (turns out that she wasn’t, but Taylor dies anyway for all her grief).

But, for my money, the real doozy of the passing-for-white films wasn’t from Hollywood, but came instead from the U.K.

I’m referring to the 1959 British mystery detective film “Sapphire,” directed by Basil Dearden, who specialized, during the late 50′s and 60′s, in films with controversial subject matter, such as his 1961 film “Victim,” which dealt with a successful and closeted gay barrister who is being blackmailed, and fights back against his tormentors. It is credited for being the first movie in which the word “homosexual” was actually used in a film.

But “Sapphire” is in another realm altogether…

Read the entire review here. Watch the entire film, Sapphire here.

Nothing is black and white in Branden Jacobs-Jenkins’s ‘An Octoroon’

The Washington Post
2016-06-06

Peter Marks, Theater critic

Jon Hudson Odom, left, as George, Maggie Wilder, center, as Dora and Kathyrn Tkel as Zoe in “An Octoroon.” (Scott Suchman)

“Hi, everyone, I’m a black playwright!” the actor Jon Hudson Odom exclaims at the outset of “An Octoroon,” Branden Jacobs-­Jenkins’s acerbically virtuosic skewering of America’s perpetually festering racial anxieties.

Before long, Odom, shedding the guise of the dramatist — who goes by the initials “BJJ” — is applying white-face makeup to portray the roles of both the altrustic heir to a broke Southern plantation and his racist archnemesis, in the “black playwright’s” new version of a 19th-century slavery melodrama. “I couldn’t find any more white guys to play the white guys’ parts,” BJJ confesses, explaining that white guys have qualms these days about embodying people who own other people. He’s unapologetic, though, about having his assistant (Joseph Castillo-Midyett) put on blackface to play house slave Pete, while the white Irish author of the original melodrama (James Konicek) materializes to smear on garish red makeup to become the Native American character, Wahnotee.

Jacobs-Jenkins, a Washington-born playwright and Pulitzer Prize finalist this year for his tragicomic workplace drama “Gloria,” is looking with a jaundiced eye in “An Octoroon” at the mechanics of “The Octoroon,” the 1859 “sensation drama” by Dion Boucicault that inspired Jacobs-Jenkins’s play. Simultaneously he’s highlighting the collective skittishness of our time over labels and racial identity and who has permission to say what about whom. By pla­cing black actors in whiteface and Latino actors in blackface and white actors in redface, he’s for­cing the rest of us to consider in the starkest terms the impact of society’s relentless color-sorting — conscious or otherwise…

Read the entire article here.

An Octoroon

Woolly Mammoth Theater
641 D Street, NW
Washington, D.C. 20004
2016-05-30 through 2016-06-26

By Branden Jacobs-Jenkins
Directed by Nataki Garrett

A plantation on the brink of foreclosure. A young gentleman falling for the part-black daughter of the estate’s owner. An evil swindler plotting to buy her for himself. Meanwhile, the slaves are trying to keep things drama-free, because everybody else is acting crazy.

An Octoroon, Branden Jacobs-Jenkins’ Obie-winning riff on a 19th century melodrama that helped shape the debate around the abolition of slavery, is an incendiary adaptation that the New York Post called “entertainingly demented.” Part period satire, part meta-theatrical middle finger, it’s a provocative challenge to the racial pigeonholing of 1859—and of today.

As part of a special Connectivity initiative around An Octoroon, join DC area changemakers, thought leaders, activists and artists for a provocative series of engagement opportunities around every single performance of An Octoroon. We want to inspire conversation and reflection. We want to galvanize our audiences. That’s why we exist. That’s what we promise our community. Please visit our House Lights Up Events page for more information about these special events.

Filling in Gaps in the Historical Record: Accuracy, Authenticity, and Closure in Ann Rinaldi’s Wolf by the Ears

Children’s Literature
Volume 44, 2016
pages 21-60
DOI: 10.1353/chl.2016.0018

Brian Dillon, Professor of English
Montana State University-Billings

Ann Rinaldi, Wolf by the Ears, (New York: Scholastic, 1993).

This novel, narrated by Thomas Jefferson and Sally Hemings’ daughter, includes four historical inaccuracies: they contribute to a pitiful view of the slave-owning president. Determining authenticity requires a more subjective interpretive response: the depiction of Harriet Hemings’ life at Monticello and her decision to leave and pass for white does achieve a convincing degree of authenticity.

Read or purchase the review here.