Mixed Race Studies

Beautiful White Girlhood?: Daisy Buchanan in Nella Larsen’s Passing

African American Review
Volume 47, Number 1, Spring 2014
pages 37-49

Sinéad Moynihan, Lecturer in English
University of Exeter

This article expands recent scholarship on race in F. Scott Fitzgerald’s The Great Gatsby and intertextuality in Nella Larsen’s Passing by arguing that the latter is a “blackened” version of Gatsby. Mapping the genealogy of Passing, from Gatsby through Larsen’s first published work of fiction, “The Wrong Man” (1926), it proposes that Larsen’s allusions to Fitzgerald’s novel work to destabilize radically any secure sense of Daisy Buchanan’s whiteness by linking her quite emphatically with Clare Kendry. By reading Passing in this way, the article also reveals the extent to which Larsen built covert engagements with reading, writing and authorship into a text thematically preoccupied with looking, seeing and interpreting.

“The idea is that we’re Nordics. I am, and you are, and you are, and—” After an infinitesimal hesitation he included Daisy with a slight nod, and she winked at me again.  —F. Scott Fitzgerald, The Great Gatsby (1925; emphasis added)

She couldn’t betray Clare, couldn’t even run the risk of appearing to defend a people that were being maligned, for fear that that defence might in some infinitesimal degree lead the way to final discovery of her secret. —Nella Larsen, Passing (1929; emphasis added)

In October 1927 The Forum published a debate entitled “Should the Negro be encouraged to cultural equality?” Writing in favor of the proposal was Alain Locke, one of the leading intellectuals of what was subsequently termed the Harlem Renaissance; writing against it was the nativist and eugenicist, Lothrop Stoddard. Although the thrust of Locke’s argument rests on encouraging cultural equality through white recognition of “Negro genius” as evidenced in the work of Countée Cullen, Langston Hughes and others, he anticipates Stoddard’s concern that “cultural equality” equates with interracial sex, marriage and reproduction. Locke identifies the hypocrisy of a situation by which a man who opposes “amalgamation” so passionately is the very man who “by the sex exploitation of the socially and economically unprotected Negro woman, has bred a social dilution which threatens at its weakest point the race integrity he boasts of maintaining and upholding” (Locke and Stoddard 503, 505). What is striking about Stoddard’s rebuttal is his refusal to acknowledge, as Locke does, that “amalgamation” is a fait accompli, that the amalgamation horse, if you will, had long ago bolted. For Stoddard, “the plain facts of the case” are as follows:

Since the Negroes form nearly one-tenth of the population of the United States, we are statistically light mulattos. In the last analysis, the only thing which keeps us from being biologically mulattos is the color-line. Therefore, once the principle of the color-line is abandoned, White America is doomed, and a mulatto America stands on the threshold.

(Locke and Stoddard 515)

By the term “statistically light mulatto,” Stoddard means that the American racial body (envisaged as white) is already one-tenth black. Stoddard believes that the color line must be policed rigidly if the other nine-tenths of the population are not to become “biologically mulattos,” as if America’s “white” majority were not already racially mixed. Here, Stoddard makes no admission of the possibility of what Joel Williamson terms “invisible blackness” (103): the prospect of a “black” subject’s looking, and potentially passing as, “white.”

This debate appeared halfway through the four-year interval between the publication of two apparently unconnected novels: F. Scott Fitzgerald’s The Great Gatsby (1925) and Nella Larsen’s Passing (1929). In Tom Buchanan, as several critics have noted, Fitzgerald creates a mouthpiece for the ideas of Lothrop Stoddard, especially those articulated in The Rising Tide of Color against White World-Supremacy (1920), thinly disguised in The Great Gatsby as “The Rise of the Colored Empires by this man Goddard” (Gatsby 18). Meanwhile, Larsen was not only an exemplar of “the cultural flowering of Negro talent” that Locke identifies; she was also, being of Danish and African Caribbean ancestry, the embodiment of the “hybridization” Stoddard so feared (Locke and Stoddard 507, 514). Here I consider the tissue of connections suggested by this exchange between Locke and Stoddard: between the Harlem Renaissance, contemporaneous eugenicist discourses and racial passing and, ultimately, between The Great Gatsby and Passing. This article argues that in Passing Larsen responds to both Stoddard and Tom Buchanan, that Passing is in fact a “blackened” version of The Great Gatsby. Indeed, as Thadious Davis discovers, Larsen wrote to Carl Van Vechten in 1926 of the possibility of “blackening” Francisco de Quevedo-Villegas’s novel Pablo de Segovia (1595), and it was a similar kind of literary blackening that led to the plagiarism charge leveled at her in 1930 when readers of “Sanctuary” noted the remarkable similarities between this and a story published by British writer Sheila Kaye-Smith in The Century in 1922 (Davis 165–66, 351). In fact, “Sanctuary” appeared in The Forum and Larsen was the first black writer to place fiction there. It is therefore possible, indeed likely, that she read the exchange between Locke and Stoddard. While the plagiarism charge is not my primary concern, Larsen’s engagement with Fitzgerald’s text is so obviously critical and self-conscious as to raise questions about where we draw the line between what Linda Hutcheon would term a “critical reworking” of the literary past, and one that is more uncritically derivative (4)…

Read the entire article here.

“A Hindu is white although he is black”: Hindu Alterity and the Performativity of Religion and Race between the United States and the Caribbean

Comparative Studies in Society and History
Volume 58, Issue 01, January 2016
pages 181-210
DOI: 10.1017/S0010417515000614

Alexander Rocklin
Department of Religious Studies
Willamette University, Salem, Oregon

This essay uses the controversies surrounding the enigmatic Ismet Ali, a yogi working in Chicago and New York in the 1920s, to illuminate the complexities of how the performativity of religion and race are interrelated. I examine several moments in which Ali’s “authenticity” as Indian is brought into doubt to open up larger questions regarding the global flows of colonial knowledge, racial tropes, and groups of people between India, the United States, and the Caribbean. I explore the ways in which, in the early twentieth-century United States, East Indian “authenticity” only became legible via identificatory practices that engaged with and adapted orientalized stereotypes. The practices of the yogi persona and its sartorial stylings meant to signify “East Indianness” in the United States, particularly the donning of a turban and beard, were one mode through which both South Asian and African Americans repurposed “Hindoo” stereotypes as models for self-formation. By taking on “Hindoo” identities, peoples of color could circumvent the U.S. black/white racial binary and the violence of Jim Crow. This act of racial passing was also an act of religious passing. However, the ways in which identities had to and could be performed changed with context as individuals moved across national and colonial boundaries.

Read or purchase the article here.

Kaleidoscope: Redrawing an American Family Tree

University of Arkansas Press
2015-06-01
140 pages
10 images
6″ x 9″
Paper ISBN: 978-1-55728-815-8

Margaret Jones Bolsterli, Emeritus Professor
University of Arkansas, Fayetteville

In 2005 Margaret Jones Bolsterli learned that her great-great-grandfather was a free mulatto named Jordan Chavis, who owned an antebellum plantation near Vicksburg, Mississippi. The news was a shock; Bolsterli had heard about the plantation in family stories told during her Arkansas Delta childhood, but Chavis’s name and race had never been mentioned. With further exploration Bolsterli found that when Chavis’s children crossed the Mississippi River between 1859 and 1875 for exile in Arkansas, they passed into the white world, leaving the family’s racial history completely behind.

Kaleidoscope is the story of this discovery, and it is the story, too, of the rise and fall of the Chavis fortunes in Mississippi, from the family’s first appearance on a frontier farm in 1829 to ownership of over a thousand acres and the slaves to work them by 1860. Bolsterli learns that in the 1850s, when all free colored people were ordered to leave Mississippi or be enslaved, Jordan Chavis’s white neighbors successfully petitioned the legislature to allow him to remain, unmolested, even as three of his sons and a daughter moved to Arkansas and Illinois. She learns about the agility with which the old man balanced on a tightrope over chaos to survive the war and then take advantage of the opportunities of newly awarded citizenship during Reconstruction. The story ends with the family’s loss of everything in the 1870s, after one of the exiled sons returns to Mississippi to serve in the Reconstruction legislature and a grandson attempts unsuccessfully to retain possession of the land. In Kaleidoscope, long-silenced truths are revealed, inviting questions about how attitudes toward race might have been different in the family and in America if the truth about this situation and thousands of others like it could have been told before.

‘Pinky’ and the Origins of Interracial Oscar-Bait

Bitch Flicks
2016-02-26

Hannah Graves
Department of History
University of Warwick, Coventry, United Kingdom

This guest post by Hannah Graves appears as part of our theme week on Interracial Relationships.

Twentieth Century-Fox’s Pinky is far from the first Hollywood feature film that depicts an interracial relationship. Despite the evolution of various censorship codes that forbid depicting “miscegenation,” Hollywood has a rich history of mining the salacious or elicit potential from interracial pairing on screen, from Broken Blossoms to Duel in the Sun, Showboat to Imitation of Life. Yet, Pinky was quite distinct in tone from the films that came before it.

Produced by Fox’s studio chief Darryl F. Zanuck, Pinky was part of a spate of post-war social problem films that earnestly sought to address topical issues. Studios promoted these films as evidence that their medium was maturing, littering their advertising with exaggerated claims about the power of their pictures. As one of Pinky’s screenwriters, Phil Dunne, wrote in a New York Times article, “What we say and do on the screen in productions of this sort can affect the happiness, the living conditions, even the physical safety of millions of our fellow citizens.” Pinky is best understood at the starting point for a new Hollywood trajectory for interracial relationships onscreen: the worthy Oscar-bait drama that claims to enlighten as it entertains and serves as a conduit for fostering tolerance in the presumed white audience. It is a tradition that informs films from A Patch of Blue and Guess Who’s Coming to Dinner to Monster’s Ball and the forthcoming Loving…

Read the entire article here.

Speaker: Allyson Hobbs

Colgate University
27 Persson Hall
13 Oak Drive
Hamilton, New York 13346
Monday, 2016-03-21, 16:15-18:15 EDT (Local Time)

Contact: Diane English 315-228-7511

Guest speaker Allyson Hobbs, Assistant Professor in the Department of History, Stanford University will give a lecture entitled: “A Chosen Exile: A History of Racial Passing in American Life”, Monday, March 21, 4:15-5:45 pm, in 27 Persson Hall. Her revelatory work of history explores the possibilities and challenges that racial indeterminacy presented to men and women living in a country obsessed with racial distinctions and it also tells a tale of loss. Hobbs teaches at Stanford University and writes for the New Yorker. Her book was selected as a New York Times Book Review Editor’s Choice, a “Best Book of 2014” by the San Francisco Chronicle, and a “Book of the Week” by the Times Higher Education in London. The Root name A Chosen Exile as one of the “Best 15 Nonfiction Books by Black Authors in 2014.”

For more information, click here.

A Chosen Exile: A History of Racial Passing in American Life

Emory University
2016-02-18

In this Race and Difference Colloquium, Allyson Hobbs, an Assistant Professor in the Department of History at Stanford University, discusses her first book, A Chosen Exile: A History of Racial Passing in American Life, published by Harvard University Press in October 2014. The book examines the phenomenon of racial passing in the United States from the late eighteenth century to the present. A Chosen Exile won the Frederick Jackson Turner Award for best first book in American History and the Lawrence Levine Award for best book in American cultural history.

The Race and Difference Colloquium Series is sponsored by the James Weldon Johnson Institute for the Study of Race and Difference, which supports research, teaching, and public dialogue that examine race and intersecting dimensions of human difference including but not limited to class, gender, religion, and sexuality.

Allyson Hobbs: A Chosen Exile

Miami University
Room 1 Upham Hall
100 Bishop Circle
Oxford, Ohio 45056
Thursday, 2016-02-25, 17:00 EST (Local Time)

The E.E. McClellan Lecture in History

Allyson Hobbs is Assistant Professor in the Department of History at Stanford University. Her book A Chosen Exile: A History of Racial Passing in American Life, published by Harvard University Press in 2014, examines the phenomenon of racial passing in the United States from the late eighteenth century to the present.

The book is winner of both the Frederick Jackson Turner Prize for the best first book in American history and the Lawrence Levine Prize for best book in American cultural history from the Organization of American Historians.

Between the eighteenth and mid-twentieth centuries, countless African Americans passed as white, leaving behind families and friends, roots and community. It was a chosen exile, a separation from one racial identity and the leap into another. Hobbs’s revelatory history of passing explores the possibilities and challenges that racial indeterminacy presented to men and women living in a country obsessed with racial distinctions, and also tells a tale of loss.

As racial relations in America have evolved, so has the significance of passing. To pass as white in the antebellum South was to escape the shackles of slavery. After emancipation, many African Americans came to regard passing as a form of betrayal, a selling of one’s birthright. When the initially hopeful period of Reconstruction proved short-lived, passing became an opportunity to defy Jim Crow and strike out on one’s own…

For more information, click here.

I Feel Guilty for Being Able to ‘Pass’ as a Person of Color

Kveller
2016-02-18

Elana Rabinowitz
Brooklyn, New York

He called me negra. Not mami or guapa, but what translates to “black woman.” I wasn’t offended. More confused. The thing is, I’m really just a white Jewish girl from Brooklyn. There, I said it.

Junot Diaz came to give a book talk and I was awestruck by the man who stood in front of me, waxing poetically in a black hoodie sweatshirt. Would that have been the time to correct a genius? Oh, I am sorry, Junot, I’m actually just another Jewish girl from Brooklyn. I balked.

My last name is Rabinowitz, and with a name like that, and a life like mine, I’ve had my share of jokes and stereotypes, but never anything I couldn’t handle. The more interesting paradox is that the hue of my skin and the positioning of my features has often made me appear more Hispanic than anything else. After a while you get used to it, and eventually, I even started to believe it. I lived and studied in Ecuador, Argentina, and Mexico. Each trip I returned home with more mannerisms and vocabulary inadvertently adding to my new identity…

Read the entire article here.

Storytelling matters to Stanford historian Allyson Hobbs

Stanford News
Stanford University, Stanford, California
2016-02-19

Kate Chesley, Associate Director of University Communications

Allyson Hobbs and her award-winning book, A Chosen Exile: A History of Racial Passing in American Life

ALLYSON HOBBS, assistant professor of American history, finds much of the inspiration for her research in the stories of her own remarkable family. Telling those stories – and connecting them with larger themes in U.S. history – is one of the things that matters most to her.

Hobbs was the featured speaker recently at the popular “What Matters to Me and Why” noontime discussion series, sponsored by the Office for Religious Life. The series asks members of the Stanford community to reflect on matters of personal values and beliefs.

Hobbs is the author of A Chosen Exile: A History of Racial Passing in American Life, published by Harvard University Press in 2014. The book, which won the 2015 Frederick Jackson Turner Prize for best first book in American history and the 2015 Lawrence Levine Prize for best book in American cultural history, was inspired by a story Hobbs’ beloved aunt told her about a distant cousin.

That cousin, Hobbs told the audience, was born on the South Side of Chicago in the 1920s. Light skinned, the cousin was forced by her mother to leave her home and pass for white in Los Angeles. Hobbs told the heartbreaking story of how the cousin, married to a white man and raising children who were unaware of their mother’s heritage, was unable to return to Chicago to see her dying father lest her secret be revealed…

Read the entire article here.

How and why did they do it?

Harriet Beecher Stowe House
2950 Gilbert Avenue
Cincinnati, Ohio 45206
Sunday, 2016-02-28, 13:00 EST (Local Time)

Between the the 18th and mid-20th centuries, countless African Americans passed as white, leaving behind families and friends, roots and communities.

Allyson Hobbs, Ph.D., Assistant Professor, Department of History, Stanford University, will be at the Harriet Beecher Stowe House Sunday, February 28, at 1 pm to discuss her book A Chosen Exile: A History of Racial Passing in American Life, published Harvard University Press.
A Chosen Exile was selected as an Editors’ Choice by The New York Times Book Review, The Root, and The San Francisco Chronicle.
It’s a story of challenges and loss in a country obsessed with racial distinctions.

Free to the public. Refreshments will be served. Reservations available by e-mail @ friendsharrietbeecherstowe@gmail.com or call 513-751-0651.