Mixed Race Studies

Shades of Passing (AAS 340 / ENG 391 / AMS 340)

Princeton University
Fall 2012-2013

Anne A. Cheng, Professor of English and African American Studies

This course studies the trope of passing in 20th century American literary and cinematic narratives in an effort to re-examine the crisis of identity that both produces and confounds acts of passing. We will examine how American novelists and filmmakers have portrayed and responded to this social phenomenon, not as merely a social performance but as a profound intersubjective process embedded within history, law, and culture. We will focus on narratives of passing across axes of difference, invoking questions such as: To what extent does the act of passing reinforce or unhinge seemingly natural categories of race, gender, and sexuality?

Sample reading list:
William Faulkner, Light in August
Toni Morrison, The Bluest Eye
Nella Larsen, Passing
Chang-rae Lee, A Gesture Life
Douglas Sirk (director), Imitation of Life (film, 1959)
Woody Allen (director), Zelig (film, 1983)

Introduction: Passing, Imitations, Crossings

Humanities Research
Volume XVI. Number 1 (2010)

Monique Rooney, Lecturer and Honours Convenor
College of Arts and Social Sciences
Austrailian National University

When it was revealed that Anglo-Australian writer Helen Darville had passed as Ukrainian to publish a novel about the Holocaust, there was much public and scholarly debate about the nature of identity and the meaning of multiculturalism. Such ‘passing’ controversies have the capacity to unsettle everyday perceptions about personhood and about social classifications and identifications. The essays collected in this special issue of Humanities Research, ‘Passing, Imitations, Crossings’, explore the theme and act of ‘passing’ in a range of social, historical and cultural contexts. Put simply, passing is a type of border crossing, one that normally involves a movement from social disadvantage to advantage or from a socially stigmatised position to one that grants some privilege, or at least allows avoidance or evasion of group classification. Passing is distinct from other identity performances in that it generally refers to a surreptitious transgression of widely accepted social practices. That is, the passer normally masks the fact of his or her ‘true’ identity—he or she might rely on subterfuge or might remove him or herself from a telling context or simply suppress information that might lead to disclosure of his or her identity—in order to cross social boundaries. In the case of African-Americans, passing for white historically entailed crossing the social divide that separated black and white according to changing cultural, scientific and legal measurements of what constituted racial identity. As St Clair Drake and Horace R. Cayton observed in their study of African-American social life in Chicago’s South Side in the 1930s, ‘there are thousands of Negroes whom neither colored nor white people can distinguish from full-blooded whites, it is understandable that in the anonymity of the city many Negroes “pass for white” daily, both intentionally and unintentionally’. The prospect of passing multiplies in societies in which the often anonymous flow of people sets the scene for opportunism, masquerade and other forms of role-playing. There are women who have cross-dressed as male to publish books or participate in war and gays and lesbians who have passed as straight to avoid homophobia. There are those who pass out of necessity, to escape war or life-threatening discrimination, and those who pass for greater gain or simply for the thrill of experiencing life on the ‘other side’, as passing provides the opportunity to temporarily or permanently depart from a designated identity.

The transport and communications revolution that took place in the United States at the end of the nineteenth and in the early decades of the twentieth centuries—a time also of great movement and mixing of diverse social groups in American cities, as well as a period of new strictures and the terrors of lynching—created a fertile context for passing. The many fictional and sociological recordings of African-Americans who ‘passed as white’ to cross the colour line, from the middle of the nineteenth century through to the 1950s and 1960s—when African-Americans began to win civil rights—suggests how prevalent the act was in a US context. In his encyclopedic study of ‘inter-racial’ themes in US history, Werner Sollors differentiates the passer from the parvenu (the social climber or upstart). While the act of passing potentially encompasses ‘the crossing of any line that divides social groups’—and Everett V. Stonequist argues that ‘passing is found in every race situation where the subordinate race is held in disesteem’—Sollors’ study locates the phenomenon firmly in US social history. In particular, Sollors connects passing with the burden of racial ancestry for the descendents of slaves. While the general expectation is that newly arrived immigrants will gradually assimilate, the descendents of slaves—in what Sollors calls America’s ‘hypodescent’ system—have been treated as members of a caste. African-Americans have been subject to a form of ‘ancestor-counting’ that reduces personhood to a racial part…

Read the entire article here.

“Recoil” or “Seize”?: Passing, Ekphrasis and “Exact Expression” in Nella Larsen’s Passing

Enculturation: A Journal of Rhetoric, Writing and Culture
Volume 3, Number 2, Fall 2001

Monique Rooney, Lecturer and Honours Convenor
College of Arts and Social Sciences
Austrailian National University

Part One: Deep Nothing

Mona Lisa’s famous smile is a thin mouth receding into shadow. Her expression, like her puffy eyes, is hooded. The egglike head with its enormous plucked brow seems to pillow on the abundant, self-embraced Italian bosom. What is Mona Lisa thinking? Nothing, of course. Her blankness is her menace and our fear.

—Camille Paglia

Camille Paglia’s analysis of “Mona Lisa,” the “world’s most famous painting” (155), plays on the ambiguous meaning of the spectacle—the visual image—in reading and writing practices. “Mona Lisa,” for Paglia, is an exemplary instance of the fascination and the anxiety surrounding the menacing power of the visual in Western epistemologies. She is an icon that is not only, as Paglia writes, “eternally watching” (154), she is also eternally watched. The Mona Lisa’s enigmatic smile displays but also dissembles the narcissism attributed to the feminised image. The portrait is often read as a nothing in and of itself but a something if it gestures, as the Mona Lisa’s smile appears to, towards the unreadable. Traditionally a sign of the “Mona Lisa”‘s intangibility, the smile in Paglia’s reading autoerotically evokes elusiveness through secrecy and distance (“receding into shadow”). The “Mona Lisa” wallows in this solipsism: she is “self-embraced” and enormous within the enclosure. Characteristically, Paglia’s polemic repudiates a more mysterious Mona Lisa beyond the surface of the painting, or a “thinking” woman who possesses an unreadable, interior, depth which transcends the limitations of the body. Her trivialisation of the much studied mysterious smile as hiding “nothing” is contradicted, however, by a close-up reading of the painting’s depth; she emphasises the “thin mouth receding into shadow,” the “hooded” eyes and the pillowed “brow.” The portrait overall evinces a grim determination to efface the representation of the feminine as vagina dentata, the toothed vagina or castrating woman. A disappearing line, the image retains its menacing reputation. For Paglia, the Mona Lisa’s threat is that she passes as an enigma.

Paglia’s ekphrasis of the famous face is of a partly open, partly closed surface. The description of deep “nothing” threatens the authority of the looking subject and is also thoroughly engaged in the pleasure of reading. According to Susan Stewart, it is an alluring opacity which places the human face at the centre of representations of subjectivity. “Because it is invisible,” writes Stewart, “the face becomes gigantic with meaning and significance” (125). The face is only ever visible to the other and it is a visibility that is elusive, revealing “a depth and profundity which the body itself is not capable of” (125). The eyes and mouth create the appearance of “depth,” as “openings onto fathomlessness, they engender the fearful desire to ‘read’ the expression of the face, for this reading is never apparent from the surface alone; it is continually confronted by the correction of the other” (127). The face appears to withhold its full meaning through openings such as the eyes and the mouth, stimulating the reader’s questing gaze which is always disrupted and fragmented by the broken surface. The act of looking, for Paglia and Stewart, delineates a process between subject and object which does not get beyond the surface but which generates meaning nonetheless…

…The passer is an objectified subject (for example black, female, homosexual) who refashions identity according to a superficial reading, or surface impression. In order to pass, the passer manipulates the body and the gaze so as to become legitimate. For example, the lightskinned black who passes for white synecdochically substitutes one part of the body (i.e., white skin) for the complete body (i.e., white identity). Passing for white utilises white skin as a part that stands in for a non-white body. This draws attention to two important aspects of racial identity. Firstly, the visible surface of the body is not necessarily a reliable or stable signifier of the body as a conclusively knowable entity. Secondly and contradictorily, for the passer, as an otherwise marginalised (because racialised) subject, the body’s visible surface becomes the central locus of an epistemology of identity, precisely because the body is misread as white. For the opportunistic passer, white skin functions as the point of a fraudulent entry into proper subjectivity and this inauguration (based on part not whole) destabilises the meaning of subjectivity per se. The white-looking-black proves the primacy and the ubiquity of skin as a visual surface that registers individuals as an identity, as the passer’s skin becomes a surface which dissembles a personal and social “black” history. In this sense, passing-for-white relies on skin as a bodily limit that opens up the possibility and privilege of being read and treated as white (and as a mainstream subject) but also punishingly closes the body’s past, its black heritage and history…

…Part Two: Reading and Writing the Passer

The passer is thus an enigma, a subject who is marked through his/her indeterminacy and whose attempt to escape categorisation is made visible in the passing narrative. This tension is explored in Nella Larsen’s Passing (1929), a novella which thematises both the racial and sexual passer (201). Passing is the story of two women, Clare Kendry and Irene Redfield, who are reunited after a long separation. Irene who occasionally passes for white tells Clare’s, the permanent passer’s, story. Irene lives in Harlem with her husband and her two sons where she does conscientious “race work” for the black community. Once childhood friends in their hometown Chicago, Irene and Clare are accidentally reunited while Irene is holidaying in Chicago and visiting her father. It is on this occasion that Irene discovers that Clare is passing for white and married to a racist white financier, John Bellew. Disturbed at finding Clare is passing for white, Irene discourages Clare’s desire for renewed friendship even though Irene can, and occasionally does, pass for white herself. Irene’s passing position is to some extent faceless (as narrator Irene evades self-description) whilst Clare’s passing body is obsessively and erotically pictured. In Passing, the permanent passer is spectacularised through the gaze of the casual passer who already partly knows what he/she looks for. As Edelman writes: “the fact of our ability to catch a glimpse of it [the faceless face of the homosexual] here bespeaks the possibility that we might not have done so had we not been prepared to identify what otherwise has the ability to ‘pass'” (219). Irene’s evasion is, typically, unsustainable: Clare eventually follows Irene back to Harlem where she becomes dangerously involved with Irene, her family and the “black” community. It is there that Clare’s hidden racial identity is eventually outed to her white husband. This outing, or what Butler refers to as a “killing judgment” (175), threatens Irene’s exposure and climaxes in her murder of Clare…

Read the entire article here.

The Passing of Anatole Broyard

Chapter in Thirteen Ways of Looking at a Black Man
Random House
1997
256 pages
ISBN: 978-0-679-77666-6

Chapter pages: 180-214

Henry Louis Gates Jr., Alphonse Fletcher University Professor and the Director of the W.E.B. Du Bois Institute for African and African American Research
Harvard University

In 1982, an investment banker named Richard Grand-Jean took a summer’s lease on an eighteenth-century farmhouse in Fairfield, Connecticut; its owner, Anatole Broyard, spent his summers in Martha’s Vineyard. The house was handsomely furnished with period antiques, and the surrounding acreage included a swimming pool and a pond. But the property had another attraction, too. Grand-Jean, a managing director of Salomon Brothers, was an avid reader, and he took satisfaction in renting from so illustrious a figure. Anatole Broyard had by then been a daily book reviewer for the Times for more than a decade, and that meant that he was one of literary America’s foremost gatekeepers. Grand-Jean might turn to the business pages of the Times first, out of professional obligation, but he turned to the book page next, out of a sense of self. In his Walter Mittyish moments, he sometimes imagined what it might be like to be someone who read and wrote about books for a living—someone to whom millions of readers looked for guidance.

Broyard’s columns were suffused with both worldliness and high culture. Wry, mandarin, even self-amused at times, he wrote like a man about town, but one who just happened to have all of Western literature at his fingertips. Always, he radiated an air of soigné self-confidence: he could be amiable in his opinions or waspish, but he never betrayed a flicker of doubt about what he thought. This was a man who knew that his judgment would never falter and his sentences never fail him.

Grand-Jean knew little about Broyard’s earlier career, but as he rummaged through Broyard’s bookshelves he came across old copies of intellectual journals like Partisan Renew and Commentary, to which Broyard had contributed a few pieces in the late forties and early fifties. One day, Grand-Jean found himself leafing through a magazine that contained an early article by Broyard. What caught his eye, though, was the contributor’s note for the article—or, rather, its absence. It had been neatly cut out, as if with a razor.

A few years later, Grand-Jean happened on another copy of that magazine, and decided to look up the Broyard article again. This time, the note on the contributor was intact. It offered a few humdrum details—that Broyard was born in New Orleans, attended Brooklyn College and the New School for Social Research, and taught at New York University’s Division of General Education. It also offered a less humdrum one: the situation of the American Negro, the note asserted, was a subject that the author “knows at first hand.” It was an elliptical formulation, to be sure, but for Anatole Broyard it may not have been elliptical enough.

Broyard was born black and became white, and his story is compounded of equal parts pragmatism and principle. He knew that the world was filled with such snippets and scraps of paper, all conspiring to reduce him to an identity that other people had invented and he had no say in. Broyard responded with X-Acto knives and evasions, with distance and denials and half-denials and cunning half-truths. Over the years, he became a virtuoso of ambiguity and equivocation. Some of his acquaintances knew the truth; many more had heard rumors about “distant” black ancestry (wasn’t here a grandfather who was black? a great-grandfather?). But most were entirely unaware, and that was as he preferred it. He kept the truth even from his own children. Society had decreed race to be a matter of natural law, but he wanted race to be an elective affinity, and it was never going to be a fair fight. A penalty was exacted. He shed a past and an identity to become a writer—a writer who wrote endlessly about the act of shedding a past and an identity…

Read the entire chapter here.

From Negro to Caucasian: or, How the Ethiopian is Changing His Skin

Pilot Publishing Company, San Francisco, California
1929
65 pages
Source: University of Michigan via The Hathi Trust Digital Library

Louis Fremont Baldwin

A concise presentation of the manner in which many Negroes in America … have abandoned their… afiliation with Negroes

A concise presentation of the manner in which many Negroes in America who, being very fair in complexion, with hair naturally or artificially free from kink, have abandoned their one-time affiiliations with Negroes, including their own relatives,  and by mingling at first commercially or industrially, then socially with Caucasians, have ultimately been absorbed by the latter.

Prepared and published at the request of the Society for the Amalgamation of the Races
New York, Paris and London
Pilot Publishing Company
617 Montgomery Street, San Francisco, Calif.

PREFACE

The reader is earnestly asked to accept as authentic and reliable the information that is given in this book. The writer is indebted to many friends throughout the country from the Atlantic to the Pacific and from the St. Lawrence to the Rio Grande.

These friends rendered valuable assistance enabling him to locate the individuals with whom he has held interviews related in the text, and from whom he was able to gather information that impressed him with the fact, of the enormous num ber of Colored Americans, who have sufficient ad mixture of bloods in their veins, to alienate them in appearance from the American Negro.

More startling still is the discovery of the great numbers of this contingent of the so-called Negro race, who have deserted-and forsaken kith and kin, and become merged with, or rather absorbed by the American Citizenry as the latter pursues the ordinary paths of trade, commerce, industry and professions, and . . and matrimony.

The reader will also recognize how complicated the situation—but this does not mean that the situation is necessarily calamitous,—but how difficult for any person, particularly those whose ancestors resided “In The South” to be perfectly sure that there is not “a drop of Negro blood in their veins!”  That it can be there, goes without saying, as the  incidents mentioned in the text that follows plainly show, but just as millions of Negroes—Negroes with fair complexions and perfectly straight hair,— those who have not “Crossed Over” as well as those who have, have white blood in their veins, why the author asks, can there not be millions of  persons who believe themselves to be white, yet  have Negro blood in their veins, obtained by the methods that it has been thought appropriate to  bring to the attention of the public through the publication of this book.

—THE AUTHOR.

Let the undersigned assure the readers of this book that after he had read the proof-sheets, he felt it his duty to give the author permission to add his personal testimony as to the prevalence of the practice alleged to be in vogue. He can confirm what is stated as occurring in so many instances, because a branch of his own family “Crossed Over” some few years ago, and has become completely absorbed in the white race.

—A. E. SHADD, Bishop of the United Holy Church of America; Western & Pacific Coast District

Read the entire book here.

Race and Identity in Barack Obama’s Dreams from My Father: A Collection of Critical Essays

Edwin Mellen Press
June 2012
308 pages
ISBN10:  0-7734-1601-3; ISBN13: 978-0-7734-1601-7

Edited by:

Michael A. Zeitler, Associate Professor of English
Texas Southern University, Houston

Charlene T. Evans, Professor of English
Texas Southern University, Houston

This book examines significant aspects of President Barack Obama’s Dreams from My Father both in relation to the African American literary tradition and to the context of the relevant historical and cultural productions that inform it. The authors view the book a work of literature and compare it to other works by black authors such as Toni Morrison, Frederick Douglass, and Ralph Ellison among others. Some authors contest the idea that the book was written during a pre-political stage in President Obama’s life because it was released to coincide with his first political campaign in Chicago, Illinois in the mid-1990’s. For autobiographical reasons the book is important because it shows various aspects of President Obama’s upbringing, and put in his own words his experience of being black in America. There is also a discussion of why he chose the less Americanized Barack when he went into college, rather than the homogeneous, whitened name Barry, which was the name he preferred in grammar school (out of being teased by other children)—and how he chose this name precisely because it constructed his identity as antithetical to the dominant paradigms of whiteness that he had been confined to while growing up in Hawaii. One article even describes President Obama’s father being ostracized from Kenyan politics after a coup d’etat forced a leader out of power who he had publically supported, which lead the family to America. It also tells the story of a turgid paternal influence on the young Barack Obama, where caught in a vicious cycle of perpetually working for his father’s approval, he spiraled into low self-esteem, which may have fueled his political ambitions later in life (as overcompensation for a lack of fatherly approval).

Table of Contents

• Foreword / Molefi Kete Asantei
• Acknowledgements
• Introduction / Michael A. Zeitler
• A Knot to Bind Our Experiences Together: Storytelling in Barack Obama’s Dreams from My Father and Critical Race Theory / Erin Ponton Fiero
• No Apology for the Show: Performance and Oratorical Self-Creation in Obama, Douglass, and Ellison / Granville Ganter
• Slumming and Self-Making in Barack Obama’s Dreams from My Father / David Mastey
• In Search of My Father’s Garden: Kenya as the Focal Point for the Study of a New Kind of Narrative in African American Autobiography / Claire Joly
• An Image of Africa: Race and Identity in Barack Obama’s Rewriting of Conrad’s ‘Heart of Darkness’ / Michael Zeitler
• Obama, Ellison, and the Search for Identity / Rita Saylors
• Voices of His Mothers: Feminist Interventions and Identity in Barack Obama’s Dreams from My Father / Letizia Guglielmo
• Queer Coherence: Loss and Hybridity in Barack Obama’s Dreams from My Father / Patricia Harris Gillies
• The Search for Race and Masculine Identity in Barack Obama’s Dreams from My Father / Dolores Sisco
• Beyond Race: Racial Transcendence in Jean Toomer’s Cane and Barack Obama’s Dreams from My Father / Charlene T. Evans
• Glorious Burdens: A Lacanian Reading of Racial Passing, Inheritance, and Paternal Desire in Obama’s Dreams from My Father / Nicholas Powers

Ambivalent passages: racial and cultural crossings in Onoto Watanna’s The Heart of Hyacinth

MELUS: Multi-Ethnic Literature of the U.S.
Volume 34, Number 1 (Spring 2009)
pages 211-229
DOI: 10.1353/mel.0.0004

Huining Ouyang, Professor of English
Edgewood College, Madison, Wisconsin

Appearing in the early fall of 1903 in time for the Christmas season, The Heart of Hyacinth, like other Japanese romances by Onoto Watanna (Winnifred Eaton), was widely promoted as a holiday gift book, enchanting readers with its “exquisite” Japanese design and its “delicate,” “charming” tale of Japan. For many, their pleasure in the novel’s Japanese appearance and sentiment was enhanced by their knowledge of its author’s alleged Japanese nativity or ethnicity. As one reviewer emphasizes: “We have a childish pleasure in things Japanese. . . . There is, therefore, a piquant pleasure for us in a story of Japanese life written by a native” (Heart, Republican). Similarly, another reviewer opens by introducing the author as “Onoto Watanna, the dainty little gentlewoman from Japan, who writes so delightfully of her native country” (“Heart,” Banner). Others, on the other hand, attribute the author’s “sympathy with Japanese life” (Kinkaid) or her portrayal of Japanese life “as seen from the inside” (Heart, Register) to her half-Japanese parentage. Thus, still largely convincing to the reading public, Watanna’s Japanese writing persona continued to allow her to dissimulate as an exemplar of the feminine, simple aesthetic and authentic ethnographer of Japan.

Watanna’s performance of Japaneseness, through her “Japanese” romances and especially her Japanese authorial persona, links her with the practice of “passing,” or the crossing of identity boundaries by those on the racial and cultural margins. An act of transgression, passing allows an individual in the liminal position, as Elaine K. Ginsberg puts it, to “assume a new identity, escaping the subordination and oppression accompanying one identity and accessing the privileges and status of the other” (3). As a woman of Chinese and English descent living and writing in an era of virulent anti-Chinese sentiments in North America, Onoto Watanna devised strategies of passing not only to escape personal and racial persecution but also to achieve authorship in a white-male-dominant literary marketplace. By appropriating the popular genre of Japanese romance and adopting the guise of an exotic half-Japanese woman writer, she exploited her white reading audience’s orientalist fantasies and enabled herself to achieve visibility and authority in a field dominated by such luminaries as Lafcadio Hearn, Pierre Loti, and John Luther Long.
 
In The Heart of Hyacinth, however, passing serves as not only a tactic of ethnic female authorship but also an important narrative strategy that governs both theme and plot. Although reviewers have variously described it as “an ideal gift-book,” “a Japanese idyll,” or a delicate “Japanese love story,” Watanna’s novel weaves, in effect, a complex narrative of identity in which she negotiates with orientalist binary constructions of the East and the West and explores through the Eurasian figure the promise and perils of boundary crossing. As its title suggests, Watanna’s novel centers on the tale of Hyacinth, a white American “orphan” who has been adopted and reared by a Japanese woman and who discovers her white racial origin when her American father attempts to claim her seventeen years after her birth. Although she eventually comes to terms with her white parentage, her heart belongs to her Japanese adoptive mother and to Komazawa, the Eurasian foster-brother she grew up with and with whom she now falls in love. However, like Watanna’s first novel, Miss Numè of Japan, The Heart of Hyacinth tells more than what its title seems to imply. Hyacinth’s struggles with her familial, cultural, and racial allegiances intersect with her adoptive Eurasian brother’s negotiations of his own mixed heritage. Despite her discovery of her white heritage, Hyacinth claims a Japanese identity and resists Western colonial paternalism, while Komazawa passes into British society and navigates his biraciality with apparent ease in his endeavors to become “English.”

A coming-of-age narrative of two Eurasians, one actual and the other metaphorical, Watanna’s novel thus imagines passing in two different forms. On the one hand, through Komazawa’s physical and…

The arresting eye: Race and the detection of deception

University of Southern California
December 2005
282 pages
Publication Number: AAT 3220115
ISBN: 9780542713217

Jinny Huh

A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ENGLISH)

With increasing rates of miscegenation and racially invisible bodies, how is race to be determined? This dissertation examines the dynamics and discourse of race detection through a comparative analysis of detective fiction and passing narratives, two genres that witnessed a simultaneous rise during the mid-nineteenth century. I argue that the detective fiction genre in many ways prospers and responds to the anxiety of racial indecipherability by creating a systematic method of detection. By examining narratives of detection and passing written by both white and ethnic authors ranging from Arthur Conan Doyle and Earl Derr Biggers to Pauline Hopkins and Winnifred Eaton, among others, this study demonstrates that the politics and mechanics of race detection is highly specific to the eye of the gazer attuned to distinguishing the signs of race. For example, while Dupin and Holmes may exhibit mystically and supernaturally intuitive powers, Pauline Hopkins (author of the first African American detective in Hagar’s Daughter) shows that intuition and race detection is a necessary component of the African American community. On the other hand, Winnifred Eaton (the first Asian American novelist) responds to the obsession with detection by promoting a rhetoric of undetection in the emergence of Asian American fiction. Finally, in response to Eaton’s celebration of undetection within the Asian American context, Earl Derr Biggers’s Charlie Chan series demonstrate the anxieties of promoting an Asian American detective hero during the height of Yellow Peril paranoia.

In addition to examining the politics of race detection in literature, this dissertation also explores how numerous disciplines formulate their own concepts of “racial knowledges” via a discourse of detection (such as film studies, visual studies, law, ethnography, and literary history). As such, through a comparative focus which encompasses multiple levels (19th/20th century, male/female, British/American, African American/Asian American, literature/film), my study also addresses the potential threat and implications of racial erasure to Ethnic Studies specifically and Civil Rights overall.

Table of Contents

• Acknowledgements
• Abstract
• Introduction
• Chapter One: Whispers of Norbury: Sir Arthur Conan Doyle and the Modernist Crisis of Racial (Un)Detection
• Chapter Two: Intuitive Faculties and Racial Clairvoyance: Pauline Hopkins and the Emergence of Multiethnic Detective Fiction
• Chapter Three: The Legacy of Winnifred Eaton: Ethnic Ambidexterity, Undetection as Guerilla Tactics, and the Emergence of Asian American Fiction
• Chapter Four: “The Jaundiced Eye”: Charlie Chan and the Mysterious Disappearance of a Detective Hero
• Bibliography

Purchase the dissertation here.

Crimes of passing: The criminalization of blackness and miscegenation in United States passing narratives

University of California, Los Angeles
2005
158 pages
Publication Number: AAT 3175169
ISBN: 9780542133046

Susan Elaine Bausch

A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature

Between approximately 1880 and 1925, large numbers of legally black Americans crossed the color line and identified as white; in common parlance, they “passed.” After Reconstruction, the South attempted to legislate the separation of the races by enacting “Jim Crow” laws that mandated segregation and prohibited miscegenation (at least within marriage). This meant that many passers were not just violating a social taboo by crossing the color line, they were also breaking the law. Even in the North, there were some anti-miscegenation laws on the books, although convention and prejudice probably played a bigger role in limiting mixed-race marriages. In effect, these laws made it a crime for a black person to do what a white person did, which means that blackness itself was criminalized.

Table of Contents

• Acknowledgements
• Introduction
• Chapter One: Imitation White and Secret Murderers: The Criminalization of Blackness in Mark Twain’s Pudd’nhead Wilson
• Chapter Two: Feminine Transgressions: Crossing Racial and Sexual Boundaries in Nella Larsen’s Passing and the Rhinelander Case
• Chapter Three: Passing for What?: Joe Christmas’s Racial Uncertainty and Criminal Fate in William Faulkner’s Light in August
• Chapter Four: A Passing Success: The Cost of Mobility in James Weldon Johnson’s The Autobiography of an Ex-Coloured Man
• Conclusion
• Works Cited

Purchase the dissertation here.

HIST 1133-Mongrel America: Miscegenation, Passing, and the Myth of Racial Purity

Cornell University
Fall 2012

Racial divisions have served as potent tools for consolidating power, upholding unjust practices, and shaping the American historical imagination. Whether in the form of slavery, segregation, extralegal violence, or the one-drop rule, the insistence on preserving racial distinctions reflects a desire among some Americans to cling to a myth of racial purity. Despite persistent efforts to enforce these boundaries, other Americans have consistently blurred, transgressed, and undermined these seemingly rigid racial categories. Drawing on texts by Thomas Jefferson, Nella Larsen, James Baldwin, and others, this class will explore the quixotic desire for white racial purity, the reality of ‘amalgamation,’ and the relationship between the two. Ultimately, students will analyze the impact of ‘Mongrel America’ on the ways in which Americans understand citizenship and their history.