Mixed Race Studies

From exile to transcendence: racial mixture and the journey of revision in the works of Lydia Maria Child, Hannah Crafts, Kate Chopin, James Weldon Johnson, and Jean Toomer

University of Illinois, Urbana-Champaign
May 2010

Suzanne M. Lynch

My study, entitled From Exiles to Transcendences focuses on five authors: Lydia Maria Child, Hannah Crafts, Kate Chopin, James Weldon Johnson, and Jean Toomer. It examines each author’s effort to represent the mixed-race character as a constant “process of becoming” (Hall, Questions of Identity 4). This study aims to convey the distinctiveness of the American mixed-race character in American literature and to provide a thorough reading of how this distinctiveness is portrayed and sustained throughout the scope of the selected texts. My dissertation identifies the mixed-race voice as experientially distinct from other American raced voices while acknowledging the mixed-race character as one who demonstrates a connectedness to a plurality of racial cultures. The following chapters span a period of approximately 100 years and illustrate a common concern among them, albeit from differing perspectives and influences, regarding how home and family function as fluid spaces of racial subjectivity. My study maintains a position that the above authors questioned the presumed irreversibility of an entrenched understanding of family ties; that they challenged and rescripted the historically defined self with a self that privileges experience and discovery over pre-given identities; and that they depicted their characters as evolving subjects who created themselves with name and identity as they moved toward their “process of becoming.”

Read the dissertation here (may require log-in).

Racial mixture and civil war: The histories of the U.S. South and Mexico in the novels of William Faulkner and Carlos Fuentes

Michigan State University
2008
266 pages
Publication Number: AAT 3331903
ISBN: 9780549837800

Emron Lee Esplin, Assistant Professor of English and American Studies
Kennesaw State University, Kennesaw, Georgia

A Dissertation Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of English

This dissertation is an endeavor in inter-American literary criticism with three primary arguments. First, I argue that the affinities and differences between the histories of the U.S. South and Mexico require us to redefine the terms “America” and “American” according to their original hemispheric context and to adopt a transnational approach when studying American literature. Second, I claim that the ways in which race and racial mixture are viewed in the Americas—specifically, the discourse of miscegenation in the United States and the discourse of mestizaje in Mexico–are national not natural. These discourses are connected to lengthy colonial and national histories and to specific moments of crisis in the formation of U.S. and Mexican national identities that took place during the U.S. Civil War and the Mexican Revolution. Third, I argue that William Faulkner and Carlos Fuentes participate in these discourses of racial mixture when their novels both replicate and challenge the essentialisms of miscegenation and mestizaje, respectively.

In my introduction, I develop a historiographic approach to inter-American literary studies that I follow in chapter one by laying the historical groundwork for comparing the U.S. Civil War to the Mexican Revolution and in chapter two by examining how the discourses of miscegenation and mestizaje which grew out of these conflicts disparately favor(ed) whiteness–miscegenation through overt segregation and mestizaje through public praise for racial mixture and private desires for assimilation. Chapter three explores how Faulkner’s Light in August, Absalom, Absalom! , and Go Down, Moses and Fuentes’ La muerte de Artemio Cruz and Gringo viejo repeat the essentialist underpinnings of miscegenation and mestizaje by describing so-called racially mixed characters as fragments. Chapter four examines how Light in August and Gringo viejo challenge the discourses by assigning violence to whiteness. Chapter five analyzes how Light in August and La muerte de Artemio Cruz offer fictional portrayals of both miscegenation’s and mestizaje’s erasure of Mexico’s African past. I conclude the project by offering a critique of current hybridity theory and by arguing that Go Down, Moses and La muerte de Artemio Cruz demonstrate the impossibility of positive hybridity.

Table of Contents

• INTRODUCTION: METHODS FOR INTER-AMERICAN LITERARY STUDIES
• CHAPTER 1: WAR IN THE TWO SOUTHS: PRESENT PASTS AND CIVIL WAR IN THE U.S. SOUTH AND MEXICO
• CHAPTER 2: DISCOURSES OF RACIAL MIXTURE BORN IN CIVIL WAR: CREATING THE NATION IN THE UNITED STATES AND MEXICO
• CHAPTER 3: RACIAL MIXTURE AS FRAGMENTATION
• CHAPTER 4: ANCESTRY, BLOOD, AND THE VIOLENCE OF THE WHITE FATHERS
• CHAPTER 5: BLACK, MEXICAN, AND BLACK MEXICAN
• CONCLUSION: POSITIVE HYBRIDITY?
• WORKS CITED

Purchase the dissertation here.

Mestizaje is an ideology which believes that the fusion of various cultural traditions (including language, religion, food, music, etc.) in the Americas created a new and better mestizo race. This idea gained strength after the Mexican Revolution, and José Vasconcelos popularized it in his 1925 essay La Raza Cósmica (The Cosmic Race).

Source: Marc’s House of Knowledge (http://www2.truman.edu/~marc/resources/terms.html)

The Wind Done Gone

Houghton Mifflin Harcourt
2001
224 pages
Trim Size: 5.50 x 8.25
ISBN-13/EAN: 9780618219063
ISBN-10: 0618219064

Alice Randall

In this daring and provocative literary parody which has captured the interest and imagination of a nation, Alice Randall explodes the world created in Gone With the Wind, a work that more than any other has defined our image of the antebellum South. Taking sharp aim at the romanticized, whitewashed mythology perpetrated by this southern classic, Randall has ingeniously conceived a multilayered, emotionally complex tale of her own—that of Cynara, the mulatto half-sister, who, beautiful and brown and born into slavery, manages to break away from the damaging world of the Old South to emerge into full life as a daughter, a lover, a mother, a victor. The Wind Done Gone is a passionate love story, a wrenching portrait of a tangled mother-daughter relationship, and a book that “celebrates a people’s emancipation not only from bondage but also from history and myth, custom and stereotype” (San Antonio Express-News).

‘Kissing the rod that chastised me’: Scarlett, Rhett and Miscegenation in Margaret Mitchell’s Gone With the Wind (1936)

Irish Journal of American Studies
Volume 13/14, (2004/2005)
pages 123-137

Sinéad Moynihan, Lecturer in English
University of Exeter

“It’s all so mixed up,” Cindy muses in a 2001 parody of Gone With the Wind, as she imaginatively revisits the turbulent years of her life spanning 1845 to 1873 (Randall 44). Cindy, the narrator of The Wind Done Gone, is the illegitimate daughter of Planter (Gerald O’Hara’s proxy) and Mammy. The world she describes is indeed “mixed up” and Alice Randall’s parody is an attempt to redress what some critics perceive to be glaring omissions from Margaret Mitchell’s original text, namely the racial chaos engendered by generations of miscegenation (as well as other taboos, such as incest and homosexuality). Here, the myth of pure, white Southern blood is exposed in all  its multicoloured g[l]ory: Cindy’s half-sister, Other (Scarlett’s surrogate), is racially mixed by virtue of her mother, the quintessential Southern lady; Dreamy Gentleman (Ashley Wilkes) is romantically involved with a male slave, and so on. Curiously, in so far as the reader is aware, the bloodline of R.[hett Butler], with whom Cindy is having an affair, remains pristinely white. In Gone With the Wind however, Margaret Mitchell presents a compelling basis for arguing that Rhett is mixed race and “passing” for white. If this is indeed the case, then surely it is time to revise charges of Mitchell’s “lack of critical vision” and “blindness” concerning the “realities of slavery” and to acknowledge our own critical myopia in relation to her treatment of miscegenation (Faust 13).

If Mitchell’s romantic hero is passing as white, race is indisputably central to the action of the novel, though, of course, not in an unproblematic way. In arguing that Rhett Buder is a free mulatto passing for white, I wish to add my voice to those recent critics that refute the long-established consensus on the “relegation of race relations to the periphery of the novel’s action” (O’Brien 165). In so doing, this paper builds upon two strands of existing scholarship on Gone With the Wind. The first of these critical strands is the counterpart to the provocative fictional reconsideration of Gone With the Wind in The Wind Done Gone namely the interrogation of Rhett’s racial ambiguity in Gone With the Wind Joel Williamson asks “How Black was Rhett Butler?” (87), to which Diane Roberts adds her own question: “How white is Scarlett?” (171). For Elizabeth Young, Mitchell “symbolically darkens” (237) the “literally white” Rhett (257), thus rendering his marriage to Scarlett a “metaphorically interracial romance” (237). Young’s insistence on the “metaphorical” and “symbolic” character of Rhett’s blackness (261, 263) is matched only by Joel Williamson’s curious reluctance to articulate the term “passing,” especially given his discover)- of an actual interracial relationship in an early work by Margaret Mitchell. In 1926, Mitchell penned a Reconstruction-set 15,000-word…

The Irish in the Caribbean 1641-1837: An Overview

Irish Migration Studies in Latin America
Volume 5, Number 3 (November 2007)
pages 145-156

Nini Rogers, Honorary Senior Research Fellow in History
Queen’s University, Belfast

The arrival of Europeans in the Caribbean brought about irreversible demographic change. Decimated by defeat and disease, ‘peaceful’ Arawaks and ‘warlike’ Caribs alike ceased to exist as an identifiable ethnic group, their gene pool dissolving into that of the newcomers, where it died away or remained un-investigated. The replacement of native peoples by European settlers was desultory. After their arrival in 1492 the Spanish explored and settled the Caribbean islands with some enthusiasm. The extension of activities into Mexico and Peru, however, rich in precious metals and with a structured agricultural work force, swiftly eclipsed the islands as a destination for settlers. More northerly Europeans (French, English, Irish, and Dutch) arriving later, slipped into the more neglected Spanish possessions in the Leeward Islands (today’s eastern Caribbean) or Surinam, on the periphery of Portuguese Brazil. These seventeenth-century colonists initiated the process which turned the Caribbean into the world’s sugar bowl. To do so, they imported enslaved Africans who soon became the most numerous group on the islands. In the nineteenth century, as sugar receded in economic importance, so too did the remaining whites, and the Caribbean assumed its present Afro-Caribbean aspect.

Changing the islands’ flora, fauna and demography, the newcomers also imported their religious and political systems and ‘great power’ rivalries. Those who founded the colonies were eager for royal support and recognition, thinking very much in terms of subsequently returning home to enjoy wealth and importance. As their tropical possessions proved themselves valuable, kings and governments became more and more determined to retain and expand them. The sugar boom made the Caribbean a cockpit for warfare among the European powers. This presented difficulties and opportunities for the Irish. Divided at home into colonists and colonised, when seeking their fortunes in Europe’s overseas empire, they had to choose which king to serve, which colony to plant.

Irish Inter-Racial Marriages and Affairs

In 1775, nineteen-year-old Charles Fitzgerald, naval officer, brother to Lord Edward Fitzgerald, and third son of Emily, Duchess of Leinster, wrote to his mother with literary panache that ‘the jet black ladies of Africa’s burning sands have made me forget the unripened beauties of the north’. A few months later he followed this up with the news that she could look forward to ‘a copper coloured grandchild’ (Tillyard 1995:331).

Relations between Irish men and African women were as much a staple of the Caribbean experience as malaria, yellow fever, hurricanes, rum drinking and turtle soup, but it is an area of life which rarely appears on the written record. The earliest emigrant letters hint at this scheme of things. In 1675 John Blake, a merchant settler from Galway admitted to the veracity of his brother Henry’s accusation that he had brought a ‘whore’ from Ireland to Barbados along with his wife, but excused himself on the grounds of domestic necessity; his wife’s ‘weak constitution’ meant that she could not manage everything herself ‘for washing, starching, making of drink and keeping the house in good order is no small task to undergo here’. He could not dispense with the services of the prostitute until the African girl he had bought was properly trained in household matters (Oliver 1909-19, II: 55).

Wills and investigations instituted over disputed inheritance would sometimes reveal lifelong secrets concealed from the family back home. Thus in 1834 R. R. Madden (anti-slavery activist and future historian of the United Irishmen—see Burton’s article in this journal) penetrated into the mountains of Jamaica in order to view a deceased relative’s plantation, long the subject of a chancery suit. There he was startled to find several mixed-race cousins and their elderly mother, his uncle Garret’s mulatto concubine (Madden 1835, I: 171)…

Read the entire article here.

Phil Lynott: Famous For Many Reasons

Irish Migration Studies in Latin America
Volume 4, Number 3 (July 2006)
Published by The Society for Irish Latin American Studies

John Horan

Bronze statue of Phil Lynott on Harry Street, Dublin (by Paul Daly, cast by Leo Higgins, plinth hand-carved by Tom Glendon)

In view of the unique and colourful history of the ties between Ireland and Brazil that date back centuries, it is perhaps surprising that the most famous Irish-Brazilian was a mixed-race rock star from Dublin. Phil Lynott was one of Ireland’s first world-famous rock stars, and definitely the most famous black Irishman in the island’s history, long before the advent of a new era in the Republic that facilitated the immigration of people from various African nations from the 1990s. Lynott’s band, Thin Lizzy, was the first internationally successful Irish rock band, and Lynott himself was considered the biggest black rock star since Jimmy Hendrix.

Phil Lynott: THE ROCKER, a 2002 biography by Mark Putterford, begins with the sentence, “Phil Lynott was one of the most colorful and charismatic characters in the history of rock ‘n’ roll.” This sentence would be considered an understatement by those who knew him through all stages of his life. His family history was typical in some ways, but his mother’s personal history was anything but typical for Ireland in 1949, the year he was born.

Philomena Lynott was born in Dublin in 1930 to Frank and Sarah Lynott. She was the fourth of nine children, all of whom grew up in the working-class Crumlin district on the south side of Dublin. Economic hardships in the Republic prompted her to choose to move across the Irish Sea to Manchester to find work, while many of her friends went to Liverpool. Shortly after her arrival in Manchester, she was courted by a black Brazilian immigrant whose surname was Parris. To this very day, Philomena Lynott has never spoken publicly about her son’s father, so as to protect his privacy. She once said, “He was a fine, fine man, who did the decent thing and proposed marriage to me when I told him I was pregnant.” Philomena and her former boyfriend stayed in contact for five years after their son was born. However, when it became clear that marriage was no longer a possibility between the two, they drifted apart. It is said that Philip Lynott’s father returned to live in Brazil and started another family, which has always been the reason given for Philomena’s refusal to provide any information about the “tall, dark stranger” who was her son’s father, as she never wanted to disrupt his life with his new family. Several sources cite that the Brazilian made some level of financial contribution towards supporting his Irish son in the early years…

Read the entire article here.

Marginal Man and Hard-Boiled Detective: Racial Passing in Robert Skinner’s Wesley Farrell Series

Clues: A Journal of Detection
Volume 26, Number 3 (Spring 2008)
pages 56-69
DOI: 10.3172/CLU.26.3.56

Sinéad Moynihan, Lecturer in English
University of Exeter

The author argues that tropes of detection and racial passing are mutually compatible in Robert Skinner’s six New Orleans-set mysteries. Set in the 1930s, they feature Wesley Farrell, a businessman-turned-sleuth who is passing as white. A passing plot coupled with a murder mystery foreground the issues of detection, evidence and clues, guilt, confession, exposure, and the often gross disparity between law and justice.

The Human Stain

Random House
May 2000
384 pages
Paperback ISBN: 978-0-375-72634-7

Philip Roth

It is 1998, the year in which America is whipped into a frenzy of prurience by the impeachment of a president, and in a small New England town, an aging classics professor, Coleman Silk, is forced to retire when his colleagues decree that he is a racist. The charge is a lie, but the real truth about Silk would have astonished even his most virulent accuser.

Coleman Silk has a secret, one which has been kept for fifty years from his wife, his four children, his colleagues, and his friends, including the writer Nathan Zuckerman. It is Zuckerman who stumbles upon Silk’s secret and sets out to reconstruct the unknown biography of this eminent, upright man, esteemed as an educator for nearly all his life, and to understand how this ingeniously contrived life came unraveled. And to understand also how Silk’s astonishing private history is, in the words of The Wall Street Journal, “magnificently” interwoven with “the larger public history of modern America.”

Read an excerpt here.

Passing into the present: Contemporary American Fiction of Racial and Gender Passing

Manchester University Press
2010-07-01
256 pages
216 x 138mm
Hardback ISBN: 9780719082290

Sinéad Moynihan, Senior Lecturer in English
University of Exeter

• Discusses wider themes including class, gender, sexuality, and religious identity
• Focuses on Philip Roth’s ‘The Human Stain‘, Louise Eridich’s ‘Tracks’ Percival Everett’s ‘Erasure’ and Paul Beatty’s ‘The White Boy Shuffle‘
• Looks at a wide rage of contemporary writers that represent the theme of gender and racial passing

This book is the first full-length study of contemporary American fiction of ‘passing’. Its takes as its point of departure the return of racial and gender passing in the 1990s in order to make claims about wider trends in contemporary American fiction.

The book accounts for the return of tropes of passing in fiction by Philip Roth, Percival Everett, Louise Erdrich, Danzy Senna, Jeffrey Eugenides and Paul Beatty. These writers are attracted to the trope because passing narratives have always foregrounded the notion of textuality in relation to the (il)legibility of black subjects passing as white. The central argument of this book, then, is that contemporary narratives of passing are concerned with articulating and unpacking an analogy between passing and authorship.

Aimed at students and researchers, it promises to inaugurate dialogue on the relationships between identity, postmodernism and authorship in contemporary American fiction.

Table of Contents

• 1. Introduction: ‘Passing’ into the present: passing narratives then and now
• 2. Living parchments, human documents: passing, racial identity and the literary marketplace
• 3. The way of the cross(-dresser): Catholicism, gender and race in two novels by Louise Erdrich
• 4. (W)Rites-of-passing: shifting racial and gender identities in Caucasia and Middlesex
• 5. Bodies / texts: passing and writing in The White Boy Shuffle and The Human Stain
• 6. Conclusion: ‘Passing’ fads?: recent controversies of authenticity and authorship
• Bibliography