Mixed Race Studies

Hairy Paws and Bald Heads: Anxiety and Authority in W. D. Howells’ An Imperative Duty

American Literary Realism
Volume 48, Number 2, Winter 2016
pages 95-111

James Weaver, Assistant Professor of English
Denison University, Granville, Ohio

Intensely concerned with the cultural and personal implications of miscegenation and its resultant social upheaval, W. D. Howells’ An Imperative Duty (1891) documents how late-nineteenth-century racial fears become entangled in the medical discourse of the period. Ultimately a romance that brings together the liberal-minded nerve doctor Edward Olney and the refined but tragically mulatta Rhoda Aldgate, the novel traces the ways in which Olney both contests and affirms a racially and socially conservative point of view. As Michele Birnbaum points out, the novel “narrate[s] the young woman’s coming of age as a medical condition.” We might also see Howells’ novel as the coming-of-age story of its protagonist doctor—a coming of age that relies heavily upon his personal and professional relationship with that young woman. Importantly, we can see Olney’s change over the course of the narrative not just as the expression of his developing love for Aldgate but as the incremental recovery of his professional identity. Despite the personal transformations Olney experiences during the course of Howells’ novel, his professional transformation emerges as the more accurate index of Olney’s attitude toward issues of race and class. As Olney assumes a democratic openness toward Aldgate’s “taint” of dark ancestry, he also assumes a medical authority that transforms his romance with her into a doctor-patient relationship. That relationship is further predicated on Olney’s lingering anxieties over his medical authority and economic stability as well as on a troubling erasure of Aldgate’s racial identity. Reading An Imperative Duty in light of such influential contemporary medical texts as S. Weir Mitchell’s Doctor and Patient and George M. Beard’s American Nervousness, then, enables us to see Olney’s transition from nervous doctor to nerve doctor—a distinction that, however coy, aptly indicates how Howells’ hero-doctor is able to “cure” not only his and Aldgate’s racial anxieties but also his own nagging fears about his social, cultural, and medical authority.

Recent criticism of Howells’ novel has usefully explored the ways in which it engages with the racial discourse of the time, as critics have tried to assess the race politics ultimately articulated by Howells. Many of those essays have situated An Imperative Duty against the backdrop of U.S. immigration debates and concerns over citizenship; in dialogue with developments in realist aesthetics and American pragmatism; or in relation to the tradition of passing novels, the trope of the tragic mulatto, and late-nineteenth-century fears about miscegenation. In this essay I’d like to frame my analysis of An Imperative Duty and Dr. Olney against a different cultural backdrop: the rise of “nervous diseases” and the corresponding efforts in the American medical community to organize professionally and consolidate power and privilege through its possession of scientific knowledge. By folding this consideration of Dr. Olney’s professional identity into our larger understanding of Howells’ novel, I hope to illuminate the ways in which the racial and medical discourses of the novel intersect with and reinforce one another, reasserting an entrenched white male privilege despite initially seeming to question those avenues of power.

Before I turn to Howells’ novel, though, let me contextualize that analysis by rehearsing in general terms the late-nineteenth-century medical discourse regarding neurasthenia and by outlining the power relations embedded in the diagnosis and treatment of the disease. George M. Beard first employed the term “neurasthenia” to describe a state of nervous exhaustion in an 1869 speech to the New York Medical Association. A Yale graduate and two-year veteran of the Union navy’s medical staff during the Civil War, Beard finished his medical degree at New York’s College of Physicians in 1866 and almost immediately began a focused study of nervous diseases that culminated in his 1881 text American Nervousness, his most comprehensive treatise on neurasthenia, its causes and effects, and its national significance. In that text, Beard argues against a faculty psychology interpretation of nervousness, contending that the term does not indicate “unbalanced mental organization” or “a predominance of the emotional” but rather “a lack of nerve-force.” As he writes, “Nervousness is nervelessness.” For Beard, neurasthenia was thus a strictly…

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Racial Fictions and the Cultural Work of Genre in Charles W. Chesnutt’s The House Behind the Cedars

American Literary Realism
Volume 48, Number 2, Winter 2016
pages 128-146

Melissa Asher Rauterkus, Assistant Professor of English
University of Alabama, Birmingham

I intend to record my impressions of men and things, and such incidents or conversations which take place within my knowledge, with a view to future use in literary work. I shall not record stale negro minstrel jokes, or worn out newspaper squibs on the “man and brother.” I shall leave the realm of fiction, where most of this stuff is manufactured, and come down to hard facts.

Charles W. Chesnutt, 16 March 1880, The Journals of Charles W. Chesnutt

Fifteen years of life in the South, in one of the most eventful eras of its history; among a people whose life is rich in the elements of romance; under conditions calculated to stir one’s soul to the very depths;—I think there is here a fund of experience, a supply of material. . . . [I]f I do write, I shall write for a purpose. . . . The object of my writings would be not so much the elevation of the colored people as the elevation of the whites.

Charles W. Chesnutt, 29 May 1880, Journals of Chesnutt

In a pivotal scene in The House Behind the Cedars (1900), Judge Straight and John Warwick, the formerly black office boy turned white attorney, discuss the legal loopholes that permit his racial passing. Pleased to see his old disciple, but afraid that John’s stay in Patesville will compromise his new identity, Straight reminds John that “custom is stronger than law” and in matters of race “custom is law.” Alluding to the legal technicality that makes John a white man in South Carolina (where race is determined by reputation and social standing) but a black man in North Carolina (where race is defined by fractions of blood), Straight suggests that when it comes to the color line, the cultural fictions we create (as in the one-drop rule) ultimately organize our reality. In many respects, this critical observation sits at the center of the novel’s racial critique, opening up into a broader analysis of the relationship between the fictiveness of race and fiction in a more literal sense. Exploring the subject of racial passing through the lenses of realism and romance, the text issues a complex metaliterary statement that articulates how generic traditions and conventions produce racial identities.

That genre is tangled up in the novel’s deconstruction of race suggests that literary traditions and their conventions can in fact perform important cultural work. In some ways, the novel’s greatest realist achievement is its insistence that popular fiction can be deployed to bring about social and literary change. In the epigraphs that begin this essay, Chesnutt expresses his desire to use fiction as a means to initiate an ethical and moral revolution to eradicate racism. The first passage promises a more realistic approach while the second one highlights the romantic quality of black life, suggesting that it might provide the ideal material for socially conscious fiction; that is, documenting the unbelievably horrific conditions under which most black people suffer may be the single most effective strategy for softening white people’s feelings towards blacks and stamping out racial injustice. In The House Behind the Cedars, Chesnutt combines both perspectives, playing out the story of racial passing along generic lines to demonstrate the power of fiction to alter the social and literary landscape.

In what follows, I offer a metaliterary critique of the novel’s textual complexity, calling specific attention to the racial uses of genre. In a series of close readings, I explore the at times puzzling and seemingly contradictory aspects of a novel whose formal intricacies have not yet been fully acknowledged or evaluated. Focusing on three major developments that stand at the center of the novel’s subtly ironic deconstruction of race—the opening sequence, the tournament, and the fatal conclusion in the swamp—I investigate how Chesnutt and his characters marshal the discourses of realism and romance to manipulate the fictions of race. Accentuating the ways in which they use genre as a tool to reinvent their racial identities, I want to underscore the connections between literary fictions and racial fictions. By working through these connections, I seek to bring into greater relief the generic significance of Chesnutt’s…

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How Green Was My Surname; Via Ireland, a Chapter in the Story of Black America

The New York Times
2003-03-17

S. Lee Jamison

Happy St. Patrick’s Day, Shaquille O’Neal!

So many African-Americans have Irish-sounding last names—Eddie Murphy, Isaac Hayes, Mariah Carey, Dizzy Gillespie, Toni Morrison, H. Carl McCall—that you would think that the long story of blacks and Irish coming together would be well documented. You would be wrong.

Randall Kennedy, a professor at Harvard Law School and the author of ”Interracial Intimacies; Sex, Marriage, Identity and Adoption,” said that when it comes to written historical exploration of black-Irish sexual encounters, ”there are little mentions, but not much.”

And most African-Americans do not know a lot about their family names.

“Quite frankly, I always thought my name was Scotch, not Irish.” said Mr. McCall, the former New York State comptroller.

But the Irish names almost certainly do not come from Southern slaveholders with names like Scarlett O’Hara. Most Irish were too poor to own land. And some blacks, even before the Civil War, were not slaves.

…Elizabeth Shown Mills, who recently retired as the editor of the National Genealogical Society Quarterly, said that unlike native-born whites, “Irish were more willing to accept and acknowledge interracial allegiances.”

Before the Civil War, she said, “the free mulatto population had the same number of black moms as white moms.”

Ms. Mills said that mixed-race children would have been given Irish surnames when their Irish fathers married their black mothers, or when their unmarried Irish mothers named children after themselves.

The Irish ended up in the Caribbean, too. Britain sent hundreds of Irish people to penal colonies in the West Indies in the mid-1600’s, and more went over as indentured servants.

Mr. [Charles L.] Blockson noted that “Lord Oliver Cromwell’s boatloads of men and women” sent to Barbados and Jamaica intermingled with the African slaves already there.

Montserrat ended up with the largest Irish community in the West Indies…

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Why It Was Easy for Rachel Dolezal to Pass as Black

Pacific Standard
2015-06-15

Lisa Wade, Associate Professor of Sociology
Occidental College, Los Angeles, California

Race is more social than biological.

Source: (1)ne Drop Project

Earlier this year a CBS commentator in a panel with Jay Smooth embarrassingly revealed that she thought he was white (Smooth’s father is black) and last week the Internet learned that Rachel Dolezal was white all along (both parents identify as white). The CBS commentator’s mistake and Dolezal’s ability to pass both speak to the strange way we’ve socially constructed blackness in this country.

The truth is that African Americans are essentially all mixed race. From the beginning, enslaved and other Africans had close relationships with poor and indentured servant whites, that’s one reason why so many black people have Irish last names. During slavery, sexual relationships between enslavers and the enslaved, occurring on a range of coercive levels, were routine. Children born to enslaved women from these encounters were identified as “black.” The one-drop rule—you are black if you have one drop of black blood—was an economic tool used to protect the institution of racialized slavery (by preserving the distinction between two increasingly indistinct racial groups) and enrich the individual enslaver (by producing another human being he could own). Those enslaved children grew up and had children with other enslaved people as well as other whites…

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A More Perfect Union: Black Freedoms, White Houses

Public Culture
Volume 28, Number 1, January 2016
pages 63-87
DOI: 10.1215/08992363-3325016

Jasmine Nichole Cobb, Assistant Professor in the Department of Communication
Northwestern University, Evanston, Illinois

President Barack Obama signifies both the power of the institutional presidency and the legacy of black freedom struggles. His post in the White House provides an opportunity to think through the process by which these themes became intertwined and the manner in which the US presidency became a site for resolving the black freedom struggle. This essay traces the routes through which the US state, in the form of the presidency, appropriated black images to suppress autonomous black freedom struggles and promote less threatening racial narratives. It critiques the production and reproduction of black freedom imagery for state utility. The materials investigated reveal the value of black visibility to state interests at key moments in US race relations—namely, during slavery, enfranchisement, and national elections.

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Taken Identity

The UC Santa Barbara Current
Santa Barbara, California
2015-12-21

Jim Logan

A new book by a UC Santa Barbara historian traces the bright and fuzzy lines of race in America

The United States’ long record on race is, shall we say, checkered. Even in a time when an African-American sits in the White House and mixed-race families are common, issues of race and identity still roil the national conversation. How do we make sense of this seeming contradiction?

Paul Spickard, a UC Santa Barbara historian and one of the country’s foremost scholars of race, has some ideas on the matter. In his new book, “Race in Mind: Critical Essays” (University of Notre Dame Press, 2015), Spickard tackles a range of issues, including racial categories, identity, multiethnicity, Whiteness studies and more. In 14 essays that span more than 20 years of scholarship, he dissects the history of race as a social construct and assesses the present and future of race in America with insight and wit…

…Spickard doesn’t just study race, he’s lived with and observed its peculiarities his whole life. Growing up in inner-city Seattle, his high school was roughly 60 percent black and 30 percent Asian. He calls it “the accident of where I grew up. Except for family members and two friends in high school, I had never had a five-minute conversation with a white person in my life until I went away to college. Racial questions are kind of the questions of my life.” His two adult children are half Chinese American. Both identify as mixed, but one lives in an entirely Chinese American social world and the other a mostly white one…

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Allyson Hobbs. A Chosen Exile: A History of Racial Passing in American Life. [Smith-Pryor Review]

The American Historical Review
Volume 120, Issue 5, December 2015
pages 1903-1904
DOI: 10.1093/ahr/120.5.1903

Elizabeth M. Smith-Pryor, Associate Professor of History
Kent State University, Kent, Ohio

Allyson Hobbs. A Chosen Exile: A History of Racial Passing in American Life. Cambridge, Mass.: Harvard University Press, 2014. Pp. 382. $29.95.

In A Chosen Exile: A History of Racial Passing in American Life, Allyson Hobbs provides a well-written and sweeping overview of the phenomenon of passing from the colonial era through the present. With five chapters, a prologue, and an epilogue Hobbs charts a “longue duree” (27) of passing as white, while tracing its connections to changing meanings of race and racial identity in America. Drawn to the topic through her own family stories of long lost relatives, Hobbs contends too many historians and literary scholars only view passing as an act that leads to the benefits of whiteness. Instead, Hobbs suggests we cannot fully understand passing without “reckoning with loss, alienation, and isolation that accompanied, and often outweighed, its rewards” (6). For, Hobbs argues, “the core issue of passing” is not becoming white but losing a black identity (18). Consequently, she suggests the study of passing allows us to see how people live and experience “race.”

Hobbs’s study relies on the…

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Crossing Gender, Fantasizing Bodies

Transgender Studies Quarterly
Volume 2, Number 4, November 2015
pages 717-719
DOI: 10.1215/23289252-3151664

Michael Davidson, Professor Emeritus of American Literature; Distinguished Professor
University of California, San Diego

Fantasies of Identification: Disability, Gender, Race. Ellen Samuels. New York: New York University Press, 2014. 263 pp.

Ellen Samuels’ Fantasies of Identification is about attempts since the mid-nineteenth century to establish legal identity on some scientific, empirical basis as part of a national, biopolitical imperative. In this regard, the book contributes to the intersection of US literary history, disability, gender, queer, and critical race studies. Samuels chronicles a range of methods that were developed to regularize identity and naturalize the belief that identity could be read on the body. Examples include finger printing, the infamous one-drop rule for persons of African descent, current DNA testing for disabilities, blood quantum rules to establish Native American tribal identity, and myriad techniques of sex testing to verify legal gender within binary frameworks. Samuels observes that every attempt to ground identity in blood, genes, or appearance founders on the unstable nature of the very categories it hopes to stabilize: race, sex, gender, and ability. This instability is often produced by the imbricated relationship among such categories, and Samuels argues that disability is an always-present modality by and against which race, class, sex, and gender are read. Certifiable identity categories are, as her title indicates, “fantasies” produced by institutions wanting to secure populations in strict categories for the purposes of juridical, economic, and cultural control. But since these protocols are fantastic—a “thing we not only imagine but desire to be true” (6)—they are also subject to deformation, appropriation, and carnivalization by the…

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Passing: Identity and Interpretation in Sexuality, Race, and Religion

New York University Press
August 2001
283 pages
5 illustrations
Cloth ISBN: 9780814781227
Paper ISBN: 9780814781234

Edited by:

María C. Sánchez, Associate Professor of English
University of North Carolina, Greensboro

Linda Schlossberg, Lecturer on Studies of Women, Gender, and Sexuality
Harvard University

Passing for what you are not—whether it is mulattos passing as white, Jews passing as Christian, or drag queens passing as women–can be a method of protection or self-defense. But it can also be a uniquely pleasurable experience, one that trades on the erotics of secrecy and revelation. It is precisely passing’s radical playfulness, the way it asks us to reconsider our assumptions and forces our most cherished fantasies of identity to self-destruct, that is centrally addressed in Passing: Identity and Interpretation in Sexuality, Race, and Religion.

Identity in Western culture is largely structured around visibility, whether in the service of science (Victorian physiognomy), psychoanalysis (Lacan’s mirror stage), or philosophy (the Panopticon). As such, it is charged with anxieties regarding classification and social demarcation. Passing wreaks havoc with accepted systems of social recognition and cultural intelligibility, blurring the carefully-marked lines of race, gender, and class.

Bringing together theories of passing across a host of disciplines—from critical race theory and lesbian and gay studies, to literary theory and religious studies—Passing complicates our current understanding of the visual and categories of identity.

Contributors: Michael Bronski, Karen McCarthy Brown, Bradley Epps, Judith Halberstam, Peter Hitchcock, Daniel Itzkovitz, Patrick O’Malley, Miriam Peskowitz, María C. Sánchez, Linda Schlossberg, and Sharon Ullman.

Fantasies of Identification: Disability, Gender, Race

New York University Press
April 2014
273 pages
12 halftones
Cloth ISBN: 9781479812981
Paper ISBN: 9781479859498

Ellen Samuels, Associate Professor of Gender and Women’s Studies and English
University of Wisconsin, Madison

In the mid-nineteenth-century United States, as it became increasingly difficult to distinguish between bodies understood as black, white, or Indian; able-bodied or disabled; and male or female, intense efforts emerged to define these identities as biologically distinct and scientifically verifiable in a literally marked body. Combining literary analysis, legal history, and visual culture, Ellen Samuels traces the evolution of the “fantasy of identification”—the powerful belief that embodied social identities are fixed, verifiable, and visible through modern science. From birthmarks and fingerprints to blood quantum and DNA, she examines how this fantasy has circulated between cultural representations, law, science, and policy to become one of the most powerfully institutionalized ideologies of modern society.

Yet, as Samuels demonstrates, in every case, the fantasy distorts its claimed scientific basis, substituting subjective language for claimed objective fact. From its early emergence in discourses about disability fakery and fugitive slaves in the nineteenth century to its most recent manifestation in the question of sex testing at the 2012 Olympic Games, Fantasies of Identification explores the roots of modern understandings of bodily identity.

Table of Contents

• Acknowledgments
• Introduction: The Crisis of Identification
• Part I Fantasies of Fakery
  • 1. Ellen Craft’s Masquerade
  • 2. Confidence in the Nineteenth Century
  • 3. The Disability Con Onscreen
• Part II Fantasies of Marking
  • 4. The Trials of Salomé Müller
  • 5. Of Fiction and Fingerprints
• Part III Fantasies of Measurement
  • 6. Proving Disability
  • 7. Revising Blood Quantum
  • 8. Realms of Biocertification
  • 9. DNA and the Readable Self
• Conclusion: Future Identifications
• Notes
• Bibliography
• Index