Mixed Race Studies

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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