Mixed Race Studies

Racial Etiquette: Nella Larsen’s Passing and the Rhinelander Case

Meridians: feminism, race, transnationalism
Volume 5, Number 2, 2005
pages 1-29
E-ISSN: 1547-8424
Print ISSN: 1536-6936
DOI: 10.1353/mer.2005.0013

Miriam Thaggert, Associate Professor of English and African-American Studies
University of Iowa

In Passing Nella Larsen seems to suggest that identity is a hazy fiction one tells that outward appearances and surface events only partly confirm. Rather than directly stating their thoughts, characters communicate through an exchange of looks—particularly her two light-skinned female characters, Irene and Clare. These subtle forms of expression heighten the sense of uncertainty throughout the novel. The reader never learns explicitly the reason for Clare’s fall out of a window, the reality of a homosexual longing between Clare and Irene, or the true nature of the relationship between Clare and Irene’s husband. This indeterminacy extends to the racial identity of Larsen’s characters, an identity not always easily discernible because of the characters’ mixed racial background and their inclination to “pass.”  Without adequate markings or clues, any reading, whether of identities or situations, is flawed or incorrect.

A brief, almost offhand, remark Irene makes refers to a legal trial in which these issues of knowledge, passing, and the gaze combined in a process to interrogate the race and veracity of a woman. The Rhinelander case was an annulment proceeding in which wealthy, white Leonard Kip Rhinelander sued his wife, Alice Beatrice Jones, for fraud. Leonard claimed he did not know that his light-skinned wife was “colored,” the daughter of a white woman and a dark-skinned cab driver.  Larsen’s reference to the Rhinelanders occurs only once, near the end of the novel, after Irene suspects that her husband, Brian, is having an affair with Clare…

Read or purchase the article here.

Women-Loving Women: Queering Black Urban Space during the Harlem Renaissance

Women’s Studies 197: Senior Seminar
2010-06-07
Professor Lilith Mahmud

Samantha Tenorio

The experience of black “women-loving-women” during the Harlem Renaissance is directly influenced by what Kimberlé Crenshaw terms intersectional identity, or their positioning in the social hierarchies of race, gender, class, and sexual orientation that are simultaneously intertwined. Considering contemporary terms like lesbian and bisexual, it is difficult to define the sexual identity of many famous black women of the early 20th century, such as Gertrude “Ma” Rainey, Bessie Smith, and Bessie Jackson to name a few. However, their work both on and off the stage contributes to the construction of identities during the Harlem Renaissance that transgress both racial and sexual conventions. Although these social identities emerged from a long history of slavery and sexual oppression, they nonetheless produced a seemingly free space for the expression of lesbian sensibilities in the black community during the Harlem Renaissance. At a time of racial segregation in America, but also of ideologies of uplift within the black community, social spaces existed in Harlem where sexual “deviance” and race-mixing could be articulated and seen explicitly. Using song lyrics, literature, and scholarly work on social and cultural spaces of the time period between 1919 and 1939, this paper analyzes how certain forms and sites of cultural production, specifically the blues, the cabaret, and literature helped to construct these transgressive identities.

…Relating Racial Movement to a Queer Politics

Similarly, but not at all equivalent, racial passing implies a more fluid movement between the worlds of black and white. Both Irene and Clare partake in passing for their own gain, though doing so in differing degrees. Their movement between the worlds of black and white represent a fluidity that speaks to a queer reading of Passing and can be read as representing sexual mobility insomuch as segregation was established in order to protect the purity of the white race. This protection is what makes Clare‘s passing, and marriage to a white man, that much more compelling. Here her passing is in direct opposition to segregation and the fear of miscegenation, which are based on the sexual reproduction of a pure white race. Thus, I understand Clare and her passing to be a symbol for the transgression of both racial and sexual boundaries. Her racial fluidity as well as her transgression both speak to a queer reading of Larsen‘s fiction…

Though an act of agency, the movement employed by Larsen can also be read as relating to the theme of mobility and fluidity that is present within queer politics. The figure of the “tragic mulatta” employed by [Nella] Larsen in Quicksand illustrates a point of mediation, or a movement between two worlds, one who is constantly taking part in criminal intimacies. Helga is eternally caught between two worlds, yet being a victim of the “one-drop rule” she is always marked as ultimately belonging to the black race.  Here, though she is of mixed-race, her character illustrates that the bi-racial character cannot exist, she must always be defined as ultimately belonging to one race, and when this individual‘s races include black, she is always labeled as such. This marks the limitations of the tragic mulatta’s movement, but still speaks to a movement that is constantly a theme of queer politics.

Read the entire paper here.

In Search of Nella Larsen: A Biography of the Color Line

Harvard University Press
May 2006
624 pages
6-3/8 x 9-1/4 inches
37 halftones
Hardcover ISBN: 9780674021808

George Hutchinson, Newton C. Farr Professor of American Culture
Cornell University

• 2006 Booklist Editor’s Choice
• 2006 Honorable Mention of the Professional/Scholarly Publishing Annual Award Competition, Biography & Autobiography
• Finalist, 2007 Independent Publisher Book Awards, Biography Category
• 2007 Christian Gauss Award for literary scholarship or criticism, Phi Beta Kappa Society
• Choice Magazine A Best Academic Book of the Year

Born to a Danish seamstress and a black West Indian cook in one of the Western Hemisphere’s most infamous vice districts, Nella Larsen (1891-1964) lived her life in the shadows of America’s racial divide. She wrote about that life, was briefly celebrated in her time, then was lost to later generations–only to be rediscovered and hailed by many as the best black novelist of her generation. In his search for Nella Larsen, the “mystery woman of the Harlem Renaissance,” George Hutchinson exposes the truths and half-truths surrounding this central figure of modern literary studies, as well as the complex reality they mask and mirror. His book is a cultural biography of the color line as it was lived by one person who truly embodied all of its ambiguities and complexities.

Author of a landmark study of the Harlem Renaissance, Hutchinson here produces the definitive account of a life long obscured by misinterpretations, fabrications, and omissions. He brings Larsen to life as an often tormented modernist, from the trauma of her childhood to her emergence as a star of the Harlem Renaissance. Showing the links between her experiences and her writings, Hutchinson illuminates the singularity of her achievement and shatters previous notions of her position in the modernist landscape. Revealing the suppressions and misunderstandings that accompany the effort to separate black from white, his book addresses the vast consequences for all Americans of color-line culture’s fundamental rule: race trumps family.

‘Passing’ Across The Color Line In The Jazz Age

National Public Radio
All Things Considered: You Must Read This
2010-04-07

Heidi W. Durrow

Heidi W. Durrow is a graduate of Columbia University’s Graduate School of Journalism and Yale Law School. Her debut novel is “The Girl Who Fell From The Sky.”

There are novels that are enjoyable to read and others that say something about the world.  And sometimes there are novels that are both.  Passing by Nella Larsen is one of those books…

Read the entire essay here.
Listen to the essay here.

Unnatural Selections: Eugenics in American Modernism and the Harlem Renaissance

University of North Carolina Press
April 2004
288 pages
6.125 x 9.25, 19 illus., 2 charts, notes, bibl., index
Cloth ISBN: 978-0-8078-2868-7
Paper ISBN: 978-0-8078-5531-7

Daylanne K. English, Associate Professor of English & Chair
Macalester College

Challenging conventional constructions of the Harlem Renaissance and American modernism, Daylanne English links writers from both movements to debates about eugenics in the Progressive Era. She argues that, in the 1920s, the form and content of writings by figures as disparate as W. E. B. Du Bois, T. S. Eliot, Gertrude Stein, and Nella Larsen were shaped by anxieties regarding immigration, migration, and intraracial breeding.

English’s interdisciplinary approach brings together the work of those canonical writers with relatively neglected literary, social scientific, and visual texts. She examines antilynching plays by Angelina Weld Grimké as well as the provocative writings of white female eugenics field workers. English also analyzes the Crisis magazine as a family album filtering uplift through eugenics by means of photographic documentation of an ever-improving black race.

English suggests that current scholarship often misreads early-twentieth-century visual, literary, and political culture by applying contemporary social and moral standards to the past. Du Bois, she argues, was actually more of a eugenicist than Eliot. Through such reconfiguration of the modern period, English creates an allegory for the American present: because eugenics was, in its time, widely accepted as a reasonable, progressive ideology, we need to consider the long-term implications of contemporary genetic engineering, fertility enhancement and control, and legislation promoting or discouraging family growth.

Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture

Duke University Press
July 2000
272 pages
12 b&w photographs
Cloth ISBN: 0-8223-2479-2, ISBN13: 978-0-8223-2479-9
Paperback ISBN: 0-8223-2515-2, ISBN13: 978-0-8223-2515-4

Gayle Wald, Professor of English
George Washington University

As W. E. B. DuBois famously prophesied in The Souls of Black Folk, the fiction of the color line has been of urgent concern in defining a certain twentieth-century U.S. racial “order.” Yet the very arbitrariness of this line also gives rise to opportunities for racial “passing,” a practice through which subjects appropriate the terms of racial discourse. To erode race’s authority, Gayle Wald argues, we must understand how race defines and yet fails to represent identity. She thus uses cultural narratives of passing to illuminate both the contradictions of race and the deployment of such contradictions for a variety of needs, interests, and desires.

Wald begins her reading of twentieth-century passing narratives by analyzing works by African American writers James Weldon Johnson, Jessie Fauset, and Nella Larsen, showing how they use the “passing plot” to explore the negotiation of identity, agency, and freedom within the context of their protagonists’ restricted choices. She then examines the 1946 autobiography Really the Blues, which details the transformation of Milton Mesirow, middle-class son of Russian-Jewish immigrants, into Mezz Mezzrow, jazz musician and self-described “voluntary Negro.” Turning to the 1949 films Pinky and Lost Boundaries, which imagine African American citizenship within class-specific protocols of race and gender, she interrogates the complicated representation of racial passing in a visual medium. Her investigation of “post-passing” testimonials in postwar African American magazines, which strove to foster black consumerism while constructing “positive” images of black achievement and affluence in the postwar years, focuses on neglected texts within the archives of black popular culture. Finally, after a look at liberal contradictions of John Howard Griffin’s 1961 auto-ethnography Black Like Me, Wald concludes with an epilogue that considers the idea of passing in the context of the recent discourse of “color blindness.”

Wald’s analysis of the moral, political, and theoretical dimensions of racial passing makes Crossing the Line important reading as we approach the twenty-first century. Her engaging and dynamic book will be of particular interest to scholars of American studies, African American studies, cultural studies, and literary criticism.

Table of Contents

• Preface
• Acknowledgments
• Introduction: Race, Passing, and Cultural Representation
• 1. Home Again: Racial Negotiations in Modernist African American Passing Narratives
• 2. Mezz Mezzrow and the Voluntary Negro Blues
• 3. Boundaries Lost and Found: Racial Passing and Cinematic Representation, circa 1949
• 4. “I’m Through with Passing”: Postpassing Narratives in Black Popular Literary Culture
• 5. “A Most Disagreeable Mirror”: Reflections on White Identity in Black Like Me
• Epilogue: Passing, “Color Blindness,” and Contemporary Discourses of Race and Identity
• Notes
• Bibliography
• Index

Self-made women in a (racist) man’s world: The ‘tragic’ lives of Nella Larsen and Bessie Head

English Academy Review
Volume 25, Issue 1 (May 2008)
pages 66-76
DOI: 10.1080/10131750802099490

Diana Mafe, Assistant Professor of English
Denison University, Granville, Ohio

(Her research aims to situate mixed race studies in a relatively unexplored sub-Saharan African context.)

Nella Larsen, the ‘mystery woman of the Harlem Renaissance,’ and Bessie Head, the famous ‘woman alone,’ are known for their ambiguous origins and their fabrication of personal ‘facts.’This article argues that these mixed race female writers, born under Jim Crow and apartheid respectively, carved out niches in these segregationist societies through the art of self-invention. Because of their precarious positions as ‘mulattas’ in anti-miscegenation worlds, clear parallels are identifiable between Larsen and Head, such as the creation of multiple selves and the realisation of the ‘tragic mulatto‘ stereotype through such characters as Helga Crane in Larsen’s Quicksand (1928) and Elizabeth in Head’s A Question of Power (1973). The representation of the ‘mulatto’ as a tragic figure caught between races is primarily an American literary trope, but both Larsen and the African-born Head evoke this stereotype in their personal and written stories. These two writers also resist labelling, however, by inventing new identities through pseudonyms, autobiographical heroines, and imagined ‘truths.’ This article examines the overt parallels between two mixed race women writers from different generations and continents, initiating crucial dialogue about the development of racial stigmas across cultures and temporalities.

Read or purchase the article here.

Mixed-Race Identity Politics in Nella Larsen and Winnifred Eaton (Onoto Watanna)

Ohio University
English (Arts and Sciences) Department
November 2001
217 pages
Advisor: David Dean McWilliams

Sachi Nakachi

A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy.

The dissertation examines how two women authors of mixed-race, Nella Larsen and Winnifred Eaton (Onoto Watanna), resisted American identity politics in their works.  The ideological complexities of mixed-race identity, which is “in-between” races, are the focus of my argument. To discuss what Judith Butler calls “the performativity of identity” in the interracial context, “passing,” “masquerading” and “mimicking” are used as key strategies. I examine whether the space of hybridity, in which the incompatible notions of difference and sameness exist together, opens up the horizon of transformation of significations . In Chapter One, I discuss how Larsen used her “mulatto” heroines to criticize the essentialist notion of identity. I probe how crossing boundaries (passing, geographical crossing and transgressing sexual norms) functions in her novels. In Chapter Two, I examine the works of Winnifred Eaton, who passed as Japanese in her authorship. By crossing the “authentic” ethnic boundaries and placing herself in a fictional identity, Eaton challenged racism and sexism. The dynamics of Orientalism, race and gender in Eaton’s works are examined in this chapter. Postmodern feminist theories and postcolonial theories are used in tandem to support my argument, which tries to discuss how the system of racial oppression operates in multi-racial/multi-ethnic women’s literature.

Read the entire dissertation here.

Passing

W. W. Norton & Company
September 2007
584 pages
5.2 × 8.4 in
Paperback ISBN: 978-0-393-97916-9

Nella Larsen

Edited by

Carla Kaplan, Davis Distinguished Professor of American Literature
Northeastern University

Nella Larsen is a central figure in African American, Modernist, and women’s literature.

Larsen’s status as a Harlem Renaissance woman writer was rivaled by only Zora Neale Hurston’s. This Norton Critical Edition of her electrifying 1929 novel includes Carla Kaplan’s detailed and thought-provoking introduction, thorough explanatory annotations, and a Note on the Text. An unusually rich “Background and Contexts” section connects the novel to the historical events of the day, most notably the sensational Rhinelander/Jones case of 1925. Fourteen contemporary reviews are reprinted, including those by Alice Dunbar-Nelson, Mary Griffin, and W. E. B. Du Bois. Published accounts from 1911 to 1935—by Langston Hughes, Juanita Ellsworth, and Caleb Johnson, among others—provide a nuanced view of the contemporary cultural dimensions of race and passing, both in America and abroad. Also included are Larsen’s statements on the novel and on passing, as well as a generous selection of her letters and her central writings on “The Tragic Mulatto(a)” in American literature. Additional perspective is provided by related Harlem Renaissance works. “Criticism” provides fifteen diverse critical interpretations, including those by Mary Helen Washington, Cheryl A. Wall, Deborah E. McDowell, David L. Blackmore, Kate Baldwin, and Catherine Rottenberg. A Chronology and Selected Bibliography are also included.

Table of Contents

Acknowledgments
Introduction
A Note on the Text
The Text of Passing
Backgrounds and Contexts
REVIEWS

1. Mary Rennels – “Passing” Is Novel of Longings (April 27, 1929)
2. Beyond the Color Line (April 28, 1929)
3. Margaret Cheney Dawson – The Color Line (April 28, 1929)
4. The Dilemma of Mixed Race: Another Study of Color-line in New York (May 1, 1929)
5. Alice Dunbar-Nelson – As In a Looking Glass (May 3, 1929)
6. W. B. Seabrook – Touch of the Tar-brush (May 18, 1929)
7. Esther Hyman – Passing by Nella Larsen (June 1929)
8. Aubrey Bowser – The Cat Came Back (June 5, 1929)
9. Mary Griffin – Novel of Race Consciousness (June 23, 1929)
10. W. E. B. Du Bois – Passing (July 1929)
11. Mary Fleming Larabee – Passing (August 1929)
12. Do They Always Return? (September 28, 1929)
13. “M. L. H.” – Passing (December 1929)
14. Passing (December 12, 1929)

CONTEMPORARY COVERAGE OF PASSING AND RACE

1. When Is a Caucasian Not a Caucasian? (March 2, 1911)
2. [Publisher’s Preface to the 1912 Edition of Johnson’s Autobiography of an Ex-Colored Man]
3. Writer Says Brazil Has No Color Line (October 1925)
4. Blood Will Tell (July 24, 1926)
5. Don Pierson – Does It Pay to “Pass?” (August 20, 1927)
6. Juanita Ellsworth – White Negroes (May-June 1928)
7. Lewis Fremont Baldwin – From From Negro to Caucasian, Or How the Ethiopian Is Changing His Skin (1929)
8. Emilie Hahn – Crossing the Color Line (July 28, 1929)
9. Caleb Johnson – Crossing the Color Line (August 26, 1931)
10. Langston Hughes – Passing for White, Passing for Colored, Passing for Negroes Plus (1931)
11. 75,000 Pass in Philadelphia Every Day (December 19, 1931)
12. Careful Lyncher! He May Be Your Brother (January 21, 1932)
13. Blonde Girl Was ‘Passing‘ (January 23, 1932)
14. Swedish Negro Baby! (April 28, 1932)
15. Virginia Is Still Hounding ‘White’ Negroes Who ‘Pass’ (June 29, 1935)

THE RHINELANDER/JONES CASE

1. Mark J. Madigan – Miscegenation and “the Dicta of Race and Class”: The Rhinelander Case and Nella Larsen’s Passing (1990)
2. Selected newspaper articles on the case (list pending)

AUTOBIOGRAPHY AND BIOGRAPHY

1. About Nella Larsen
2. Miss Nella Larsen Bids for Literary Laurels (May 12, 1928)
3. Thelma E. Berlack – New Author Unearthed Right Here in Harlem (May 23, 1928)
4. Mary Rennels – Behind the Backs of Books and Authors (April 13, 1929)
5. [Letter about Nella Larsen] Jean Blackwell Hutson to Louise Fox (August 1, 1969)
6. Thadious M. Davis – Nella Larsen’s Harlem Aesthetic (1989)
7. George Hutchinson – Nella Larsen and the Veil of Race (1997)
8. Larson on birth, Passing, and death
9. Davis on birth, Passing, and death
10. Hutchinson on birth, Passing, and death

Author’s Statements

1. Nella Larsen Imes, “Author Statement,” 1926
2. Nella Larsen Imes, Guggenheim Application
3. [In Defense of Sanctuary]

Letters

1. To Carl Van Vechten [1925]
2. To Charles S. Johnson [August 1926]
3. To Eddie Wasserman
4. To Eddie Wasserman
5. To Dorothy Peterson
6. To Dorothy Peterson
7. To Dorothy Peterson
8. To Dorothy Peterson
9. To Langston Hughes
10. To Gertrude Stein
11. To Carl Van Vechten
12. To Carl Van Vechten

THE TRAGIC MULATTO(A)

1. Lydia Maria Child – The Quadroons (1842)
2. Williams Wells Brown– From Clotel (1853)
3. Frances Harper – From Iola Leroy (1892)
4. William Dean Howells – From An Imperative Duty (1892 or 83?)
5. Kate Chopin – The Father of Désirée’s Baby (1893)
6. Mark Twain – From Pudd’nhead Wilson (1894)
7. Charles Chesnutt – From The House behind the Cedars (1900)
8. Georgia Douglass Johnson – The Octoroon (1922)
9. Countee Cullen – Near White (1925)
10. Langston Hughes – Mulatto (1927)
11. Fannie Hurst – From Imitation of Life (1933)

SELECTED WRITINGS ABOUT PASSING

1. Frank Webb – From The Gairies and Their Friends (1852)
2. Frances Harper – From Iola Leroy (1892)
3. Charles Chesnutt – From House behind the Cedars (1900)
4. James Weldon Johnson – From Autobiography of an Ex-Colored Man (1912)
5. Jessie Redmon Fauset – The Sleeper Wakes (1920)
6. Countee Cullen – Two Who Crossed a Line (1925)
7. Walter White – From Flight (1926)
8. Jessie Redmon Fauset – From Plum Bun (1928)
9. Rudolph Fisher – From The Walls of Jericho (1928)
10. George S. Schuyler – From Black No More (1931)
11. Langston Hughes – Passing (1934)

SELECTED WRITINGS FROM THE HARLEM RENAISSANCE

1. Joseph Seamon Cotter, Jr. – The Mulatto to His Critics (1918)
2. Countee Cullen – Heritage (1925)
3. W. E. B. Du Bois – Criteria of Negro Art (1926)
4. Nella Larsen [Pseud. Allen Semi] – Freedom (1926)
5. George S. Schuyler – The Negro-Art Hokum (1926)
6. Carl Van Vechten – From Nigger Heaven (1926)
7. From Negro Womanhood’s Greatest Needs: A Symposium (1927)

Criticism

1. Nathan Irvin Huggins – [Schizophrenia from Racial Dualism]
2. Mary Mabel Youman – Nella Larsen’s Passing: A Study in Irony
3. Claudia Tate – Nella Larsen’s Passing: A Problem of Interpretation
4. Mary Helen Washington – Nella Larsen: Mystery Woman of the Harlem Renaissance
5. Cheryl A. Wall – Passing for What? Aspects of Identity in Nella Larsen’s Novels
6. Deborah E. McDowell – [Black Female Sexuality in Passing]
7. David L. Blackmore – “That Unreasonable Restless Feeling”: The Homosexual Subtexts of Nella Larsen’s Passing
8. Jennifer DeVere Brody – Clare Kendry’s “True” Colors: Race and Class Conflict in Nella Larsen’s Passing
9. Helena Michie – [Differences among Black Women]
10. Judith Butler – Passing, Queering: Nella Larsen’s Psychoanalytic Challenge
11. Ann duCille – Passing Fancies
12. Kate Baldwin – The Recurring Conditions of Nella Larsen’s Passing
13. Gayle Wald – Passing and Domestic Tragedy
14. Catherine Rottenberg – Passing: Race, Identification, and Desire
15. Miriam Thaggert – Racial Etiquette: Nella Larsen’s Passing and the Rhinelander Case

Nella Larsen: A Chronology
Selected Bibliography

Mixing Race, Mixing Culture: Inter-American Literary Dialogues

University of Texas Press
2002
6 x 9 in.
324 pp., 4 photos, 1 chart
ISBN: 978-0-292-74348-9
Print-on-demand title

Edited by

Monika Kaup, Assistant Professor of English
University of Washington, Seattle

Debra Rosenthal, Assistant Professor of English
John Carroll University

Over the last five centuries, the story of the Americas has been a story of the mixing of races and cultures. Not surprisingly, the issue of miscegenation, with its attendant fears and hopes, has been a pervasive theme in New World literature, as writers from Canada to Argentina confront the legacy of cultural hybridization and fusion.

This book takes up the challenge of transforming American literary and cultural studies into a comparative discipline by examining the dynamics of racial and cultural mixture and its opposite tendency, racial and cultural disjunction, in the literatures of the Americas. Editors Kaup and Rosenthal have brought together a distinguished set of scholars who compare the treatment of racial and cultural mixtures in literature from North America, the Caribbean, and Latin America. From various angles, they remap the Americas as a multicultural and multiracial hemisphere, with a common history of colonialism, slavery, racism, and racial and cultural hybridity.

Table of Contents

• Acknowledgments
• Introduction
• I. Mixed-Blood Epistemologies
  1. Werner Sollors, Can Rabbits Have Interracial Sex?
  2. Doris Sommer, Who Can Tell? The Blanks in Villaverde
  3. Zita Nunes, Phantasmatic Brazil: Nella Larsen‘s Passing, American Literary Imagination, and Racial Utopianism
• II. Métissage and Counterdiscourse
  1. Françoise Lionnet, Narrating the Americas: Transcolonial Métissage and Maryse Condé‘s La Migration des coeurs
  2. Michèle Praeger, Créolité or Ambiguity?
• III. Indigenization, Miscegenation, and Nationalism
  1. Priscilla Archibald, Gender and Mestizaje in the Andes
  2. Debra J. Rosenthal, Race Mixture and the Representation of Indians in the U.S. and the Andes: Cumandá, Aves sin nido, The Last of the Mohicans, and Ramona
  3. Susan Gillman, The Squatter, the Don, and the Grandissimes in Our America
• IV. Hybrid Hybridity
  1. Rafael Pérez-Torres, Chicano Ethnicity, Cultural Hybridity, and the Mestizo Voice
  2. Monika Kaup, Constituting Hybridity as Hybrid: Métis Canadian and Mexican American Formations
• V. Sites of Memory in Mixed-Race Autobiography
  1. Rolando Hinojosa-Smith, Living on the River
  2. Louis Owens, The Syllogistic Mixedblood: How Roland Barthes Saved Me from the indians
• Coda: From Exoticism to Mixed-Blood Humanism
  1. Earl E. Fitz, From Blood to Culture: Miscegenation as Metaphor for the Americas
• Contributors
• Works Cited
• Index

Read the entire introduction here.