Mixed Race Studies

Revolutionizing Romance: Interracial Couples in Contemporary Cuba

Rutgers University Press
2010-03-01
232 pages
3 illustrations. 2 tables and 1 map
Paper ISBN: 978-0-8135-4723-7
Cloth ISBN: 978-0-8135-4722-0
eBook ISBN: 978-0-8135-4923-1

Nadine T. Fernandez, Associate Professor of Social Sciences
State University of New York, Empire State College

Scholars have long heralded mestizaje, or race mixing, as the essence of the Cuban nation. Revolutionizing Romance is an account of the continuing significance of race in Cuba as it is experienced in interracial relationships. This ethnography tracks young couples as they move in a world fraught with shifting connections of class, race, and culture that are reflected in space, racialized language, and media representations of blackness, whiteness, and mixedness. As one of the few scholars to conduct long-term anthropological fieldwork in the island nation, Nadine T. Fernandez offers a rare insider’s view of the country’s transformations during the post-Soviet era. Following a comprehensive history of racial formations up through Castro’s rule, the book then delves into more intimate and contemporary spaces. Language, space and place, foreign tourism, and the realm of the family each reveal, through the author’s deft analysis, the paradox of living a racialized life in a nation that celebrates a policy of colorblind equality.

Table of Contents

• Introduction
• 1. Interracial Couples from Colony to Revolution
• 2. Socialist Equality and the Color-Blind Revolution
• 3. Mapping Interracial Couples: Race and Space in Havana
• 4. The Everyday Presence of Race
• 5. Blackness, Whiteness, Class, and the Emergent Economy
• 6. Interracial Couples and Racism at Home
• Epilogue

Mestizo Modernism

Rutgers University Press
2003
280 pages
21 b&w illus.
Paper ISBN 0-8135-3217-5
Cloth ISBN 0-8135-3216-7

Tace Hedrick, Associate Professor and Women’s Studies
University of Florida, Gainesville

We use the term “modernism” almost exclusively to characterize the work of European and American writers and artists who struggled to portray a new kind of fractured urban life typified by mechanization and speed. Between the 1880s and 1930s, Latin American artists were similarly engaged-but with a difference. While other modernists drew from “primitive” cultures for an alternative sense of creativity, Latin American modernists were taking a cue from local sources-primarily indigenous and black populations in their own countries. In Mestizo Modernism Tace Hedrick focuses on four key artists who represent Latin American modernism-Peruvian poet César Vallejo, Chilean poet Gabriela Mistral, Mexican muralist Diego Rivera, and Mexican artist Frida Kahlo. Hedrick interrogates what being “modern” and “American” meant for them and illuminates the cultural contexts within which they worked, as well as the formal methods they shared, including the connection they drew between ancient cultures and modern technologies. This look at Latin American artists will force the reconceptualization of what modernism has meant in academic study and what it might mean for future research.

Table of Contents

MESTIZO MODERNISM
SENTIMENTAL MEN
WOMEN’S WORK
BROTHER MEN
CHILDLESS MOTHERS
HYBRID MODERN
Acknowledgments
Notes
Works Cited
Index

Read an excerpt here.

The Two Lives of Sally Miller: A Case of Mistaken Racial Identity in Antebellum New Orleans

Rutgers University Press
2007-03-28
168 pages
9 b&w illustrations
Paper ISBN: 978-0-8135-4058-0
Cloth ISBN: 978-0-8135-4057-3

Carol Wilson, Arthur A. and Elizabeth R. Knapp Professor of American History
Washington College, Chestertown, Maryland

In 1843, the Louisiana Supreme Court heard the case of a slave named Sally Miller, who claimed to have been born a free white person in Germany. Sally, a very light-skinned slave girl working in a New Orleans cafe, might not have known she had a case were it not for a woman who recognized her as Salom Muller, with whom she had emigrated from Germany over twenty years earlier. Sally decided to sue for her freedom, and was ultimately freed, despite strong evidence contrary to her claim.

In The Two Lives of Sally Miller, Carol Wilson explores this fascinating legal case and its reflection on broader questions about race, society, and law in the antebellum South. Why did a court system known for its extreme bias against African Americans help to free a woman who was believed by many to be a black slave? Wilson explains that while the notion of white enslavement was shocking, it was easier for society to acknowledge that possibility than the alternative-an African slave who deceived whites and triumphed over the system.

Comments by Carol Wilson from her website:

…My book on the case of Sally Miller looks at a similar issue of status. As a society we have recently begun openly acknowledging that many people in the United States are of mixed racial background. The restrictive categorization of people as either white or black has begun to collapse. Many people assume, however, that this is the result of relaxing of racial barriers over the last few decades. Scholars of pre-Civil War American history, however, are well aware of the extensiveness of racial mixing in our nation’s past, albeit a practice usually illegal and denied. Because of the not uncommon existence of enslaved mulattoes, antebellum Americans were not unused to seeing slaves who looked “white.” With racial identity a feature imposed by those in power in society, it was only a matter of time before “whites” (people of European ancestry) found themselves illegally enslaved. Because white status was impossible to prove, some whites did find themselves in slavery…

Tripping on the Color Line: Black-White Multiracial Families in a Racially Divided World

Rutgers University Press
October 2000
192 pages
Cloth ISBN: 0-8135-2843-7
Paper ISBN: 0-8135-2844-5

Heather M. Dalmage, Professor of Sociology and Director
Mansfield Institute for Social Justice
Roosevelt University

A sociological analysis of the experiences and challenges faced by black-white multiracial families

At the beginning of the twentieth century, W. E. B. Du Bois predicted that the central problem facing the United States in the new century would be that of the “color line.” Now, with another century upon us, many people are found straddling the color line. They come from the growing number of multiracial families in America, families seeking their places in a racially polarized society.

In interviews with individuals from black/white multiracial families, Heather M. Dalmage examines the challenges they face and explores how their experiences demonstrate the need for rethinking race in America. She examines the lived reality of race in the ways multiracial families construct their identities and sense of community and politics. The lack of language to describe multiracial experiences, along with the methods of negotiating racial ambiguity in a racially divided, racist society are central themes of Tripping on the Color Line. By connecting her interviewees stories to specific issues, such as census categories, transracial adoption, and intermarriage, Dalmage raises the debate to a broad discussion of the idea of race and its impact on social justice.

The “Tragic Mulatta” Revisited: Race and Nationalism in Nineteenth-Century Antislavery Fiction

Rutgers University Press
2004-09-29
202 pages
Cloth ISBN: 978-0-8135-3481-7
Paper ISBN: 978-0-8135-3482-4

Eve Allegra Raimon, Professor, Arts & Humanities
University of Southern Maine

Since its inception, the United States has been intensely preoccupied with interracialism. The concept is embedded everywhere in our social and political fabric, including our sense of national identity. And yet, in both its quantitative and symbolic forms, interracialism remains an extremely elusive phenomenon, causing policy makers and census boards to wrangle over how to delineate it and, on an emblematic level, stirring intense emotions from fear to fascination. In The “Tragic Mulatta” Revisited, Eve Allegra Raimon focuses on the mixed-race female slave in literature, arguing that this figure became a symbolic vehicle for explorations of race and nation-both of which were in crisis in the mid-nineteenth century. At this time, judicial, statutory, social, and scientific debates about the meaning of racial difference (and intermixture) coincided with disputes over frontier expansion, which were never merely about land acquisition but also literally about the “complexion” of that frontier. Embodying both northern and southern ideologies, the “amalgamated” mulatta, the author argues, can be viewed as quintessentially American, a precursor to contemporary motifs of “hybrid” and “mestizo” identities. Where others have focused on the gendered and racially abject position of the “tragic mulatta,” Raimon reconsiders texts by such central antislavery writers as Lydia Maria Child, William Wells Brown, Harriet Beecher Stowe, and Harriet Wilson to suggest that the figure is more usefully examined as a way of understanding the volatile and shifting interface of race and national identity in the antebellum period.

Read an excerpt here.

Portraits of the New Negro Woman: Visual and Literary Culture in the Harlem Renaissance

Rutgers University Press
2006
224 pages
b&w illustrations
Paper ISBN: 978-0-8135-3977-5
Cloth ISBN: 978-0-8135-3976-8

Cherene Sherrard-Johnson, Professor of English
University of Wisconsin-Madison

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.

Portraits of the New Negro Woman investigates the visual and literary images of black femininity that occurred between the two world wars. Cherene Sherrard-Johnson traces the origins and popularization of these new representations in the art and literature of the Harlem Renaissance and how they became an ambiguous symbol of racial uplift constraining African American womanhood in the early twentieth century.

In this engaging narrative, the author uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.