Mixed Race Studies

Secrets and Lies

Ms. Magazine blog
Ms. Magazine
2016-05-17

Gail Lukasik

The following is an excerpt from White Like Her: My Family’s Story of Race and Racial Identity.

In 1995 when I discovered my mother’s black heritage, she made me promise never to tell her secret until she died. I kept her secret for 17 years. Nine months after her death in 2015, I appeared on PBS’s Genealogy Roadshow and revealed to 1.5 million people that my mother had passed for white. Three days later the family she never knew found me. “Secrets and Lies” recounts the stories my mother told me about her life in New Orleans before she came north to marry my father. After I uncovered her racial secret, I realized her stories held clues to her racial identity and the hardships she endured as a mixed race woman in Jim Crow south.

Parma, Ohio

When I was a young girl my mother would tell me about her life in New Orleans before she came north to Ohio to marry my father. Each story so carefully fashioned, so artfully told I never questioned their validity. It was one of the rare times I’d be allowed to sit on my parents’ double bed in the cramped downstairs bedroom that faced the street, its north window inches from the neighbor’s driveway where a dog barked sometimes into the night.

The room was pristine with its satiny floral bedspread, crisscrossed white lacy curtains and fringed shades. Area rugs surrounded the bed like islands of color over the amber shag carpet. A large dresser held my mother’s perfumes neatly arranged on a mirrored tray. An assortment of tiny prayer books rested on a side table beside a rosary. Over the bed was a painting of a street scene that could be Paris or New Orleans, colorful and dreamy. A similar painting hung in the living room.

It wasn’t until I married and left home that my father was banished to the other first floor smaller bedroom, even then he was an interloper in this feminine domain. His clothes were exiled to the front hall closet where he kept his rifle. On story days the room was a mother-daughter cove of confidences where my mother came as close as she ever would to telling me who she was, dropping clues like breadcrumbs that would take me decades to decipher. As I grew older, she confided intimacies of her marital life best shared with a mother or a sister. I was the substitute for the family left behind in New Orleans…

Read the entire excerpt here.

Review: “Krazy” by Michael Tisserand

Know Louisiana: The Digital Encyclopedia of Louisiana and Home of Louisiana Cultural Vistas
2016-12-02 (Winter 2016)

Lydia Nichols

There is nothing more American than passing, the act of projecting a racial identity other than that assigned. At no other time and place in American history have necessity and opportunity so dramatically conspired to create the possibility for passing as in late 19th century New Orleans. Reconstruction had failed to establish equitable institutions for those whom the Constitution had denied 2/5 of their personhood; and by 1877, the Southern Democrats (former Confederates) had reclaimed political and social dominion over the state. As W.E.B Du Bois writes in Black Reconstruction, Louisiana’s government was to be “a government of white people, made and to be perpetuated for the exclusive political benefit of the white race.” Though identifying as neither white nor black, New Orleans’ Afro-Creoles, who had enjoyed relative mobility prior to the Civil War, were kicked out of schools and churches, cut off from quality education, and pushed to “colored cars.” It became clear that hybridity was no longer acknowledged or welcome. Well-educated, multilingual and able to pass for white, unknown numbers of Creoles left to seek whatever security their ambiguity would allow. Among them was George Joseph Herriman, a ten-year old boy who in time would become a white man and a pioneering cartoonist.

Michael Tisserand provides a painstakingly well-researched analysis of Herriman’s life and work in Krazy: George Herriman, A Life in Black and White (HarperCollins, 2016). Herriman, a man of diverse interests and experiences, created comics laden with allusions to classical literature and philosophy; written in immigrant, black and southern vernaculars; and often incorporating foreign languages. The most famous and longest-running of his comics was Krazy Kat, a gender non-conforming, color-changing cat in the southwestern desert who regularly drops philosophical gems in his own dialect of English…

Read the entire review here.

Krazy racial rules: New biography of cartoonist George Herriman

The Times-Picayune
New Orleans, Louisiana
2016-11-25

Doug MacCash, Arts and Entertainment Writer

New Orleans-born Krazy Kat cartoonist George Herriman (Photo by Will Connell, courtesy Michael Tisserand)

“Krazy: A Life in Black and White,” the biography of Crescent City-born newspaper cartoonist extraordinaire George Herriman (1880-1944) is an absorbing study of a genius with a secret.

Herriman’s equally compelling and confounding “Krazy Kat” cartoon is considered a milestone in modern art. As New Orleans author Michael Tisserand deftly points out in his 549-page volume, the illogic of Herriman’s ink-on-paper drawings mirror the absurdity of the racial divide in early 20th-century America.

After 10 years of scouring microfilm archives, yellowed newspapers and public records, Tisserand has pieced together Herriman’s journey from his humble birth in the Treme neighborhood to heights of fame in Jazz-era New York and Los Angeles. It wasn’t easy.

“I had to teach myself to be an historian,” Tisserand said. “I didn’t anticipate the amount of difficulty it would be finding Herman’s work.”

Like a snake handler, Tisserand uncoils the confusing racial politics of New Orleans in the Jim Crow era, where the descendants of slaves and the descendants of so-called free people of color suffered segregation, discrimination and violence at the hands of the white population.

As Tisserand explains, when Herriman was 10 years old, his parents fled the South for a new beginning in California, where personal reinvention was possible. As Tisserand wrote, “Herriman was a black man born in New Orleans.” But upon reaching the Pacific, Herriman’s parents “had obscured their identity and ‘passed’ for white.”…

Read the entire article here.

TriPod Mythbusters: Quadroon Balls And Plaçage

Tripod
WWNO 89.9 FM
New Orleans, Louisiana
2016-09-22

Laine Kaplan-Levenson, Host

There is a common myth told about 19th-century New Orleans. It goes something like this: Imagine you’re in an elegant dance hall in New Orleans in the early 1800s. Looking around, you see a large group of white men and free women of color, who were at the time called quadroons, meaning they supposedly had ¼ African ancestry. The mothers play matchmakers, and introduce their daughters to these white men, who then ask their hand in a dance.

The ballroom is fancy, and the invited guests look the part. When a match is made, a contract is drawn up. The white man agrees to take care of the young woman and any children she may have with him. This arrangement was called “plaçage.”

Charles Chamberlain teaches history at the University of New Orleans. “Plaçage is defined historically as where a white man would basically have a relationship with a free woman of color where she would be kept, so that he would provide her with a house and some form of income so that she could maintain a lifestyle.”

What Chamberlain is describing is basically a common-law marriage. And those did happen. But the idea of Quadroon Balls is way sexier, which helps explain why they get talked about so much. French Quarter tour guides walk by the Bourbon Orleans hotel and talk about the famous quadroon balls that took place inside. But try to find proof of plaçage Chamberlain says, and it’s not there…

Listen to the story here.

A Luminous Brotherhood: Afro-Creole Spiritualism in Nineteenth-Century New Orleans

University of North Carolina Press
September 2016
280 pages
6.125 x 9.25, 6 halftones, notes, bibl., index
Cloth ISBN: 978-1-4696-2878-3

Emily Suzanne Clark, Assistant Professor of Religious Studies
Gonzaga University, Spokane, Washington

In the midst of a nineteenth-century boom in spiritual experimentation, the Cercle Harmonique, a remarkable group of African-descended men, practiced Spiritualism in heavily Catholic New Orleans from just before the Civil War to the end of Reconstruction. In this first comprehensive history of the Cercle, Emily Suzanne Clark illuminates how highly diverse religious practices wind in significant ways through American life, culture, and history. Clark shows that the beliefs and practices of Spiritualism helped Afro-Creoles mediate the political and social changes in New Orleans, as free blacks suffered increasingly restrictive laws and then met with violent resistance to suffrage and racial equality.

Drawing on fascinating records of actual séance practices, the lives of the mediums, and larger citywide and national contexts, Clark reveals how the messages that the Cercle received from the spirit world offered its members rich religious experiences as well as a forum for political activism inspired by republican ideals. Messages from departed souls including François Rabelais, Abraham Lincoln, John Brown, Robert E. Lee, Emanuel Swedenborg, and even Confucius discussed government structures, the moral progress of humanity, and equality. The Afro-Creole Spiritualists were encouraged to continue struggling for justice in a new world where “bright” spirits would replace raced bodies.

Spiritualism in Nineteenth-Century New Orleans: The Life and Times of Henry Louis Rey

University Press of Mississippi
January 2017
208 pages
25 b&w illustrations, 1 map, chronology, bibliography, index
6 x 9 inches
Hardcover ISBN-13: 978-1496810083

Melissa Daggett

Modern American Spiritualism blossomed in the 1850s and continued as a viable faith into the 1870s. Because of its diversity and openness to new cultures and religions, New Orleans provided fertile ground to nurture Spiritualism, and many séance circles flourished in the Creole Faubourgs of Tremé and Marigny as well as the American sector of the city. Melissa Daggett focuses on Le Cercle Harmonique, the francophone séance circle of Henry Louis Rey (1831–1894), a Creole of color who was a key civil rights activist, author, and Civil War and Reconstruction leader. His life has so far remained largely in the shadows of New Orleans history, partly due to a language barrier.

Spiritualism in Nineteenth-Century New Orleans focuses on the turbulent years between the late antebellum period and the end of Reconstruction. Translating and interpreting numerous primary sources and one of the only surviving registers of séance proceedings, Daggett has opened a window into a fascinating life as well as a period of tumult and change. She provides unparalleled insights into the history of the Creoles of color and renders a better understanding of New Orleans’s complex history. The author weaves an intriguing tale of the supernatural, of chaotic post-bellum politics, of transatlantic linkages, and of the personal triumphs and tragedies of Rey as a notable citizen and medium. Wonderful illustrations, reproductions of the original spiritual communications, and photographs, many of which have never before appeared in published form, accompany this study of Rey and his world.

The Great New Orleans Kidnapping Case

Tripod: New Orleans At 300
89.9 FM WWNO
New Orleans, Louisiana
2016-06-16

Laine Kaplan-Levenson, Producer

The Provost Guard in New Orleans taking up Vagrant Negroes. (1974.25.9.190) THE HISTORIC NEW ORLEANS COLLECTION

It was June. It was hot. Kids were out of school, keeping busy outdoors. Parents were inside. Kind of like how it is now, except it was 146 years ago.

“It is a world turned upside down,” says Michael Ross, historian and author of ‘The Great New Orleans Kidnapping Case: Race, Law, and Justice in the Reconstruction Era.’ He’s talking about the year 1870, at the height of reconstruction. “You have five cities in the South that have integrated their police forces, at a time when not a single police force in the North had integrated.

It’s true. The NOPD first hired black officers in the 1860s. New York City didn’t have an African American in their ranks until 1911. This is one of the many things that makes New Orleans a stage for social change in the U.S. after the Civil War. One crime in particular brought these changes into focus.

Molly Digby is 17 months old and playing outside with her older brother. Two women of color walk up to the kids and start talking to them, until they’re all interrupted by a loud noise down the street. The women tell the boy he can go see what all the excitement is about, and they’ll watch the baby. He runs off, and when he comes back, the women, and baby Molly, are gone.

“A white baby is abducted by two mixed race women called Mulattos at the time,” Ross explains. “That story would have been just one of many terrible stories of that day that would have been buried in the third page of the newspaper. But a number of factors lead to it getting front page attention.”…

Read the story here. Listen to the episode here.

Becoming American in Creole New Orleans: family, community, labor and schooling, 1896-1949

University of Sussex
May 2015
371 pages

Darryl G. Barthé, Jr.

Doctorate of Philosophy in History

The Louisiana Creole community in New Orleans went through profound changes in the first half of the 20th-century. This work examines Creole ethnic identity, focusing particularly on the transition from Creole to American. In “becoming American,” Creoles adapted to a binary, racialized caste system prevalent in the Jim Crow American South (and transformed from a primarily Francophone/Creolophone community (where a tripartite although permissive caste system long existed) to a primarily Anglophone community (marked by stricter black-white binaries). These adaptations and transformations were facilitated through Creole participation in fraternal societies, the organized labor movement and public and parochial schools that provided English-only instruction. The “Americanization of Creole New Orleans” has been a common theme in Creole studies since the early 1990’s, but no prior study has seriously examined the cultural and social transformation of Creole New Orleans by addressing the place and role of public and private institutions as instruments and facilitators of Americanization. By understanding the transformation of Creole New Orleans, this thesis demonstrates how an historically mixed-race community was ultimately divided by the segregationist culture of the early-twentieth century U.S. South.

In addition to an extensive body of secondary research, this work draws upon archival research at the University of New Orleans’ Special Collections, Tulane University Special Collections, the Amistad Research Center, The Archdiocese of New Orleans, and Xavier University Special Collections. This thesis makes considerable use of census data, draws upon press reports, and brings to bear a wide assortment of oral histories conducted by the author and others.

Most scholars have viewed New Orleans Creoles simply as Francophone African Americans, but this view is limited. This doctoral thesis engages the Creole community in New Orleans on its own terms, and in its own idioms, to understand what “becoming American” meant for New Orleans Creoles between 1896-1949.

Read the entire dissertation here.

“[She] Passed Down Orleans Street, a Polished Dandy”: The Queer Race Romance of Ludwig von Reizenstein’s The Mysteries of New Orleans

Studies in American Fiction
Volume 43, Issue 1, Spring 2016
pages 27-50
DOI: 10.1353/saf.2016.0005

Lauren Heintz
Department of English
California State University, Los Angeles

Ludwig von Reizenstein’s sensational, serialized novel, The Mysteries of New Orleans (1854–1855), opens with the lament that in New Orleans, “the chains of a maligned race rattle day and night” because “no angels have yet appeared to our Negritians to announce the birth of a Toussaint L’Ouverture!” Foreshadowing what is to come at the end of Reizenstein’s five-volume text, the prologue provides the first and only glimpse of the prophetic child, the “sun-god” Toussaint. The reincarnated revolutionary leader will deliver the entire U.S. South from the “evils” of slavery, instigating a bloody race war at the future date of 1871. Shortly after this auguration, we meet the couple that is to give birth to the new Toussaint. Much of the novel hinges on the fact that Toussaint L’Ouverture is to be born of a light-skinned mulatto woman (Lucy) and an effeminate, white German aristocrat (Emil), both of whom are introduced as an eroticized, cross-dressing couple. Curiously, it is when they are masquerading in each other’s clothes that the text’s revolutionary design is announced: an anachronistic and anatopistic re-imagination of the Haitian revolution led by the now interracial Toussaint.

Reizenstein is somewhat of a self-professed rogue novelist. In a spat between the newspaper that Reizentein’s text was published in, Louisiana Staats Zeitung, and its rival newspaper, the Deutsche Zeitung, the editors of the latter denounce the “wanton wiles” of Reizenstein’s text as “betraying a lack of propriety that borders on moral decadence,” a decadence that “should not be brought into the family for a few cents” (Mysteries xxi). Reizenstein returns the stab to mock the kind of domestic, sentimental piety in fiction that “will only be read by shy, superannuated virgins” (Mysteries xx). Rejecting the genre of sentimentality, Reizenstein takes his rebuttal one step further as he, too, separates himself from the “disreputable novelist Ned Buntline,” who Reizenstein claims “launched the literature of mysteries on American soil and thereby utterly killed all their enchantment” (Mysteries 1). Whether or not Reizenstein was attempting to revamp the sensational “mysteries” genre or distance himself from it, and despite Reizenstein’s all out refusal of sentimentality, he still predominantly employs the trope of the “race romance” that remains typical to both sensational “mysteries of the city” novels as well as sentimental domestic fiction. Yet in Mysteries, the cross-dressing, extramarital race romance between Lucy and Emil is certainly bawdy enough for an illicit readership searching for something beyond the sentimental romance.

While the race romance in Mysteries between Lucy and Emil is caught up in gender-play, adultery, licentiousness, and scandal, the race romance as a predominant trope in nineteenth-century sensational and sentimental fiction most commonly dramatizes the scenario of a white man falling in love with a woman of color, who is often described as being tragically light skinned. The race romance seeks to advance the promise of incorporating the person of color into the imagined white republic of the United States. But also, the race romance most often hinges on the quintessential sensationalist promise of the mixed-raced child, one who is born of an interracial union that ushers in a type of racialized utopianism. The intent of the race romance is to instigate the dissolution of the races through the appropriation and incorporation of the interracial child into whiteness. Yet, while the above is the idealized scenario of the race romance introduced in nineteenth-century fiction, more often than not the race romance unravels as an all out doomed enterprise by the end of the novel. In Dion Boucicault’s The Octoroon (1859), for example, in the U.S. version of the play, the story ends with the tragic death of the octoroon heroine Zoe in the arms of her white lover George; in Lydia Maria Child’s Hobomok (1824), the “noble savage” Hobomok leaves his white lover, Mary, and their son, Hobomok, for the sake of white domesticity as Mary nurtures her…

The Mysteries of New Orleans

Johns Hopkins University Press
June 2002
600 pages
3 halftones
Paperback ISBN: 9780801868825

Baron Ludwig von Reizenstein (1826-1885)

translated and edited by:

Steven Rowan, Professor of History
University of Missouri, St. Louis

“Reizenstein’s peculiar vision of New Orleans is worth resurrecting precisely because it crossed the boundaries of acceptable taste in nineteenth-century German America and squatted firmly on the other side… This work makes us realize how limited our notions were of what could be conceived by a fertile American imagination in the middle of the nineteenth century.”—from the Introduction by Steven Rowan

A lost classic of America’s neglected German-language literary tradition, The Mysteries of New Orleans by Baron Ludwig von Reizenstein first appeared as a serial in the Louisiana Staats-Zeitung, a New Orleans German-language newspaper, between 1854 and 1855. Inspired by the gothic “urban mysteries” serialized in France and Germany during this period, Reizenstein crafted a daring occult novel that stages a frontal assault on the ethos of the antebellum South. His plot imagines the coming of a bloody, retributive justice at the hands of Hiram the Freemason—a nightmarish, 200-year-old, proto-Nietzschean superman—for the sin of slavery. Heralded by the birth of a black messiah, the son of a mulatto prostitute and a decadent German aristocrat, this coming revolution is depicted in frankly apocalyptic terms.

Yet, Reizenstein was equally concerned with setting and characters, from the mundane to the fantastic. The book is saturated with the atmosphere of nineteenth-century New Orleans, the amorous exploits of its main characters uncannily resembling those of New Orleans’ leading citizens. Also of note is the author’s progressively matter-of-fact portrait of the lesbian romance between his novel’s only sympathetic characters, Claudine and Orleana. This edition marks the first time that The Mysteries of New Orleans has been translated into English and proves that 150 years later, this vast, strange, and important novel remains as compelling as ever.

Baron Ludwig von Reizenstein (1826-1885) was born in Bavaria and emigrated to America in 1848. By 1851 he had established himself as a civil engineer, architect, journalist, amateur naturalist, and publisher in New Orleans, where he lived until his death.