Mixed Race Studies

Crossing the Color Line: Racial Passing in American Literature

Wesleyan University
AMST 322 / ENGL 319
Fall 2015

Amy Cynthia Tang, Assistant Professor of English

Narratives of racial passing having long captivated readers and critics alike for the way in which they provocatively raise questions about the construction, reinforcement, and subversion of racial categories. This course will consider several examples of the “literature of passing” as it has been established as a category within African American literature alongside more ambiguously classified 20th-century narratives of ethnic masquerade and cultural assimilation as a way of exploring how literary and film texts invoke, interrogate, and otherwise explore categories of race, gender, class, and sexual identity.

Key texts will include James Weldon Johnson’s The Autobiography of an Ex-Colored Man, Nella Larsen’s Passing, Douglas Sirk’s film Imitation of Life, Richard Rodriguez’s memoir Hunger of Memory, Chang-Rae Lee’s novel A Gesture Life, and Philip Roth’s novel The Human Stain.

Trans-American Modernisms: Racial Passing, Travel Writing, and Cultural Fantasies of Latin America

University of Southern California
August 2009
311 pages

Ruth Blandón

Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ENGLISH)

In my historical examination of the literary works of Nella Larsen, William Carlos Williams, Langston Hughes, James Weldon Johnson, Jessie Redmon Fauset, and Carl Van Vechten, I investigate U.S. modernists’ interest in Latin America and their attempts to establish trans-American connections. As they engage with and write about countries such as Brazil, Puerto Rico, the Dominican Republic, Cuba, Costa Rica, and Venezuela as utopian spaces, these writers often tend to relegate Latin America to the status of a useful trope, one that allows them to negotiate a variety of identitarian and sexual anxieties.

The domestic political landscape that informs the desire for migration to the Latin Americas—whether real or fantastical—in the early twentieth century leads to Johnson’s depiction of the savvy and ambitious titular character in his first and only novel, Autobiography of an Ex-Coloured Man, to Van Vechten’s, Larsen’s, and Fauset’s fantastical Brazil in their respective Nigger Heaven, Passing, and Plum Bun. Hughes’s translation of Cuban poet Nicolás Guillén’s poetry illustrates his straddling of national and color lines through the translation of language. These writers react to Jim Crow laws, one-drop rules, and color lines in their connections to and fantasies of the Latin Americas. What then of writers who make similar trans-American connections and constructions, but who write from a space of relative privilege, however resistant they are to that privilege? Consider William Carlos Williams, who negotiates the pressures of assimilation in the United States as he attempts to assert his Afro Puerto Rican and Anglo Dominican heritages. Although Williams is commonly recalled as an “all-American” poet, his works betray his constant attempts to harness three perpetually shifting and overlapping identities: that of a son of immigrants, of a first generation “American,” and of a son of the Americas.

The trans-American connections I reveal span the fantastical to the truly cross-cultural. In placing United States modernism and the Harlem Renaissance within a larger hemispheric context, I shift our sense of U.S. modernism in general, but also of the Harlem Renaissance’s place within U.S. modernism in particular.

Table of Contents

• Dedication
• Acknowledgments
• List of Figures
• Abstract
• Introduction
• Chapter One:
  • Reading, Misreading, and Language Passing in James Weldon Johnson’s The Autobiography of an Ex-Coloured Man and Along This Way
  • Blackness under the law
  • James Weldon Johnson’s Along This Way
  • The Autobiography of an Ex-Coloured Man
  • Conclusion
• Chapter Two:
  • Brazilian Schemes and Utopian Dreams in Nella Larsen’s Passing, Jessie Redmon Fauset’s Plum Bun, and Carl Van Vechten’s Nigger Heaven
  • Historical Context
  • From Liberia to Brazil—A Change of Venue
  • Carl Van Vechten’s Nigger Heaven
  • Jessie Fauset’s Plum Bun, “Home,” and Brazil
  • Larsen’s Passing and Brazil as Utopia/Dystopia
  • Conclusion: Utopia vs. Brazilian Reality
• Chapter Three:
  • All-American Me: William Carlos Williams’s Construction and Deconstruction of the Self
  • Cultural Context—Casta and Passing
  • Blurring Cultural Boundaries: “Only the whites of my eyes were affected.”
  • The Specter of Blackness: “I had visions of being lynched…”
  • In The American Grain: “I am—the brutal thing itself.”
  • Translation: “El que no a vista Sevilla, […] no a vista maravilla!”
  • Conclusion: “I’ll keep my way in spite of all.”
• Chapter Four:
  • “Look Homeward Angel Now”: Travel, Translation, and Langston Hughes’s Quest for Home
  • Langston Hughes in Mexico and Cuba—1907-1948: Mexico
  • Cuba
  • Langston Hughes and Nicolás Guillén in Spain
  • Translation, Analogy, and the “I”
  • Of Poetry, Jazz, Son, and Rumba
  • The Translations
  • Conclusion: Translating, Travel, and “Home”
• Bibliography

List of Figures

• Figure 1: James Weldon Johnson, photographed by Carl Van Vechten in 1932.
• Figure 2: “Les Demoiselles d’Avignon.” Pablo Picasso, 1907.
• Figure 3: “Noire et Blanche.” Man Ray, 1926.
• Figure 4: “Blues.” Archibald Motley, 1929.
• Figure 5: “An Idyll of the Deep South.” Aaron Douglas, 1934.
• Figure 6: Bessie Smith, photographed by Carl Van Vechten, 1936.
• Figure 7: Billie Holiday, photographed by Carl Van Vechten, 1949.
• Figure 8: The Williams Family
• Figure 9: “De Español y Mulata; Morisca.” [“From Spaniard and Mulatto, Morisca.”] Miguel Cabrera, 1763.
• Figure 10: “De Mestizo y d India; Coyote.”[“From Mestizo and Indian, Coyote.”] Miguel Cabrera, 1763.
• Figure 11: William Carlos Williams, circa 1903.
• Figure 12: Elena Hoheb Williams
• Figure 13: Langston Hughes
• Figure 14: Diego Rivera with Frida Kahlo, photographed by Carl Van Vechten, 1932.
• Figure 15: Nicolás Guillén

Read the entire dissertation here.

 Her “Nig”: Returning the Gaze of Nella Larsen’s “Passing”

Modern Language Studies
Volume 32, Number 2 (Autumn, 2002)
pages 109-138

Lori Harrison-Kahan, Full-time Adjunct Faculty in English
Boston College

In a scene from Nella Larsen’s 1929 novel, Passing, a white man, John Bellew, enters his Chicago hotel room to find his wife, Clare, taking tea with two of her childhood friends. To the astonishment of the two women, Bellew greets his wife with an unusual pet name: “Nig.” When Clare asks her husband to explain his form of address to the stunned women, he replies, “When we were first married, she was as white as—as—well as white as a lily. But I declare she’s gettin’ darker and darker. I tell her if she don’t look out, she’ll wake up one of these days and find she’s turned into a nigger” (171). The moment is rich in dramatic irony, for unbeknownst to Bellew, his wife and her two friends are African Americans who are passing as white.

Although Bellew calls his wife “Nig” as a “joke” (171), the interpellation works to erase Clare’s given name, which connotes clearness, light, and whiteness. That Clare responds to this nickname seals the process of subjection. In Black Skin, White Masks, Frantz Fanon notes the power of interpellation to constitute and deform the black body through a racialized naming such as “nigger” or “Negro.” In Fanon’s famous example of racial interpellation, the cry “Look a Negro!” pairs the derogatory naming with the fixing of the look. The simultaneous gaze (“Look”) and naming (“a Negro”) freeze the black man into “an object in the midst of other objects” (109). In Passing, Clare’s husband warns her that if she “don’t look out”—…

The Discourse of Interracial and Multicultural Identity in 19th and 20th Century American Literature

Indiana University of Pennsylvania
May 2007
373 pages
AAT 3257969

Dale M. Taylor

A Dissertation Submitted to the School of Graduate Studies and Research In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy

The narratives of and about mixed-race people have provided a varied and rich artistic canvas. Using various literary works as tools for investigation, this project explores a discourse for mixed-race people and determines to what extent that discourse shapes conceptions about them. In addition, it examines to what extent subjects of mixed-racial heritage and identity establish and form new cultures, struggle for the validity of their existence in spite of racial binaries, affirm their experiences and to some degree question the validity of race itself. A discourse of mixed-race subjects is related to a discourse about race. Issues of hybridity, creolization and mestizaje have affected postcolonial subjects and Americans throughout the Diaspora. The project will consider people of mixed Native American, African, Latin, Asian, European descent and others. Literature involving and about mixed-raced subjects is their history—whether fiction or nonfiction—a history that has been silenced by political, economic and racial ideology. Mixed-racial and mixed-cultural subjects exist in the “between” spaces of racial binaries. They are “called into place” by self and others through discourse to define and negotiate power. Among the writers and works used are: Gigantic, by Marc Nesbitt, The Human Stain by Philip Roth, “Désirée’s Baby” by Kate Chopin, “Stones of the Village” by Alice Dunbar-Nelson, “After Many Days,” by Fannie Barrier Williams, Passing by Nella Larsen, “The Downward Path To Wisdom” by Katherine Anne Porter, “The Displaced Person” by Flannery O’Connor, Yellowman by Dael Orlandersmith, “Origami” by Susan K. Ito, and poetry by Derek Walcott, Walt Whitman and others.

TABLE OF CONTENTS

• One: THE DISCOURSE OF MIXED-RACE SUBJECTIVITY AND IDENTITY
  • Introduction
• Two: MIXED-RACE DISCOURSE IN “DESIREE’S BABY” BY KATE CHOPIN, “STONES OF THE VILLAGE” BY ALICE DUNBAR-NELSON, AND ‘AFTER MANY DAYS: A CHRISTMAS STORY” BY FANNIE BARRIER WILLIAMS
  • Introduction
  • “Desiree’s Baby” by Kate Chopin
  • “Stones of the Village” by Alice Dunbar-Nelson
  • “After Many Days: A Christmas Story” by Fannie Barrier Williams
  • Closing Remarks For Chapter Two
• Three: MIXED RACE AND DISCOURSE IN THE WORK OF KATHERINE ANNE PORTER, NELLA LARSEN AND FLANNERY O’CONNOR
  • Introduction
  • “The Downward Path To Wisdom” by K.A. Porter
  • “The Displaced Person” by Flannery O’Connor
  • Passing by Nella Larsen
  • Closing Remarks For Chapter Three
• Four: YELLOWMAN, THE HUMAN STAIN, GIGANTIC AND THE DISCOURSE OF INTERRACIAL AND INTRARACIAL SUBJECTIVITY
  • Introduction
  • Yellowman by Dael Orlandersmith
  • The Human Stain by Philip Roth
  • Gigantic: “The Ones Who May Kill You In The Morning” by Marc Nesbitt
  • Closing Remarks For Chapter Four
• Five: THE FUTURE AND THE DISCOURSE OF MIXED-RACE SUBJECTIVITY
  • Conclusion
• WORKS CITED
• APPENDICES
  • Appendix A – Permissions Letter Professor Natasha Trethewey
  • Appendix B – Permissions Letter Schomburg Center for Research in Black Culture The New York Public Library

Purchase the dissertation here.

To Make a New Race: Gurdjieff, Toomer, and the Harlem Renaissance

University Press of Mississippi
1999
202 pages
Cloth: 157806130X (9781578061303)
Paper: 1578061318 (9781578061310)

Jon Woodson, Professor of English
Howard University, Washington, D.C.

Jean Toomer’s adamant stance against racism and his call for a raceless society were far more complex than the average reader of works from the Harlem Renaissance might believe. In To Make a New Race Jon Woodson explores the intense influence of Greek-born mystic G. I. Gurdjieff on the thinking of Toomer and his coterie—Zora Neale Hurston, Nella Larsen, George Schuyler, Wallace Thurman—and, through them, the mystic’s influence on many of the notables in African American literature.

Gurdjieff, born of poor Greco-Armenian parents on the Russo-Turkish frontier, espoused the theory that man is asleep and in prison unless he strains against the major burdens of life, especially those of identification, like race. Toomer, whose novel Cane became an inspiration to many later Harlem Renaissance writers, traveled to France and labored at Gurdjieff’s Institute for the Harmonious Development of Man. Later, the writer became one of the primary followers approved to teach Gurdjieff’s philosophy in the United States.

Woodson’s is the first study of Gurdjieff, Toomer, and the Harlem Renaissance to look beyond contemporary portrayals of the mystic in order to judge his influence. Scouring correspondence, manuscripts, and published texts, Woodson finds the direct links in which Gurdjieff through Toomer played a major role in the development of “objective literature.” He discovers both coded and explicit ways in which Gurdjieff’s philosophy shaped the world views of writers well into the 1960s. Moreover Woodson reinforces the extensive contribution Toomer and other African-American writers with all their international influences made to the American cultural scene.

Table of Contents

• Preface
• Acknowledgments
• Abbreviations
• Introduction
• 1 Jean Toomer: Beside You Will Stand a Strange Man
• 2 Wallace Thurman: Beyond Race and Color
• 3 Rudolph Fisher: Minds of Another Order
• 4 Nella Larsen: The Anatomy of “Sleep”
• 5 George Schuyler: New Races and New Worlds
• 6 Zora Neale Hurston: The Self and the Nation
• Conclusion
• Notes
• Bibliography
• Index

Into the box and out of the picture: The rhetorical management of the mulatto in the Jim Crow era

Duke University
2005
573 pages
Publication Number: AAT 3250085

Jené Lee Schoenfeld

Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University

Contemporary conventional wisdom maintains that anyone who has any trace of black ancestry is black. This precept, known as the “one drop rule,” was not always so widely accepted; in fact, from 1850 to 1920 an intermediate racial category—mulatto—appeared on the United States Census. Visibly “both/and” in a society of “either/or,” the ambiguous body of the mulatto had the potential to obscure the color line and thus the system of racial hierarchy predicated on the division it marks. Therefore, the limited tolerance under slavery of an intermediate racial status became untenable during Jim Crow. In my dissertation, I argue that the fiction of the Jim Crow era helped the one drop rule gain hegemonic status.

Through sustained close readings of texts by Frances Harper, Thomas Dixon, Nella Larsen, Charles Chesnutt, Mark Twain, and William Faulkner, I argue that the biological determinism of the one drop rule is inadequate to explain what makes their characters—who are often physically, culturally, and even socially aligned with whiteness—”truly” black and suggest that in mulatto fiction, self-identification emerges as the fundamental basis of racial identity. I argue that fiction facilitated the containment of racial indeterminacy by “rhetorically managing” the mulatto into choosing blackness for herself through characterizations of those who remained racially liminal as tragically marginal and generally despicable, and contrasting characterizations of those who chose to identify as black as noble, privileged, and supported by the embrace of their families and their communities. The possibility of choosing one’s racial identification, however, undermines racial ideology’s essentialist pretense to racial authenticity. Therefore, choice must be supplemented by demonstrations of racial allegiance, such as “intraracial” marriage, which preserves at least the illusion of biological and cultural racial continuity, and seamless performances, of blackness or whiteness. Finally, I examine the relative authority—asymmetrical because of the construction of whiteness as pure and exclusive—of self-identification with respect to whiteness and blackness, and the near impossibility of self-identification outside this binary.

Table of Contents

• Abstract
• Introduction
• 1. “What are you?” And why it matters
• 2. “Genocidal Images” or “Imagined Community”: Converting the Marginal Mulatto into a Light-Skinned Elite Black
• 3. Keeping Race in the Family: Marriage as Racial Pledge of Allegiance
• 4. Indeterminacy on the Loose! Invisible Blackness and the Permeability of the Color Line
• Conclusion
• Works Cited
• Biography

Introduction

The mulatto figure in American fiction is too often treated by critics as though she is static, both within individual texts and over the course of American literary history. Critics tend to assume that the most famous version of the mulatto figure—the antebellum tragic mulatto, whose near-whiteness was used to evoke white readers’ sympathy for the abolitionist cause is the only significant template for the mulatto figure. Moreover, they take for granted the mulatto’s essential blackness, explaining away her apparent whiteness as solely a concession to white racism. My dissertation models an approach to the mulatto figure that is attentive to the figure’s development.

On the scale of American literary history, I argue that the representation of the mulatto is inextricably bound up with the (United States’) political context. Though I am also interested in the way that racial indeterminacy is represented in contemporary texts, in what I think of as the post-mulatto moment, I decided quite early on that this was better saved for a future project. I focus instead on representations of the mulatto during the Jim Crow era and how those representations differ from antebellum representations of the mulatto. At its heart, this project is fundamentally a literary one, but as I sought to explain why the mulatto was represented differently in the Jim Crow era, I became interested in the relationship between those representations and a broader social and political context.

Accordingly, I offer an interdisciplinary hypothesis that literature concerning the mulatto—what I call “mulatto fiction”—was instrumental in facilitating an historical shift in the racial structure of the United States from an antebellum racial system with some possibility of a third racial category (labeled “mulatto”) to a system that is much more rigidly a binary of black and white. The effect of this historical shift was that the mulatto “became” black. While I believe that this may be true, I want to qualify this as a provisional claim. I can and do offer (mostly in chapter one) concrete evidence that such a historical shift occurred. For example, “mulatto” appeared as a category on the United States’ census from 1850 to 1920, but from 1930 onward, mulattoes were moved into the box marked “Negro,” and thus rendered invisible as mulattoes. It is to this shift that my title, “Into the Box and Out of the Picture,” refers. To establish the causal relationship between mulatto fiction and the historical shift that I describe, at this stage I can only offer a theory about why other, more obvious, forms of racial discipline, such as the law, might have had limited power to control the mulatto’s racial identification.

I would also qualify my related claim that mulatto fiction is invested in facilitating the development of the binary racial system through the disappearance of the mulatto. Additional research into authorial biography would allow me to make that claim more forcefully, however, I stand by that claim as a description of a trend in fiction of the early Jim Crow era (in the years shortly after Reconstruction). Some of the most interesting works of mulatto fiction—those by Faulkner and Larsen, for example—are critical of the binary racial schema. Those texts, however, tend to appear later in the Jim Crow era, when the binary is already well-established. Even in those texts, as I argue at length in the body of my dissertation, the critiques are limited by the existing terms of the discourse. In Quicksand, for example, Larsen locates the “problem” of the mulatto in the system—not in her mulatto protagonist, Helga—yet she cannot imagine any positive resolution to the situation. Though Helga eventually marries a black man and settles in the most apparently “authentic” black setting—among the folk of the rural South—almost as soon as she arrives, Helga is (as usual) looking for a way out. Despite Larsen’s critique of the racial system that so confines Helga, there is no way out for her. As in earlier works of mulatto fiction, Helga must fully embrace a black racial identity or die.

Another way in which my dissertation seeks to broaden the context in which we interpret the mulatto figure is by expanding the scope of the texts we might include. I argue for the consideration of what I call “mulatto discourse,” which, in addition to literary texts, includes representations of the mulatto in such fields as law and (pseudo)science. The mulatto, especially in the Jim Crow era, is a site of contestation over the establishment and location of the color line. That is to say, the mulatto figures centrally in arguments about where whiteness (along with “legitimate” access to white privilege) ends and blackness begins. Indeed, this is a question explored in the literature I discuss, but it is a battle fought in other contexts as well. Regarding the literature, I argue that authors on both sides of the color line, and from both racist and antiracist perspectives, are invested in the racial identification of the mulatto figure. The motivation behind such an investment differs; racists, obviously, are interested in supporting racial hierarchy, whereas antiracists may hope that a strategic cssentialism will create a richer base from which to mount challenges to that hierarchy. Similarly, racists and antiracists represent the mulatto differently with respect to the question of racial identity. Racists tend to emphasize the mulatto’s degeneracy, thereby suggesting that the mulatto should not exist. Antiracists tend to push the mulatto away from racial liminality by representing the tragically marginal mulatto negatively, while drawing the mulatto into blackness by representing the “light-skinned” member of the black elite positively. Despite these variations, these approaches are part of a common discourse. What all of the fictional texts under analysis in my dissertation have in common is an interest in the possibilities (in some cases, even the necessity) and the limits of self- identification for the mulatto.

Self-identification is particularly important in mulatto discourse because of the difficulty of using the external evidence of the mulatto’s phenotype to assign the mulatto a racial classification in accord with the rules established by racial ideology, in particular, the one drop rule, which dictates that anyone with a trace of black ancestry is to be considered as unequivocally black. My work focuses on the mulatto figure, exemplified by Frances Harper’s Iola Leroy, whose phenotype suggests a white racial identity; the most “problematic” figure from the perspective of those invested in racial hierarchy. (I deliberately do not say “who could pass for white,” because then I, too, would be assuming the mulatto’s essential blackness, which I do not.) This mulatto’s apparent whiteness often contradicts her legal status as a black. (I say “often” because in some cases the mulatto is not legally black.) Racial ideology developed and deployed a set of narratives in various fields to support its insistence on the mulatto’s essential blackness despite the potentially contradictory “evidence” of phenotype, legal status, or even social acceptance in white communities. Though some texts in mulatto discourse frame their exploration of the contradiction embodied by the mulatto as a critique of the “logic” of racial ideology, the driving force of mulatto discourse during the Jim Crow era seems to be an impulse toward containment of racial ambiguity.

The ramifications for Jim Crow of the problem of the mulatto’s ambiguous body were both practical and ideological. The mulatto presented a practical problem for segregation because she could move out of the places designated for her without being detected. In other words, she could access white privilege without (according to racial ideology) being legitimately entitled to it. Furthermore, the mulatto—whose body is a concrete reminder of intimate relationships between blacks and whites—presented an ideological problem for segregation, a form of racial hierarchy that sought to institute maximum distance between the races.

Because the mulatto’s blackness does not register visually, I argue that agency assumes a greater role in the mulatto’s racial identification than it otherwise might. Racism is implicated in the stakes of how the mulatto identifies racially, but because she is not visually identifiable as black, she may not be personally subjected to racism unless she identifies as black and publicly expresses this identification. For example, in Iola Leroy, set shortly after the Civil War, Iola takes a job in a Northern white establishment as salesperson. She informs the manager that she is “colored,” and he hires her, but cautions her not to tell her fellow employees. Iola does promise this, but she does not go out of her way to broadcast her racial identification either. Then one day, a coworker is where I go.” Confused by her own reluctance to make the connection between Iola’s church attendance and her racial identification—thereby admitting that she has been working with a “colored” woman without knowing it—the other salesperson asks why Iola attends a colored church. Iola finally makes her meaning plain: “Because I wished to be with my own people” Comprehending at last, the (presumably “legitimately”) white salesperson “looked surprised and pained, and almost instinctively moved a little farther from her.” By the end of the day, the entire staff knows about Iola’s racial identification and they insist that Iola be fired, which she is. This is a very clear example of the way in which agency plays a unique role in the apparently white mulatto’s racial identification and attendant experience (or lack thereof) of racism. If she had been characterized by more obvious phenotypic cues suggesting blackness, Iola would probably never have been hired, not even by the manager inclined to give a colored girl a chance. Yet if Iola had simply lied about her church (and other personal details that may have come up), the salespeople and their customers would have continued to assume that she was “legitimately” white, and she would not have been fired…

 Purchase the dissertation here.

To Be Suddenly White: Literary Realism and Racial Passing

University of Missouri Press
2006
296 pages
6 1/8 x 9 1/4
ISBN: 978-0-8262-1619-9

Steven J. Belluscio, Associate Professor of English
Borough of Manhattan Community College, City University of New York

To Be Suddenly White explores the troubled relationship between literary passing and literary realism, the dominant aesthetic motivation behind the late-nineteenth and early-twentieth-century ethnic texts considered in this study. Steven J. Belluscio uses the passing narrative to provide insight into how the representation of ethnic and racial subjectivity served, in part, to counter dominant narratives of difference.

To Be Suddenly White offers new readings of traditional passing narratives from the African American literary tradition, such as James Weldon Johnson’s The Autobiography of an Ex-Coloured Man, Nella Larsen’s Passing, and George Schuyler’s Black No More. It is also the first full-length work to consider a number of Jewish American and Italian American prose texts, such as Mary Antin’s The Promised Land, Anzia Yezierska’s Bread Givers, and Guido d’Agostino’s Olives on the Apple Tree, as racial passing narratives in their own right. Belluscio also demonstrates the contradictions that result from the passing narrative’s exploration of racial subjectivity, racial difference, and race itself.

When they are seen in comparison, ideological differences begin to emerge between African American passing narratives and “white ethnic” (Jewish American and Italian American) passing narratives. According to Belluscio, the former are more likely to engage in a direct critique of ideas of race, while the latter have a tendency to become more simplistic acculturation narratives in which a character moves from a position of ethnic difference to one of full American identity.

The desire “to be suddenly white” serves as a continual point of reference for Belluscio, enabling him to analyze how writers, even when overtly aware of the problematic nature of race (especially African American writers), are also aware of the conditions it creates, the transformations it provokes, and the consequences of both. By examining the content and context of these works, Belluscio elucidates their engagement with discourses of racial and ethnic differences, assimilation, passing, and identity, an approach that has profound implications for the understanding of American literary history.

Life on the boundary: “Passing” and the limits of self-definition

Rutgers University, Camden
May 2011
46 pages

Raven Marlenia Moses

A thesis submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in English

With the advent of various state laws that classified as black any individual with at least “one-drop” of African blood and the legalization of racial segregation enacted by the Plessy vs. Ferguson Supreme Court decision, the American post-Reconstruction era was a period in which the line separating races became more and more distinct. However, as the legal definitions and hierarchical categorizations of racial difference became more discrete, the physical basis of racial distinction became increasingly destabilized. Nella Larsen’s Passing and James Weldon Johnson’s The Autobiography of an Ex-Coloured Man are novels from this period that depict the struggles of characters who suffer because of the social and legal distinction between “black” and “white.” Because of the social imperative that these characters be black even though they have visibly white skin, the distinction between “black” and “white” actually becomes an arbitrary distinction between “white” and “not-white.” The protagonists of both novels—Clare Kendry, Irene Redfield, and the unnamed Ex-Colored Man—all seek stable self-definitions that successfully integrate both their personal and social identities. However, because of their inability to resolve the paradox created by their visible “whiteness” and legal classification as “black,” none of the protagonists are able to successfully negotiate the threats posed by their racially and socioeconomically oppressive environment while keeping their personal identities continuously intact. Unable to form stable, coherent identities through the blending of mutually agreeable public and private “selves,” Clare, Irene, and the Ex-Colored Man remain in irresolvable positions with identities that are permanently indeterminate.

Read the entire dissertation here.

Crossing Over: Racial Passing and Racial Uplift in Nella Larsen’s Fiction

University of the South, Sewanee, Tennessee
2009
34 pages

Karly D. Beavers

Senior Honors Thesis in American Studies

Fundamental to the American myth is a juxtaposition of the “civilized” or “superior” majority with the “inferior” other. By classifying African Americans as inherently different from and inferior to whites, the white majority justified the enslavement and, later, the political and social oppression of black Americans. Our concept of race relies heavily on the visible differences between whites and African Americans. Interracial couples posed a threat to the socially constructed color line almost immediately, producing offspring who did not fit under the simple label of black or white. Although legally considered African American because of their “Negro blood,” some individuals found it possible to pass for white. Passing began long before emancipation, but it became a prevalent topic in African American fiction during the early twentieth century. Nella Larsen in particular explores the idea of passing in her two novels Quicksand and Passing. As her main female protagonists search for their true identity within a racist and patriarchal society, they struggle with DuBois’s idea of “double consciousness.” Within the African American community during the early twentieth century, middle class blacks sought to uplift the race through upholding and exemplifying white middle class values. Larsen’s characters are thus trapped in a complicated system that rails against social inequality while it espouses the oppressive structures of the dominant white culture. From various newspaper articles and book reviews, one sees a varied reaction to passing within the African American community. For men, racial passing rendered them more effeminate in the eyes of black Americans. Larsen focuses more on the experiences of black women, who found themselves forced into an oppressive domestic role in an effort to uplift the race and reaffirm the masculinity of black men.

An attractive young woman sits on a train destined for New York. Leaving behind the remnants of her oppressive past, she begins to make plans for the future—a bright future bursting with opportunity and adventure. Pain, isolation, shame—all fade into the distance. Surely New York will be the answer. Surely the happiness that has eluded her for so long awaits her there. She. Helga Crane, will no longer be the illegitimate daughter of a Danish runaway and an African American gambler. She will simply become another young woman trying to make a life for herself in the city. A remark from her new employer interrupts Helga’s pleasant thoughts. “How is it that a nice girl like you can rush off on a wild goose chase like this at a moment’s notice. I should think your people’d object, or’d make inquiries, or something.’ In an instant. Helga’s excitement gives way to embarrassment. After the young woman admits to a less than ideal parentage, her employer replies coldly. “I wouldn’t mention that my people are white, if I were you. Colored people won’t understand it. and after all it’s your own business.”

So begins Helga Crane’s journey to New York in Nella Larsen’s Quicksand. Published in 1928. Larsen’s debut novel tells the story of a mixed race woman searching for a stable identity within a racist and unstable society. The daughter of a white woman and a black man. Helga constantly reminds herself and others of the threat lurking beneath America’s strict racial code. When her employer discovers Helga’s heritage, Larsen writes. “The woman felt that the story, dealing as it did with race intermingling and possibly adultery, was beyond definite discussion. For among black people, as among white people, it is tacitly understood that these things are not mentioned—and therefore they do not exist.” Helga is thus robbed of her true identity. Because she threatens the strict “color line” that guides all of American life, the mixed race Helga—the real Helga—cannot exist. According to Martha J. Cutter. “Helga Crane attempts to use ‘passing’ as a way of finding a unitary sense of identity—a sense of identity structured around one role, a role that somehow corresponds to her ‘essential self.'” Although Helga’s dark skin prevents her from passing for white, she in a sense passes for black by denying, or at least omitting, her white ancestry. Instead, she finds solace in a number of different identities. In Cutter’s words, she passes as “an exotic Other, a committed teacher, an art object, a devout Christian, a proponent of racial uplift, [and] a dutiful mother.”…

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Mar Gallego. Passing Novels in the Harlem Renaissance: Identity, Politics and Textual Strategies [Review]

African American Review
Volume 38 (Winter 2004)
pages 720-723

Mar Gallego. Passing Novels in the Harlem Renaissance: Identity, Politics and Textual Strategies. Hamburg: Lit Verlag Munster, 2003. 214 pp.

Zhou Yupei

Until very recently, novels of passing that appeared during the Harlem Renaissance had been viewed as either assimilationist or collaborative with racist ideology. Mar Gallego’s Passing Novels in the Harlem Renaissance offers an opposing view by providing a detailed account of the subversive and parodying strategies employed in novels by four representative and controversial African American writers: James Weldon Johnson, George Schuyler, Nella Larsen, and Jessie Fauset. Gallego considers these authors’ parodying strategies as responses not only to social realities but to the idea of double consciousness and other literary traditions.

Gallego’s book opens with a rereading of Du Bois’s theory of “double consciousness” that reveals both the positive and the negative perspectives contained in the theory and connects it with the motif of passing. The positive refers to the notion of the “third self,” which results from the union of an African American ethnic identity and an American national identity, a notion that implies the possibility of a society in which African culture and American culture co-exist. The negative refers to the metaphor of the “veil,” which means the distorted and stereotypical image imposed upon African Americans, a metaphor that may produce negative duplicity in African American life. Gallego’s account of these contradictory perspectives achieves a dual purpose. First, it explains Du Bois’s inner conflict between his realistic conception of American society and his idealistic notion of double consciousness. Second, it alludes to the multiple and indeterminate character of double consciousness and links this notion to the Yoruba tradition of Esu-Elegbara, in which Henry Louis Gates, Jr. locates the “Signifying Monkey,” and finally the idea of double-voicedness central to Bakhtin’s theories of “heteroglossia” and “dialogization.” Such connections expose the parodying nature of double consciousness in spite of the inner conflict contained in it. Gallego’s reading of the notion of double consciousness constitutes a reasonable starting point and a convincing rationale for Gallego’s argument that the novels of passing under study respond in a complex way to double consciousness and strategically hide their negative attitudes toward racism under the cover of various means of seemingly cooperative representations. Gallego also lays out a theoretical framework of exploration in his subsequent chapters, each of which locates a writer’s parodying strategies in the historical context of the representation of African Americans and in the literary context of the genres of Western literature employed and subverted by the writer.

To incorporate issues of race and gender, Gallego also identifies in the first chapter double consciousness with the feminist notion of “divided identity,” designating, as Mary Hairston McManus does, the latter as “double double consciousness.” Reviewing earlier African American feminist criticism, Gallego concludes that this discourse involves “the subversion, inversion or variation of other discourses that marginalize African American women.” This summary anticipates his statement that the characterization of Larsen’s and Fauset’s mulatta figures of passing also involves the subversion, inversion, or variation of other racist or sexist discourses in literary tradition.

Each subsequent chapter is devoted to one of the four authors. In chapter two, Gallego argues that James Weldon Johnson’s The Autobiography of an Ex-Colored Man (1912) innovates the tradition of slave narratives by endowing it with subversive and ironic overtones, and revises Du Bois’s notion of double consciousness by calling into question the negative perspective of the theory. For Gallego, Johnson’s novel represents a new stage of the narrative tradition that traces its origin to Equiano’s “integrated narrative,” which integrates different voices, and Douglass’s “generic narrative,” which makes the narrator eventually dominate the different voices integrated by the narrative. Johnson uses such techniques as duality of voices, control over the narration, fictionalization of the narrative “I,” and rhetoric as a mask for subversion, techniques often found in either Equiano or Douglass. With these techniques Johnson effectively but trickily conveys his ironic and multivocal vision and makes his narrator successfully write himself into the text. The connection discovered by Gallego between Johnson’s text and Du Bois’s The Souls of Black Folk leads to the conclusion that Johnson’s novel negates both the positive image of the “Talented Tenth” and the idealistic possibility of a “third self.” Gallego states that Johnson’s representation of the phenomenon of passing questions cultural and racial categories and promotes heterogeneity. With abundant historical and textual evidence, Gallego defines Johnson as an important African American writer who initiates a model for the depiction of the mulatto condition and anticipates other novels of passing in the following decade…

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