Mixed Race Studies

Review: Identity in Passing: RACE-ING and E-RACE-ING in American and African American History

The Journal of African American History
Volume 101, No. 3, Summer 2016
pages 344-355
DOI: 10.5323/jafriamerhist.101.3.0344

Thomas J. Davis, Professor of History
Arizona State University, Tempe

• Marcia Alesan Dawkins, Clearly Invisible: Racial Passing and the Color of Cultural Identity. Waco, TX: Baylor University Press, 2012. Pp. 269. Cloth $49.95.
• Baz Dreisinger, Near Black: White to Black Passing in American Culture. Amherst: University of Massachusetts Press, 2008. Pp. 196. Paper $26.95.
• Mary Frances Berry, “We Are Who We Say We Are”: A Black Family’s Search for Home Across the Atlantic World. New York: Oxford University Press, 2015. Pp. 206. Paper $19.95.

Passing is a long-standing theme in American and African American history.¹ Indeed, because identity has been an ever-present element in history, passing has been an ever-present element in history generally. Distinguishing between and among groups and categorizing individual members has again and again prompted questions about who is who, about what exactly distinguishes one from another, and about who belongs where. But passing is about more than contested and oft-disputed categories. When it reaches to lived-experience, passing is about self and society, about individual image and imagining, about self-image and self-imagining, about social image and social change. Passing is about the scope, source, substance, and control of individual identity.

Despite its centrality, identity appears in historical narratives typically as a given, or at least as taken for granted. Except for persons cast as “others,” group labels conveniently cover flawed lines of distinction. Our focus concentrates on identity only when it becomes contested, when uncertainty or ambiguity raise doubts; when identity becomes an issue of power, when such questions as “who…

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Just as [Donald] Trump cannot seem to utter “the African Americans” sans “inner city,” [Rachel] Dolezal’s conception of blackness is steeped in a fetishizing of struggle, pain and oppression. Opting into the struggle is yet another place where her whiteness acutely rears its head. The choice to take on a racial mantle at will is a mark of white privilege; so, too, is the choice to take it off when it suits. Ironically, then, in manifesting her blackness she most flagrantly manifests her whiteness.

Baz Dreisinger, “When saying you’re black and being black are two different things,” The Washington Post, March 24, 2017. https://www.washingtonpost.com/opinions/when-saying-youre-black-and-being-black-are-two-different-things/2017/03/24/d41a6590-0a4b-11e7-93dc-00f9bdd74ed1_story.html.

When saying you’re black and being black are two different things

The Washington Post
2017-03-24

Baz Dreisinger, Associate Professor of English
John Jay College of Criminal Justice, City University of New York

Rachel Dolezal faced a backlash when it was revealed in 2015 that the NAACP and Black Lives Matter activist was not black, as she presented herself to be, but in fact white. (Colin Mulvany/Associated Press)

Baz Dreisinger, a professor of English at John Jay College of Criminal Justice, is the author of “Near Black: White-to-Black Passing in American Culture” and “Incarceration Nations: A Journey to Justice in Prisons Around the World.”

Back in 2015, I was fascinated by the scandal that swirled around Rachel Dolezal, the NAACP and Black Lives Matter activist who turned out to be a once-blonde white woman from Montana passing herself off as black. Dolezal went further than that: She said she wasn’t posing as black but actually was black — because she feels black. I made the rounds on the talk shows at the time, having published a book about the cultural history of such reverse racial passing, and avidly tried to explain notions of transraciality.

Now Dolezal has published a memoir, “In Full Color: Finding My Place in a Black and White World.” I hesitated to review it. Expending intellectual energy on one woman’s racial hoax seems a luxury of the pre-Trump era. And Dolezal’s increasingly bizarre story seems more tabloid fodder than a subject for serious analysis. But then I read her book, and the educator in me felt compelled to speak out. Dolezal has written an important book, one that belongs on syllabi as a case study in the mechanisms of white liberal racism. She has provided a teachable moment to expose the dodgy ideologies she may not even realize she’s espousing…

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Dying to Be Black: White-to-Black Racial Passing in Chesnutt’s “Mars Jeems’s Nightmare,” Griffin’s Black Like Me, and Van Peebles’s Watermelon Man

Prospects
Volume 28 / October 2004
pages 519-542
DOI: 10.1017/S0361233300001599

Baz Dreisinger, Associate Professor of English
John Jay College of Criminal Justice, City University of New York

Is racial passing passé? Not according to contemporary book sales. The theme remains central to at least three recent best sellers: Danzy Senna’s Caucasia, Colson Whitehead’s The Intuitionist, and Philip Roth’s The Human Stain. Roth’s novel made it to the big screen this fall, just as Devil in a Blues Dress, the adaptation of Walter Mosley’s novel starring Denzel Washington, did in 1995. Renewed academic attention is being paid, of late, to “classic” passing narratives; once-ignored ones, including Charles Chesnutt’s The House Behind the Cedars, are being revived; and still others being reread in the context of passing.

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Long Time Passing

Sunday Book Review
The New York Times
2009-01-23

Amy Finnerty

Baz Dreisinger, Near Black: White-to-Black Passing in American Culture (Amherst: University of Massachusetts Press, 2008).

How black is Eminem? How white is our president? We can’t help asking these awkward questions as we digest “Near Black,” by Baz Dreisinger. A freelance journalist and an assistant professor of English at John Jay College of Criminal Justice, she explores cases of “reverse racial passing” — as distinct from the more conventional, black-as-white “passing,” for so long a feature of our tortured society. Presenting “narratives about white people who either envision themselves or are envisioned by others as being or becoming black,” and drawing on examples ranging from Twain’s “Pudd’nhead Wilson” to the sophomoric genre film “Soul Man,” she argues that the appropriation of black identity by whites — both literally and metaphorically — has been a potent strain in American culture for centuries.

The term “white passing” is broadly defined here. A white journalist with dyed skin infiltrating black precincts and writing about it is passing. So is a “jive-slanging” white D.J. A white immigrant sold into slavery in the early 19th century (a case of “coerced passing”) also has a place in Dreisinger’s compendium of racial mix-ups, satires and cautionary tales…

Read the entire review here.

Dolezal Controversy Sharpens Focus on Racial Identity

University of Massachusetts Press
2015-06-26

The recent controversy concerning Rachel Dolezal’s racial identity steered many readers to a 2008 UMass Press book by Baz Dreisinger, Near Black: White-to-Black Passing in American Culture, which explores cases in which legally white individuals are imagined, by themselves or by others, as passing for black.

Many news venues—the New York Times, CNN, LA Times, The Atlantic, and others—found their way to Dreisinger to ask her thoughts. The controversy, Dreisinger told the New York Times, “taps into all of these issues around blackface and wearing blackness and that whole cultural legacy, which makes it that much more vile.”

In The Atlantic, Dreisinger said “I think it’s critical to recognize the ways in which American whites have a long legacy of fetishizing blackness, whether they’re literally passing or not, but the ways in which their notions of blackness are based upon caricatures, and not characters. They’re based on idealized or cartoonish notions of what blackness is.”…

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White people have been passing for black for centuries. A historian explains.

Vox
2015-06-15

Dara Lind, Jetpack Comandante

The story of Rachel Dolezal — the now-former Spokane NAACP president whose parents have claimed she’s white — has opened up an enormously complicated debate about race and identity in general, and blackness in America in particular.

Dolezal has presented herself as “black, white, and American Indian/Alaskan Native,” but her estranged parents say she’s simply white and has been trying to deceive everyone. When the scandal attracted national attention, Dolezal resigned from her NAACP presidency — without saying anything about her race.

Examples of white people passing as black are much less common than the reverse, but there’s still historical precedent for what Dolezal did. Baz Dreisinger, a professor at John Jay College of Criminal Justice, traced the history of white passing in a 2008 book called Near Black. I talked to Dreisinger about how white passing has worked over time, and asked her whether there is ever a legitimate way to “cross-identify” with black culture.

Dara Lind: Can you give us a brief rundown of the history of white people passing as black in America?

Baz Dreisinger: It’s not like this was a massive chapter in American history, like traditional racial passing, which is a massive chapter. But I think people are shocked to discover that there is actually this history of white people who’ve passed as black and that Rachel Dolezal is hardly the first person to come along and do it, and in fact the way that she did it is in line with a number of historical examples.

In the context of slavery, there are both real and fictional accounts of white people who became enslaved — sometimes white people from the North who are kidnapped and sold into slavery as black. In a sense, passing for black becomes secondary to passing for slave. The idea is that the economic basis of this trumps the racial basis — not that they’re separate.

In that context, obviously, there was no change of appearance necessary. But in the 20th century, there’s a technology of passing that has to happen in order for the passing to be successful. Some people dyed their skin black and passed as black — the most famous example of that is John Howard Griffin, who wrote a memoir of his experience passing for a black man in the South during the era of Jim Crow. It’s called Black Like Me. He did it for a temporary experiment; he literally sat under the sun lamp and darkened his skin in order to do that. And there’s a woman who did a similar experiment to Griffin, whose name was Grace Halsell, who actually spent much of her life doing experimental passings — she passed as Native American, she passed as working-class — in order again to write exposés about what it’s like to be those things. So she wrote a memoir in the ’60s called Soul Sister, where she went through the same experiment Griffin did, only 10 years later, she’s in the North in Harlem as well as in the South, and her whole concept was, “I want to see what it’s like as a woman to do this.”

I think music is the most powerful place where we’ve seen this sort of passing happen, and also cultural appropriation — in many ways, my book is as much about cultural appropriation as it is about passing. You have a character like Eminem who’s clearly not passing, but is bringing up all these questions about cultural ownership and cross-racial identification — what does it mean to own a culture? Is there such a thing as owning a culture? Passing is a difficult thing to do today, given the legacies of cultural appropriation, of the metaphorical ripping off of black culture that we’ve seen — and, especially in music, appropriation where there’s literally not a credit being given and also not financial remuneration being given for cultural products that were inventions of nonwhite people…

Read the entire interview here.

‘Loving Day,’ by Mat Johnson

Sunday Book Review
The New York Times
2015-06-01

Baz Dreisinger, Associate Professor of English
John Jay College of Criminal Justice, City University of New York

“A house divided against itself cannot stand,” Abraham Lincoln declared in his 1858 speech presaging the Civil War. Such a house sits at the heart of Mat Johnson’s ribald, incisive novel “Loving Day.” Bequeathed to the narrator, Warren Duffy, by his deceased father, it’s a roofless, ramshackle mansion in a black neighborhood in Philadelphia: “I look at the buckling floors. I look at the cracks in all the walls, the evidence of a foundation crumbling beneath us. I smell the char of the fire, the sweet reek of mold, the insult of mouse urine. I see a million things that have to be fixed, restored, corrected, each one impossible and each task mandatory for me to escape again.”

The house is haunted. There are ghosts, mostly of neighborhood crackheads — that is, if we take Warren’s word for it; our narrator’s psyche is as wrecked as his inheritance. An “inept” comic book artist — “My work is too realistic, too sober” — he has moved back to America from Wales after a failed business and broken marriage. He’s wrecked, too, by his liminal ­racial status: His father was an Irishman, his mother was black and he comfortably claims neither — call him a man divided against himself. “I am a racial optical illusion,” he says.

Warren lives and breathes what W. E. B. Du Bois called double consciousness, by which the American black person is “always looking at one’s self through the eyes of others. . . . One ever feels his two-ness, — an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body.” Except Warren’s body is white, making things even thornier; he’s perpetually performing a black identity that isn’t written all over his face — as when he describes “letting my black voice come out, to compensate for my ambiguous appearance. Let the bass take over my tongue. Let the South of Mom’s ancestry inform the rhythm of my words in a way few white men could pull off.”…

Read the entire review here.

“Passing” and the American dream

Salon Magazine
2003-11-03

Baz Dreisinger

These days we’re supposed to think race doesn’t matter. But as “The Human Stain” and a raft of recent writing makes clear, we’re just as fascinated by its slippery boundaries as ever.

Every now and then, cultural and social critics fashion an axiom that’s flippant, succinct and thus darling enough to render its truth value irrelevant. Such is the case with a phrase coined by culture-mongers in the 1960s that’s finding new currency today: “Passing is passé.”

“Passing” is shorthand for “racial passing,” and “racial passing” means people of one race (generally African-American) passing for another (usually white). Anybody who’s surprised that there’s a shorthand terminology for what might seem a pretty unlikely scenario will be more surprised that the phenomenon, with its lengthy history in American culture, isn’t all that unusual. Some of the earliest stories about passing reach back to the 19th century, when slaves — like Ellen Craft, who penned a mesmerizing slave narrative — used their light skin to escape, and novelists from Mark Twain to Charles Chesnutt mined the subject for their oeuvre.

Passing was a much-hyped subject during the Harlem Renaissance, which produced a plethora of rich fiction about it: Nella Larsen’s “Passing,” Jessie Fauset’s “Plum Bun,” Walter White’s “Flight.” The subject had its Hollywood heyday; melodramatic passing flicks from the ’30s, ’40s and ’50s include “Pinky,” “Lost Boundaries” and two big-screen versions of “Imitation of Life” (the latter version, directed by Douglas Sirk, probably still delights the Kleenex industry).

But along came the ’60s. And with it, Black Power and other ideologies that made the saga of passing — and the act of passing itself — soppy, weak-kneed and thus unhip. Passing was passé, critics said, because racial pride was where it’s at. Whether prophecy or prescription, their words proved accurate, for a while, at least: The subject never vanished from public or private sectors, but it did step aside for a hot minute or two.

That hot minute is over. Passing, these days, is anything but passé. This week Anthony Hopkins, neither a black man nor a Jew, saunters onto the big screen to play a black man passing as a Jew in the long-awaited screen version of Philip Roth’s “The Human Stain.” Last month, journalist Brooke Kroeger’s collection of case studies, “Passing: When People Can’t Be Who They Are,” earned solid reviews and prompted a National Public Radio program on passing. Brent Staples recently penned a series of New York Times editorials on the subject…

Read the entire article here.

Near Black: White-to-Black Passing in American Culture (review)

MELUS: Multi-Ethnic Literature of the U.S.
Volume 35, Number 1 (Spring 2010)
E-ISSN: 1946-3170 Print ISSN: 0163-755X
DOI: 10.1353/mel.0.0078

David Todd Lawrence, Associate Professor of English
University of St. Thomas

Passing narratives have long been a fixture of American literature. For African American authors, plots of racial mobility have been used to expose the permeability of racial boundaries and to reveal the irrationality of racial categorization, while for many white authors, passing narratives have expressed fears of racial contamination as well as voyeuristic fantasies of blackness. Our interest in stories of passing, whether fictional or autobiographical, has not waned, and the popularity of recent memoirs, novels, and films depicting passing and mixed raciality attests to this fact. Baz Dreisinger‘s study, Near Black: White-to-Black Passing in American Culture (2008), capitalizes on the enduring curiosity surrounding the transgression of racial boundaries. While passing has mostly been thought of as a black-to-white affair, Dreisinger focuses on those crossing the color line in the direction of white-to-black. Her investigation of white-to-black passing provides a compelling perspective on past and current perceptions of race in American culture.

Dreisinger sets the parameters of her study by positing white-to-black passing as a commonality rather than an anomaly. She distinguishes between black and white passing, explaining that white passing is about neither deception nor survival. White passing is not even exactly about successfully becoming black. For Dreisinger, white-to-black passing is about those “moments of slippage in which whites perceive themselves, or are perceived by others as losing their whiteness and ‘acquiring’ blackness”…

Read or purchase the article here.