Mixed Race Studies

Why A New Mixed Race Generation Will Not Solve Racism

BuzzFeed
2017-02-10

Lauren Michele Jackson, BuzzFeed Contributor
Chicago, Illinois

A promotional still from A United Kingdom. Fox Searchlight Pictures

Love may trump hate, but it can’t cure white supremacy.

On January 23, Chrissy Teigen — model, “domestic goddess,” and number one John Legend troll — decided to have some fun with Richard Spencer on Twitter. Now best known as the neo-Nazi who got punched at the January 20 presidential inauguration, Spencer was salving his wounded pride with a “selection of Nelson Mandela quotes. 😉”. The tweet to which Teigen responded, however, was actually a quote from Swiss psychoanalyst Carl Gustav Jung. “I am not what happened to me. I am what I choose to become,” Spencer tweeted. Teigen’s @reply: “you became someone who was punched in the face.”

When Spencer attempted to embarrass Teigen, implying she was not educated enough to recognize a quote from Mandela (while, again, the quote in question was not from Mandela), Teigen responded with “you are a literally a nazi. I don’t even need to come up with a comeback. Thanks, nazi!” Teigen meanwhile tweeted to her followers sans @reply, “Hey guys, just conversing with a literal nazi over here wyd,” followed by “Nothing I could say will piss him off more than the fact I have a black/asian/white baby. Life is grand.”.

A month prior, Ellen Pompeo of Grey’s Anatomy summoned her black husband and mixed children in a similar maneuver, if under slightly different circumstances. Against criticism she received for her usage of brown emojis in a tweet applauding A&E’s decision to revamp its (now canceled) docuseries on the KKK, Pompeo told followers, “You do realize…being married to a black man and having black children can make you a target from racist white people right? That’s a thing.” In response to one user’s taunt (“SHUT UP, WHITE LADY”) she tweeted, “That’s white lady with a black husband and black children to you babe.”

In their respective contexts, the tweets from Teigen and Pompeo look very different if not completely contradictory. Chrissy Teigen snubs the nose of a professed white supremacist and flounces away with her superstar black husband and multiracial child; Pompeo calls up her black husband and children to deflect criticism. And yet, very similarly, both position interracial relationships — implied in Teigen’s case — and multiracial children as the antidote to racism. That they are both able to invoke this rationale so congruently points to a culture-wide infatuation with interracial relationships and their heteronormative outcome, multiracial children. In advertising, on film, and on TV, there is a common preference for multiracial-looking people, along with the belief that they represent a utopian political future. Why do multiracial children so often function as the antonym for racism? What is the political value of an interracial relationship? The notion that cream-colored babies will save the world is a popular one. Unfortunately, it’s a myth…

Read the entire article here.

Monstrous Intimacies: Making Post-Slavery Subjects

Duke University Press
August 2010
264 pages
21 illustrations
Cloth ISBN: 978-0-8223-4591-6
Paperback ISBN: 978-0-8223-4609-8

Christina Sharpe, Associate Professor of English and Director of American Studies
Tufts University

Arguing that the fundamental, familiar, sexual violence of slavery and racialized subjugation have continued to shape black and white subjectivities into the present, Christina Sharpe interprets African Diasporic and Black Atlantic visual and literary texts that address those “monstrous intimacies” and their repetition as constitutive of post-slavery subjectivity. Her illuminating readings juxtapose Frederick Douglass’s narrative of witnessing the brutal beating of his Aunt Hester and Essie Mae Washington-Williams’s declaration of freedom in Dear Senator: A Memoir by the Daughter of Strom Thurmond, as well as the “generational genital fantasies” depicted in Gayl Jones’s novel Corregidora and a firsthand account of such “monstrous intimacies” in the journals of an antebellum South Carolina senator, slave-holder, and vocal critic of miscegenation. Sharpe explores the South African-born writer Bessie Head’s novel Maru—about race, power, and liberation in Botswana—in light of the history of the Khoi San woman Saartje Baartman, who was displayed in Europe as the “Hottentot Venus” in the nineteenth century. Reading Isaac Julien’s film The Attendant, Sharpe takes up issues of representations of slavery, display, and the sadomasochism of everyday black life. Her powerful meditation on intimacy, subjection, and subjectivity culminates in an analysis of the black and white silhouettes created by Kara Walker and the subtexts of the critiques leveled against the silhouettes and the artist.

Table of Contents

• Acknowledgments
• Introduction. Making Monstrous Intimacies: Surviving Slavery, Bearing Freedom
• 1. Gayl Jones’s Corregidora and Reading the “Days That Were Pages of Hysteria”
• 2. Bessie Head, Saartje Baartman, and Maru Redemption, Subjectification, and the Problem of Liberation
• 3. Isaac Julien’s The Attendant and the Sadomasochism of Everyday Black Life
• 4. Kara Walker’s Monstrous Intimacies
• Notes
• Bibliography
• Index