Mixed Race Studies

The mulatta concubine in diaspora is everywhere. She is in representations of Thomas Jefferson’s long-term “relationship” with the enslaved Sally Hemings, begun when she was fourteen and he forty-four (see Gordon-Reed, American Controversy). She is the protagonist who emblemizes Cuban national identity in Cirilo Villaverde’s 1882 novel, Cecilia Valdes: Novela de costumbres cubanas. She is allusively present in the fantastical and garish transformation of an enslaved black woman to sexually powerful white (by virtue of makeup) mistress in the Brazilian film Xica! She is remembered as the owner of the infamous maison des esclaves (house of slaves) on Gorée Island, the former Senegalese slave entrepôt and now major slavery tour destination. She is the enslaved Joanna, “immortalized in John Gabriel Stedman’s Narrative of Five Years’ Expedition against the Revolted Negroes of Surinam (1806 [1796])” (Sharpe, Ghosts, 46). She is the commodity that drove the fancy slave trade in the antebellum United States. She is present in travelers’ descriptions of antebellum New Orleans’s free women of color. She is “that seductive mulatto woman” in colonial Saint-Domingue (Moreau de Saint-Méry, Civilization, 81-89).

Lisa Ze Winters, The Mulatta Concubine: Terror, Intimacy, Freedom, and Desire in the Black Transatlantic, (Athens: Georgia University Press, 2016), 3.

The Mulatta Concubine: Terror, Intimacy, Freedom, and Desire in the Black Transatlantic

University of Georgia Press
2016-01-15
248 pages
8 b&w photos
Trim size: 6 x 9
Hardcover ISBN: 978-0-8203-4896-4
Ebook ISBN: 978-0-8203-4897-1
Paper ISBN: 978-0-8203-5384-5

Lisa Ze Winters, Associate Professor of English and Africana Studies
Wayne State University, Detroit, Michigan

Exploring the geographies, genealogies, and concepts of race and gender of the African diaspora produced by the Atlantic slave trade

Popular and academic representations of the free mulatta concubine repeatedly depict women of mixed black African and white racial descent as defined by their sexual attachment to white men, and thus they offer evidence of the means to and dimensions of their freedom within Atlantic slave societies. In The Mulatta Concubine, Lisa Ze Winters contends that the uniformity of these representations conceals the figure’s centrality to the practices and production of diaspora.

Beginning with a meditation on what captive black subjects may have seen and remembered when encountering free women of color living in slave ports, the book traces the echo of the free mulatta concubine across the physical and imaginative landscapes of three Atlantic sites: Gorée Island, New Orleans, and Saint Domingue (Haiti). Ze Winters mines an archive that includes a 1789 political petition by free men of color, a 1737 letter by a free black mother on behalf of her daughter, antebellum newspaper reports, travelers’ narratives, ethnographies, and Haitian Vodou iconography. Attentive to the tenuousness of freedom, Ze Winters argues that the concubine figure’s manifestation as both historical subject and African diasporic goddess indicates her centrality to understanding how free and enslaved black subjects performed gender, theorized race and freedom, and produced their own diasporic identities.