Mixed Race Studies

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction by Diana Rebekkah Paulin (Green-Rogers review)

Theatre Journal
Volume 65, Number 2, May 2013
pages 304-306
DOI: 10.1353/tj.2013.0048

Martine Kei Green-Rogers, Post Doctorate Fellow
University of Utah

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction by Diana Paulin is a multidisciplinary examination of how fictionalized versions of miscegenation both obfuscated and unmasked aspects of the complex black/white binary that shaped racial histories in the United States during the nineteenth and twentieth centuries. By combining literary and historical approaches from the fields of theatre, performance studies, race and ethnic studies, American studies, and trans-hemispheric studies to works that were disseminated through the popular press and performance, Paulin illustrates the epistemological influence that stories of miscegenation had on the term “race” and the white versus black paradigm that created a racial divide in the United States.

Using a comparative approach, Paulin typically pairs a work of fiction with a drama in each chapter, organizing her materials chronologically. Thus, for example, the first chapter, “Under the Covers of Forbidden Desire: Interracial Unions as Surrogates,” examines Dion Boucicault’s The Octoroon (1859) alongside Louisa May Alcott’s “M.L.” and “My Contraband” (1863). Paulin begins with Boucicault’s play, she explains, because it offers “a representative sample of the common tropes and themes used in narratives about interracial unions: forbidden love, the tragic death of the mulatta, and the simultaneous appeal and repulsion of black blood” (5). Both The Octoroon and Alcott’s stories served as historical and sociological precedents, voicing the idea that children of miscegenistic unions would always lead tragic lives that often ended in violence—either self-inflicted, due to the emotional burden of their mixed-race heritage in a society defined by a racial binary, or at the hands of others, given the threat they posed to the black versus white paradigm. Paulin argues that although these “multivalent figures” call into question the logic of the binary paradigm, ultimately their tragic fates reinforce the dominant values of the larger historical and social context in which these characters were created (9).

Chapter 2, “Clear Definitions for an Anxious World: Late Nineteenth-Century Surrogacy,” discusses Bartley Campbell’s play The White Slave (1882) and William Dean Howells’s novel Imperative Duty (1892). Here, Paulin analyzes these two works in relation to the Chicago World’s Fair of 1893, finding that both literature and culture “marginalized blackness and glorified the past greatness of white society” (57). While Boucicault’s and Alcott’s works insinuate “democratic ideas” into their treatment of the tragic mulatta, Campbell’s play and Howells’s novel portray “unclassifiable person[s]” as objects of fear (61). Paulin explains that, in their works, such figures exceed the clearly defined boundaries of racial division and thus tap a growing fear that freed slaves would likewise exceed the boundaries of social divisions. She adds that this fear was especially trained on “intimate social spaces previously reserved for bourgeois whites, such as their parlors and bedrooms” (59). Paulin’s argument is intriguing because Campbell’s “unclassifiable” character is of European heritage (which is racially defined as “Other”) and of illegitimate birth, and within the world of the novel she is passed off as the daughter of an “octoroon.” As such an example illustrates, the fluidity of racial categories could be used paradoxically to reinforce societal structures that depended on a definitive line between “white” and everything else.

Chapter 3, “Staging the Unspoken Terror,” juxtaposes Charles Chesnutt’s novel The Marrow of Tradition (1901) with Thomas Dixon’s play The Clansman (1905), which the author adapted from his novel of the same name and which became the basis of D. W. Griffith’s 1915 film The Birth of a Nation. Although these works espouse drastically different views—€”Dixon’s play seeks the “reestablishment of white domination,” while Chesnutt’s novel critiques the “corruption and hypocrisy of southern white-supremacist ‘tradition’ and government” (106)— Paulin notes that both rely upon the assumption that women are responsible for maintaining racial purity. Both also address racial violence: if, in Dixon, it can be stopped if the threat of miscegenation is eradicated, in Chesnutt it is an inevitable consequence of white power.

Chapter 4, “The Remix: Afro-Indian Intimacies,” addresses an often ignored topic in the discourse of miscegenation because it exists outside of the black/white binary: the legal…