Mixed Race Studies

Mestizos Come Home! Making and Claiming Mexican American Identity

University of Oklahoma Press
2017
336 pages
Illustrations: 8 color illus.
6″ x 9″
Hardcover ISBN: 9780806157191

Robert Con Davis-Undiano, Neustadt Professor and Presidential Professor of English
University of Oklahoma

Uruguayan writer Eduardo Galeano has described U.S. and Latin American culture as continually hobbled by amnesia—unable, or unwilling, to remember the influence of mestizos and indigenous populations. In Mestizos Come Home! author Robert Con Davis-Undiano documents the great awakening of Mexican American and Latino culture since the 1960s that has challenged this omission in collective memory. He maps a new awareness of the United States as intrinsically connected to the broader context of the Americas. At once native and new to the American Southwest, Mexican Americans have “come home” in a profound sense: they have reasserted their right to claim that land and U.S. culture as their own.

Mestizos Come Home! explores key areas of change that Mexican Americans have brought to the United States. These areas include the recognition of mestizo identity, especially its historical development across the nineteenth and twentieth centuries; the re-emergence of indigenous relationships to land; and the promotion of Mesoamerican conceptions of the human body. Clarifying and bridging critical gaps in cultural history, Davis-Undiano considers important artifacts from the past and present, connecting the casta (caste) paintings of eighteenth-century Mexico to modern-day artists including John Valadez, Alma López, and Luis A. Jiménez Jr. He also examines such community celebrations as Day of the Dead, Cinco de Mayo, and lowrider car culture as examples of mestizo influence on mainstream American culture. Woven throughout is the search for meaning and understanding of mestizo identity.

A large-scale landmark account of Mexican American culture, Mestizos Come Home! shows that mestizos are essential to U.S. national culture. As an argument for social justice and a renewal of America’s democratic ideals, this book marks a historical cultural homecoming.

Géneros de Gente in Early Colonial Mexico: Defining Racial Difference

University of Oklahoma Press
2016-10-20
304 pages
Illustrations: 3 b&w illus., 2 maps, 18 tables
6″ x 9″
Hardcover ISBN: 9780806154879

Robert C. Schwaller, Assistant Professor of History
University of Kansas, Lawrence

On December 19, 1554, the members of Tenochtitlan’s indigenous cabildo, or city council, petitioned Emperor Charles V of Spain for administrative changes “to save us from any Spaniard, mestizo, black, or mulato afflicting us in the marketplace, on the roads, in the canal, or in our homes.” Within thirty years of the conquest, the presence of these groups in New Spain was large enough to threaten the social, economic, and cultural order of the indigenous elite. In Géneros de Gente in Early Colonial Mexico, an ambitious rereading of colonial history, Robert C. Schwaller proposes using the Spanish term géneros de gente (types or categories of people) as part of a more nuanced perspective on what these categories of difference meant and how they evolved. His work revises our understanding of racial hierarchy in Mexico, the repercussions of which reach into the present.

Schwaller traces the connections between medieval Iberian ideas of difference and the unique societies forged in the Americas. He analyzes the ideological and legal development of géneros de gente into a system that began to resemble modern notions of race. He then examines the lives of early colonial mestizos and mulatos to show how individuals of mixed ancestry experienced the colonial order. By pairing an analysis of legal codes with a social history of mixed-race individuals, his work reveals the disjunction between the establishment of a common colonial language of what would become race and the ability of the colonial Spanish state to enforce such distinctions. Even as the colonial order established a system of governance that entrenched racial differences, colonial subjects continued to mediate their racial identities through social networks, cultural affinities, occupation, and residence.

Presenting a more complex picture of the ways difference came to be defined in colonial Mexico, this book exposes important tensions within Spanish colonialism and the developing social order. It affords a significant new view of the development and social experience of race—in early colonial Mexico and afterward.

A Contested Art: Modernism and Mestizaje in New Mexico

University of Oklahoma Press
2015
304 pages
6.125″ x 9.25″
Hardcover ISBN: 9780806148649

Stephanie Lewthwaite, Lecturer in American History, Faculty of Arts
University of Nottingham

When New Mexico became an alternative cultural frontier for avant-garde Anglo-American writers and artists in the early twentieth century, the region was still largely populated by Spanish-speaking Hispanos. Anglos who came in search of new personal and aesthetic freedoms found inspiration for their modernist ventures in Hispano art forms. Yet, when these arrivistes elevated a particular model of Spanish colonial art through their preservationist endeavors and the marketplace, practicing Hispano artists found themselves working under a new set of patronage relationships and under new aesthetic expectations that tied their art to a static vision of the Spanish colonial past.

In A Contested Art, historian Stephanie Lewthwaite examines the complex Hispano response to these aesthetic dictates and suggests that cultural encounters and appropriation produced not only conflict and loss but also new transformations in Hispano art as the artists experimented with colonial art forms and modernist trends in painting, photography, and sculpture. Drawing on native and non-native sources of inspiration, they generated alternative lines of modernist innovation and mestizo creativity. These lines expressed Hispanos’ cultural and ethnic affiliations with local Native peoples and with Mexico, and presented a vision of New Mexico as a place shaped by the fissures of modernity and the dynamics of cultural conflict and exchange.

A richly illustrated work of cultural history, this first book-length treatment explores the important yet neglected role Hispano artists played in shaping the world of modernism in twentieth-century New Mexico. A Contested Art places Hispano artists at the center of narratives about modernism while bringing Hispano art into dialogue with the cultural experiences of Mexicans, Chicanas/os, and Native Americans. In doing so, it rewrites a chapter in the history of both modernism and Hispano art.

Published in cooperation with The William P. Clements Center for Southwest Studies, Southern Methodist University

Loren Miller: Civil Rights Attorney and Journalist

University of Oklahoma Press
September 2015
304 pages
6.125″ x 9.25″
Hardcover ISBN: 9780806149165

Amina Hassan, Consultant & Researcher
The Azara Group, New York, New York

Loren Miller was one of the nation’s most prominent civil rights attorneys from the 1940s through the early 1960s, particularly in the fields of housing and education. With co-counsel Thurgood Marshall, he argued two landmark civil rights cases before the U.S. Supreme Court, whose decisions effectively abolished racially restrictive housing covenants. One of these cases, Shelley v. Kraemer (1948), is taught in nearly every American law school today. Loren Miller: Civil Rights Attorney and Journalist recovers this remarkable figure from the margins of history and for the first time fully reveals his life for what it was: an extraordinary American story and a critical chapter in the annals of racial justice.

Born the son of a former slave and a white midwesterner in 1903, Loren Miller lived the quintessential American success story, both by rising from rural poverty to a position of power and influence and by blazing his own path. Author Amina Hassan reveals Miller as a fearless critic of the powerful and an ardent debater whose acid wit was known to burn “holes in the toughest skin and eat right through double-talk, hypocrisy, and posturing.”

As a freshly minted member of the bar who preferred political activism and writing to the law, Miller set out for Los Angeles from Kansas in 1929. Hassan describes his early career as a fiery radical journalist, as well as his ownership of the California Eagle, one of the longest-running African American newspapers in the West. In his work with the California branch of the ACLU, Miller sought to halt the internment of West Coast Japanese citizens, helped integrate the U.S. military and the L.A. Fire Department, and defended Black Muslims arrested in a deadly street battle with the LAPD. Hassan charts Miller’s ceaseless commitment to improving the lives of Americans regardless of their race or ethnicity. In 1964, Governor Edmund G. Brown appointed Miller as a Municipal Court justice for Los Angeles County.

The story told here in full for the first time is of a true American original who defied societal limitations to reshape the racial and political landscape of twentieth-century America.

My mother was Martha Bell Smith, the daughter of Luanda Smith. Grandma Cindy, a fair-skinned slave, was the daughter of a slave by that slave’s master. As a teenager, she was purchased from a white family in Memphis, Tennessee. Her purchaser—a man known to my family as “Cap’n Anderson”—turned out to be my grandfather.

Ada Lois’s Mother, Martha Bell Smith Sipuel

Cap’n Anderson carried Grandma Cindy to his plantation near Belarie, Arkansas, in Chicot County. There he raised two separate families “in the same yard.” One family was by his wife, a white woman who bore him seven children, the other by my grandmother, who also bore seven. The two sets of children, each child born within two months of its counterpart, were delivered by the same black midwife. One set lived in a large white house in the middle of the plantation. The other, the group that included my mother, lived about a mile away in a small but tidy cabin.

The children of both families played together. In fact, I have heard my mother often speak of her white “brothers” and “sisters.” According to family legend, one of the white brothers became a prominent Arkansas politician, who went on to serve the state’s (all-white) voters for several years in the capitol at Little Rock. My mother told me that she once had called him when she passed through Little Rock.

According to her, his voice joyfully greeted her on the telephone. In fact, he invited her to come by the capitol for a friendly brother-sister visit; but, he added, she would have to keep her “little pickaninnies” away. Mother slammed down the phone. As far as I know, she never spoke to her brother again. His white wife sent her the newspaper clipping that announced the esteemed gentleman’s death.

Grandma Cindy’s seven children all kept the name Smith, perhaps in ironic tribute to an earlier master. The oldest was Frank, who was born a slave on his own father’s plantation in 1862, during the Civil War. The others were Kitty, Lucinda, Nan, Scott, and Gertrude. My mother, Martha Bell Smith, was the youngest, born in 1892.

My mother’s memory was that Cap’n Anderson’s black children had little use for their white father. When he would call on my grandmother, he often brought them little gifts of candy and the like, but the children all feared him. It was not that he ever beat or otherwise abused them. Instead, it seemed that they all instinctively distrusted the man and rejected what they took to be his immoral ways with their own mother. That attitude always troubled Grandma Cindy, who overlooked the circumstances of their relationship to proclaim that Cap’n Anderson was the only man that she had ever loved and the only man who ever had touched her.

When Frank was a very young man, he built a modest house and moved his mother and younger siblings off the plantation. Mother grew up in Dermott, Arkansas. The family baby, she had the best of what little was available, and she was the only one to receive any substantial education. After finishing Dermott’s public schools, she graduated from the little two-year teachers’ academy in the town and became a schoolteacher herself.

Ada Lois’s Father, Bishop Travis B. Sipuel

Stunningly beautiful, with light skin, hazel eyes, and hair that bore the slightest curl, she was teaching when she met my father, a handsome, very dark-skinned railroad man nearly fifteen years older than she. He was smitten hard and immediately. All of Grandma Cindy’s fair-skinned children married extremely dark spouses. His greatest drawback seemed to be his age. I remember her telling me that when he came courting she would tell her mother, “Mama, here comes your beau. He must be coming for you; he’s too old for me.”

Ada Lois Sipuel Fisher, A Matter of Black and White, The Autobiography of Ada Lois Sipuel Fisher (Norman: University of Oklahoma Press, 1996). 7-10. http://www.oupress.com/ECommerce/Book/Detail/690/a%20matter%20of%20black%20and%20white.

Life and Adventures of Joaquin Murieta: Celebrated California Bandit

University of Oklahoma Press
1977 (Originally published in 1854 by W. R. Cooke and Company)
210 pages
5″ x 7.5″
Paperback ISBN: 9780806114293

John Rollin Ridge (1827-1867)

In 1854, a Cherokee Indian called Yellow Bird (better known as John Rollin Ridge) launched in this book the myth of Joaquín Murieta, based on the California criminal career of a 19th century Mexican bandit. Today this folk hero has been written into state histories, sensationalized in books, poems, and articles throughout America, Spain, France, Chile, and Mexico, and made into a motion picture.

The Ridge account is here reproduced from the only known copy of the first edition, owned by Thomas W. Streeter, of Morristown, New Jersey. According to it, the passionate, wronged Murieta organized an outlaw company numbering over 2,000 men, who for two years terrorized gold-rush Californians by kidnapping, bank robberies, cattle thefts, and murders. So bloodthirsty as to be considered five men, Joaquin was aided by several hardy subordinates, including the sadistic cutthroat, “Three-Fingered Jack.” Finally, the state legislature authorized organization of the Mounted Rangers to capture the outlaws. The drama is fittingly climaxed by the ensuing chase, “good, gory” battle, and the shocking fate of the badmen.

Read the entire book (Courtesy of Three Rocks Research) here.

Strangers in Blood: Fur Trade Company Families in Indian Country

University of Oklahoma Press
1996
292 pages
6 x 9 in.
Paperback ISBN: 9780806128139

Jennifer S.H. Brown, Professor of History
University of Winnipeg

For two centuries (1670-1870), English, Scottish, and Canadian fur traders voyaged the myriad waterways of Rupert’s Land, the vast territory charted to the Hudson’s Bay Company and later splintered among five Canadian provinces and four American states. The knowledge and support of northern Native peoples were critical to the newcomer’s survival and success. With acquaintance and alliance came intermarriage, and the unions of European traders and Native women generated thousands of descendants.

Jennifer Brown’s Strangers in Blood is the first work to look systematically at these parents and their children. Brown focuses on Hudson’s Bay Company officers and North West Company wintering partners and clerks-those whose relationships are best known from post journals, correspondence, accounts, and wills. The durability of such families varied greatly. Settlers, missionaries, European women, and sometimes the courts challenged fur trade marriages. Some officers’ Scottish and Canadian relatives dismissed Native wives and “Indian” progeny as illegitimate. Traders who took these ties seriously were obliged to defend them, to leave wills recognizing their wives and children, and to secure their legal and social status-to prove that they were kin, not “strangers in blood.”

Brown illustrates that the lives and identities of these children were shaped by factors far more complex than “blood.” Sons and daughters diverged along paths affected by gender. Some descendants became Métis and espoused Métis nationhood under Louis Riel. Others rejected or were never offered that course-they passed into white or Indian communities or, in some instances, identified themselves (without prejudice) as “half breeds.” The fur trade did not coalesce into a single society. Rather, like Rupert’s Land, it splintered, and the historical consequences have been with us ever since.

Contours of a People: Metis Family, Mobility, and History

University of Oklahoma Press
2012
520 pages
Illustrations: 12 B&W Illus., 8 Maps, 16 Tables
6.125 x 9.25 in
Paperback ISBN: 9780806144870

Edited by:

Nicole St-Onge, Professor of History
University of Ottawa

Carolyn Podruchny, Associate Professor of History
York University, Toronto

Brenda Macdougall, Associate Professor of History and Geography
University of Ottawa

Foreword by: Maria Campbell

Offers new perspectives on Metis identity

What does it mean to be Metis? How do the Metis understand their world, and how do family, community, and location shape their consciousness? Such questions inform this collection of essays on the northwestern North American people of mixed European and Native ancestry who emerged in the seventeenth century as a distinct culture. Volume editors Nicole St-Onge, Carolyn Podruchny, and Brenda Macdougall go beyond the concern with race and ethnicity that takes center stage in most discussions of Metis culture to offer new ways of thinking about Metis identity.

Geography, mobility, and family have always defined Metis culture and society. The Metis world spanned the better part of a continent, and a major theme of Contours of a People is the Metis conception of geography—not only how Metis people used their environments but how they gave meaning to place and developed connections to multiple landscapes. Their geographic familiarity, physical and social mobility, and maintenance of family ties across time and space appear to have evolved in connection with the fur trade and other commercial endeavors. These efforts, and the cultural practices that emerged from them, have contributed to a sense of community and the nationalist sentiment felt by many Metis today.

Writing about a wide geographic area, the contributors consider issues ranging from Metis rights under Canadian law and how the Library of Congress categorizes Metis scholarship to the role of women in maintaining economic and social networks. The authors’ emphasis on geography and its power in shaping identity will influence and enlighten Canadian and American scholars across a variety of disciplines.

San Francisco Lithographer: African American Artist Grafton Tyler Brown

University of Oklahoma Press
2014
264 pages
8.5″ x 11″
Illustrations: 20 b&w and 125 color illus.
Hardcover ISBN: 9780806144108

Robert J. Chandler, Retired Senior Research Historian
Wells Fargo Bank

A lavishly illustrated biography of an often overlooked artist and his work

Grafton Tyler Brown—whose heritage was likely one-eighth African American—finessed his way through San Francisco society by passing for white. Working in an environment hostile to African American achievement, Brown became a successful commercial artist and businessman in the rough-and-tumble gold rush era and the years after the Civil War. Best known for his bird’s-eye cityscapes, he also produced and published maps, charts, and business documents, and he illustrated books, sheet music, advertisements, and labels for cans and other packaging.

This biography by a distinguished California historian gives an underappreciated artist and his work recognition long overdue. Focusing on Grafton Tyler Brown’s lithography and his life in nineteenth-century San Francisco, Robert J. Chandler offers a study equally fascinating as a business and cultural history and as an introduction to Brown the artist.

Chandler’s contextualization of Brown’s career goes beyond the issue of race. Showing how Brown survived and flourished as a businessman, Chandler offers unique insight into the growth of printing and publishing in California and the West. He examines the rise of lithography, its commercial and cultural importance, and the competition among lithographic companies. He also analyzes Brown’s work and style, comparing it to the products of rival firms.

Brown was not respected as a fine artist until after his death. Collectors of western art and Americana now recognize the importance of Californiana and of Brown’s work, some of which depicts Portland and the Pacific Northwest, and they will find Chandler’s checklist, descriptions, and reproductions of Brown’s ephemera—including billheads and maps—as uniquely valuable as Chandler’s contribution to the cultural and commercial history of California. In an afterword, historian Shirley Ann Wilson Moore discusses the circumstances and significance of passing in nineteenth-century America.

Jim Beckwourth: Black Mountain Man and War Chief of the Crows

University of Oklahoma Press
1980
264 pages
5.5″ x 8.25″
Paperback ISBN: 9780806115559

Elinor Wilson

Dismissed as a “gaudy liar” by most historians and often discredited by writers who deprecated his mixed blood, James Pierson Beckwourth was one of the giants of the early West, certainly deserving to rank alongside Kit Carson, Bill Williams, Louis Vasquez, and Jim Bridger.

Sometime around 1800 James Beckwourth was born a slave in Frederick County, Virginia, the natural son of Sir Jennings Beckwith and a slave girl. In 1810 Sir Jennings moved with his family to the wilderness of St. Louis, Missouri, where Jim was educated and eventually apprenticed to a blacksmith. His father recorded a Deed of Emancipation in his name on three different occasions, sending young Jim out into the world with his blessings.

Jim Beckwourth’s apprenticeship as a fur trapper was served with General William Ashley’s grueling 1824 winter expedition to the Rocky Mountains. Except for a short stint as an army scout during the Seminole campaign, Jim spent the remainder of his long, eventful life in the West, dying among the Crow Indians whom he loved. He was fur trapper, trader, scout war chief of the Crow Nation, explorer, hotelkeeper, dispatch carrier, storekeeper, prospector, Indian agent for the Cheyennes—in short, a mountain man extraordinaire.

In his old age Beckwourth dictated an autobiography to T.D. Bonner, a man more interested in making money with Jim’s adventures than in accurately recording his life. Beckwourth was later disparaged because of the inaccuracies that crept into Bonner’s account.