Mixed Race Studies

Intimate: An American Family Photo Album

Tupelo Press
April 2012
300 pages
Paperback ISBN: 978-1-932195-96-5
Clothbound ISBN: 978-1-936797-08-0

Paisley Rekdal, Professor of English
University of Utah

Intimate is a hybrid memoir and “photo album” that blends personal essay, historical documentary, and poetry to examine the tense relationship between self, society, and familial legacy in contemporary America. Typographically innovative, Intimate creates parallel streams, narrating the stories of Rekdal’s Norwegian-American father and his mixed-race marriage, the photographer Edward S. Curtis, and Curtis’s murdered Apsaroke guide, Alexander Upshaw. The result is panoramic, a completely original literary encounter with intimacy, identity, family relations, and race.

Latining America: Black-Brown Passages and the Coloring of Latino/a Studies

University of Georgia Press
2013-02-01
288 pages
5 b&w photos
Trim size: 6 x 9
Cloth ISBN: 978-0-8203-4435-5
Paper ISBN: 978-0-8203-4436-2
Ebook ISBN: 978-0-8203-4479-9

Claudia Milian, Associate Professor of Spanish & Latin American Studies
Duke University

With Latining America, Claudia Milian proposes that the economies of blackness, brownness, and dark brownness summon a new grammar for Latino/a studies that she names “Latinities.” Milian’s innovative study argues that this ensnared economy of meaning startles the typical reading practices deployed for brown Latino/a embodiment.

Latining America keeps company with and challenges existent models of Latinidad, demanding a distinct paradigm that puts into question what is understood as Latino and Latina today. Milian conceptually considers how underexplored “Latin” participants—the southern, the black, the dark brown, the Central American—have ushered in a new world of “Latined” signification from the 1920s to the present.

Examining not who but what constitutes the Latino and Latina, Milian’s new critical Latinities disentangle the brown logic that marks “Latino/a” subjects. She expands on and deepens insights in transamerican discourses, narratives of passing, popular culture, and contemporary art. This daring and original project uncovers previously ignored and unremarked upon cultural connections and global crossings whereby African Americans and Latinos traverse and reconfigure their racialized classifications.

Poet Laureate Inaugural Reading

Library of Congress
Coolidge Auditorium, Thomas Jefferson Building (ground floor) (view map)
10 First Street, SE
Washington, D.C.
2012-09-13, 19:00 EDT (Local Time)

Natasha Trethewey, the 19th Poet Laureate Consultant in Poetry of the Library of Congress, will kick off the Library’s literary season with a reading. The event is free and open to the public. A reception and book signing will follow.

For more information, click here.  Also, a list of 2012/2013 public readings by Poet Laureate Trethewey are here.

View the inaugural reading here.

Jemmy Jock Bird: Marginal Man on the Blackfoot Frontier

University of Calgary Press
2004
205 pages
16 b/w illustrations, 1 b/w photo, index
Paperback ISBN: 978-1-55238-111-3

John C. Jackson

Jemmy Jock Bird, the son of a Cree woman and a mixed-blood trader employed by the Hudson’s Bay Company, has become part of the mythology of the mountain man era. In this creative non-fiction account, Jackson meticulously reconstructs the life of this intriguing individual who was caught between opposing sides of a dual Métis heritage. Closely identified with the Cree and the Peigan, Bird’s trading activities and undercover work as a “confidential servant” of the Hudson’s Bay Company during the competitive period of the fur trade are explored using materials from the Hudson’s Bay Company Archives, the Montana Historical Society, and Bird’s descendants living on the American Blackfeet Reserve in Browning. As an interpreter, Bird was later instrumental in negotiating the 1855 Blackfoot peace treaty and the 1877 Canadian Treaty 7. Jackson steeps himself in the sparse documentation of the fur trade era to shed some much-needed light on Jemmy Jock Bird’s adventurous career – one that straddled the international borders of the northern plains and mountain west and touched upon many aspects of western development.

‘Thrall’ by Natasha Trethewey, the poet laureate of the United States

The Washington Post
2012-09-13

Elizabeth Lund

Thrall. By Natasha Trethewey. Houghton Mifflin Harcourt. 84 pp.

Natasha Trethewey’s “Thrall” is a must-read collection that equals the power and quality of her third book, “Native Guard,” which won the 2007 Pulitzer Prize . “Thrall” also demonstrates why this 46 -year-old writer is worthy of her recent appointment as poet laureate of the United States.

Trethewey, the daughter of an African American woman and a white man, explores racial attitudes and stereotypes throughout this slim volume, using both personal and historical lenses. The book opens with a gorgeous, understated poem about a fishing trip she and her father took years ago. That experience and their difficult relationship create an underlying tension that shapes the entire book. What readers notice first, though, is the poem’s engrossing imagery:

drizzle needling

the surface, mist at the banks like a net

settling around us —

everything damp

and shining…

Read the entire review here.

I’m Chocolate, You’re Vanilla: Raising Healthy Black and Biracial Children in a Race-Conscious World

Jossey-Bass
May 2000
304 pages
Paperback ISBN: 978-0-7879-5234-1

Marguerite A. Wright

A child’s concept of race is quite different from that of an adult. Young children perceive skin color as magical—even changeable—and unlike adults, are incapable of understanding adult predjudices surrounding race and racism. Just as children learn to walk and talk, they likewise come to understand race in a series of predictable stages.

Based on Marguerite A. Wright’s research and clinical experience, I’m Chocolate, You’re Vanilla teaches us that the color-blindness of early childhood can, and must, be taken advantage of in order to guide the positive development of a child’s self-esteem.

Wright answers some fundamental questions about children and race including:

• What do children know and understand about the color of their skin?
• When do children understand the concept of race?
• Are there warning signs that a child is being adversely affected by racial prejudice?
• How can adults avoid instilling in children their own negative perceptions and prejudices?
• What can parents do to prepare their children to overcome the racism they are likely to encounter?
• How can schools lessen the impact of racism?
• With wisdom and compassion, I’m Chocolate, You’re Vanilla spells out how to educate black and biracial children about race, while preserving their innate resilience and optimism—the birthright of all children.

Table of Contents

• THAT MAGICAL PLACE: RACE AWARENESS IN THE PRESCHOOL YEARS
  • Chocolate and Vanilla: How Preschoolers See Color and Race
  • How Preschoolers Begin to Learn Racial Attitudes
  • When to Be Concerned That Race Is a Problem for Preschoolers
  • Raising the Racially Healthy Preschooler
• THE WANING OF RACIAL INNOCENCE: THE EARLY SCHOOL YEARS
  • Shades of Brown and Black: How Early Grade-Schoolers See Color and Race
  • Black Children’s Self-Esteem: The Real Deal
  • How School Influences Children’s Awareness of Color and Race
• REALITY BITES: RACE AWARENESS IN MIDDLE CHILDHOOD AND ADOLESCENCE
  • Fading to Black and White: How Children in the Middle Years See Race
  • How School Influences Older Children’s Ideas About Race
  • Preparing for Adolescence: The Lines are Drawn
  • A Healthy High School Experience: You Can Make the Difference
• Epilogue
• Appendix: Stages of Race Awareness
• Notes
• About the Author
• Index

Black Talk, Blue Thoughts, and Walking the Color Line: Dispatches from a Black Journalista

Northeastern University Press (University Press of New England)
2011
304 pages
6 x 9 1/4″
Paperback ISBN: 978-1-55553-754-8
Ebook ISBN: 978-1-55553-766-1

Erin Aubry Kaplan

Forward by:

Michael Eric Dyson

This lively and thoughtful book explores what it means to be black in an allegedly postracial America

Los Angeles has had a ringside seat during the long last century of racial struggle in America. The bouts have been over money and jobs and police brutality, over politics and poetry and rap and basketball. Minimizing blackness itself has been touted as the logical and ideal solution to the struggle, but in Black Talk, Blue Thoughts, and Walking the Color Line Erin Aubry Kaplan begs to differ. With eloquence, wit, and high prose style she crafts a series of compelling arguments against black eclipse.

Here are thirty-three insightful and wide-ranging pieces of literary, cultural, political, and personal reporting on the contemporary black American experience. Drawn from the Los Angeles Times, LA Weekly, Salon.com, and elsewhere, this collection also features major new articles on President Barack Obama, black and Hispanic conflicts, and clinical depression. In each, Kaplan argues with meticulous observation, razor-sharp intelligence, and sparkling prose against the trend of black erasure, and for the expansion of horizons of the black American story.

Table of Contents (An asterisk (*) indicates previously unpublished works)

• Foreword – Michael Eric Dyson
• Acknowledgments
• Introduction
• GENERATION I
  • The Butt
  • Black Like I Thought I Was: Race, DNA, and the Man Who Knows Too Much
  • Fire and Ice: Making It Up
  • Blackness Itself
  • Down and Downer*
  • Blue Like Me: On Race and Depression
• STATE OF A NATION
  • Barack Obama: Mile Traveled, Miles to Go*
  • Losing New Orleans
  • Thoroughly Modern Mammy: Of Coons, Pickaninnies and Gold Dust Twins: Why Do Black Curios Stay Chic?
  • Behind the American-History Curtain: Washington, D.C., and the Lessons of Memory
  • They’re Going Crazy Out There
• STARRING:
  • The Accidental Populist: Magic Johnson Gives Some Back
  • The Empress’s New Clothes: Serena, to the Dismay of Many, Makes the Scene
  • Falling for Tiger Woods
  • Homeboys in Outer Space and Other Transgressions: TV in Black and White
  • White Man with Attitude: How Randy Newman Went from Pop Music’s Reigning Schlub to Movie-Music Royalty
• STOMPING GROUNDS
  • Welcome to Inglewood—Leave Your Aspirations Behind! Why Coming Home Has Been a Labor of Tough Love
  • Rags to Richard*
  • The Eastside Boys
  • The King of Compton: Mayor Omar Bradley and His Reign of Chaos
  • Wearing the Shirt*
  • Lost Soul: A Lament for Black Los Angeles
• MOTHERS AND FATHERS
  • The Last Campaign
  • Mother Roux
  • Mother, Unconceived
• TEACH ON THAT
  • Held Back: The State of Black Education
  • Man and Superwoman
  • The Glamorous Life*
  • The Boy of Summer
  • Unsocial Studies: The Real Lessons of Hamilton High
• POST SCRIPT
  • The Color of Love
  • Married People Live Longer than Single People

Black Like I Thought I Was: Race, DNA, and the Man Who Knows Too Much

October 2003

Wayne Joseph is a fifty-one-year-old high school principal in Chino whose family emigrated from the segregated parishes of Louisiana to central Los Angeles in the 1950s, as did mine. Like me, he is of Creole stock and is therefore on the lighter end of the black color spectrum, a common enough circumstance in the South that predates the multicultural movement by centuries. And like most other black folk, Joseph grew up with an unequivocal sense of his heritage and of himself; he tends toward black advocacy and has published thoughtful opinion pieces on racial issues in magazines like Newsweek. When Joseph decided on a whim to take a new ethnic DNA test he saw described on a 60 Minutes segment last year, it was only to indulge a casual curiosity about the exact percentage of his black blood; virtually all black Americans are mixed with something, he knew, but he figured it would be interesting to make himself a guinea pig for this new testing process, which is offered by a Florida-based company called DNA Print Genomics Inc. The experience would at least be fodder for another essay for Newsweek. He got his kit in the mail, swabbed his mouth per the instructions, and sent off the DNA samples for analysis.

Now, I have always believed that what is now widely considered one of slavery’s worst legacies—the Southern “one-drop” rule that indicted anyone with black blood as a nigger and cleaved American society into black and white with a single stroke—was also slavery’s only upside. Of course I deplore the motive behind the law, which was rooted not only in white paranoia about miscegenation, but in a more practical need to maintain social order by keeping privilege and property in the hands of whites. But by forcing blacks of all complexions and blood percentages into the same boat, the law ironically laid a foundation of black unity that remains in place today. It’s a foundation that allows us to talk abstractly about a ” black community” as concretely as we talk about a black community in Harlem or Chicago or L.A.’s South Central (a liberty that’s often abused or lazily applied in modern discussions of race). And it gives the lightest-skinned among us the assurance of identity that everybody needs to feel grounded and psychologically whole—even whites, whose public non-ethnicity is really ethnicity writ so large and influential it needs no name. Being black may still not be the most advantageous thing in the world, but being nothing or being neutral—the rallying cry of modern-day multiculturalists—has never made any emotional or real-world sense. Color marks you, but your membership in black society also gives you an indestructible house to live in and a bed to rest on. I can’t imagine growing up any other way.

Wayne Joseph can’t either. But when the results of his DNA test came back, he found himself staggered by the idea that though he still qualified as a person of color, it was not the color he was raised to think he was, one with a distinct culture and definitive place in the American struggle for social equality that he’d taken for granted. Here was the unexpected and rather unwelcome truth: Joseph was 57 percent Indo-European, 39 percent Native American, 4 percent East Asian—and 0 percent African. After a lifetime of assuming blackness, he was now being told that he lacked even a single drop of black blood to qualify. “My son was flabbergasted by the results,” says Joseph. “He said, Dad, you mean for fifty years you’ve been passing for black?'” Joseph admits that, strictly speaking, he has. But he’s not sure if he can or wants to do anything about that at this point. For all the lingering effects of institutional racism, he’s been perfectly content being a black man; it’s shaped his worldview and the course of his life in ways that cannot, and probably should not, be altered. Yet Joseph struggles to balance the intellectual dishonesty of saying he’s black with the unimpeachable honesty of a lifelong experience of being black. “What do I do with this information?” he says, sounding more than a little exasperated. “It was like finding out you’re adopted. I don’t want to be disingenuous with myself. But I can’t conceive of living any other way. It’s a question of what’s logical and what’s visceral.”

Race, of course, has always been a far more visceral matter than a logical one. We now know that there is no such thing as race, that humans are biologically one species; we know that an African is likely to have more in common genetically with a European thousands of miles away than with a neighboring African. Yet this knowledge has not deterred the racism many Europeans continue to harbor toward Africans, nor the wariness Africans harbor toward Europeans. Such feelings may never be deterred. And despite all the loud assertions to the contrary, race is still America’s bane, and its fascination; Philip Roth’s widely acclaimed novel set in the 1990s, The Human Stain, features a Faustian protagonist whose great moral failing is that he’s a black man who’s been passing most of his life for white (the book was made into a movie that was released in 2003).

Joseph recognizes this, and while he argues for a more rational and less emotional view of race for the sake of equity, he also recognizes that rationality is not the same thing as fact. As much as he might want to, he can’t simply refute his black past and declare himself white or Native American. He can acknowledge the truth but can’t quite apply it, which makes it pretty much useless to other, older members of his family. An aunt whom he told about the test results only said that she wasn’t surprised. “When I told my mother about the test, she said to me, Tm too old and too tired to be anything else,'” recalls Joseph. “It makes no difference to her. It’s an easy issue.”

After recovering from the initial shock, Joseph began questioning his mother about their lineage. He discovered that, unbeknownst to him, his grandparents had made a conscious decision back in Louisiana to not be white, claiming they didn’t want to side with a people who were known oppressors. Joseph says there was another, more practical consideration: some men in the family routinely courted black women, and they didn’t want the very public hassle such a pairing entailed in the South, which included everything from dirty looks to the ignominy of a couple having to separate on buses and streetcars and in restaurants per the Jim Crow laws. I know that the laws also pointedly separated mothers from sons, uncles from nephews, simply because one happened to be lighter than the other or have straighter hair. Determinations of race were entirely subjective and imposed from without, and the one-drop rule was enforced to such divisive and schizophrenic effects that Joseph’s family—and mine—fled Louisiana for the presumably less boundary-obsessed West. But we didn’t flee ourselves, and didn’t expect to; we simply set up a new home in Los Angeles. The South was wrong about to; we simply set up a new home in Los Angeles. The South was wrong about its policies but it was right about our color. It had to be.

Joseph remains tortured by the possibility that maybe nobody is right. The essay he thought the DNA test experience would prompt became a book that he’s already 150 pages into. He doesn’t seem to know how it’ll end. He’s in a kind of limbo that he doesn’t want and that I frankly wouldn’t wish on anyone; when I wonder aloud about taking the $600 DNA test myself, Joseph flatly advises against it. “You don’t want to know,” he says. “It’s like a genie coming out of a bottle. You can’t put it back in.” He has more empathy for the colorblind crowd than he had before, but isn’t inclined to believe that the Ward Connerlys and other professed racial conservatives of the world have the best interests of colored people at heart. “I see their point, but race does matter, especially with things like medical research and other social trends,” he says of Connerly’s Proposition 54, the much-derided state measure that sought to outlaw the collection of ethnic data. “Problems like that can’t just go away.” For the moment, Joseph is compelled to try to judge individually what he knows has always been judged broadly, to reconcile two famously opposed viewpoints of race not for the sake of political argument — he’s made those — but for his own peace of mind. He’s wrestling with a riddle that will likely outlive him, though he doesn’t worry that it will be passed on to the next generation—his ex-wife is black, enough to give his children the firm ethnic identity he had and that he embraced for most of his life. “The question ultimately is, are you who you say you are, or are you who you are genetically?” he muses. The logical — and visceral — answer is that it’s not black and white.

Passing for Black: The Life and Careers of Mae Street Kidd

University Press of Kentucky
1997
208 pages
On Demand paperback ISBN: 978-0-8131-0948-0

Wade Hall

In 1976, Kentucky state legislator Mae Street Kidd successfully sponsored a resolution ratifying the 13th, 14th, and 15th amendments to the U.S. Constitution. It was fitting that a black woman should initiate the state’s formal repudiation of slavery; that it was Mrs. Kidd was all the more appropriate. Born in Millersburg, Kentucky, in 1904 to a black mother and a white father, Kidd grew up to be a striking woman with fair skin and light hair. Sometimes accused of trying to pass for white in a segregated society, Kidd felt that she was doing the opposite—choosing to assert her black identity. Passing for Black is her story, in her own words, of how she lived in this racial limbo and the obstacles it presented. As a Kentucky woman of color during a pioneering period of minority and women’s rights, Kidd seized every opportunity to get ahead. She attended a black boarding academy after high school and went on to become a successful businesswoman in the insurance and cosmetic industries in a time when few women, black or white, were able to compete in a male-dominated society. She also served with the American Red Cross in England during World War II. It was not until she was in her sixties that she turned to politics, sitting for seventeen years in the Kentucky General Assembly—one of the few black women ever to do so—where she crusaded vigorously for housing rights. Her story—presented as oral history elicited and edited by Wade Hall—provides an important benchmark in African American and women’s studies and endures as a vital document in Kentucky history.

Strangers in Blood: Relocating Race in the Renaissance

University of Toronto Press
October 2010
272 pages
Cloth ISBN: 9781442641402
eBook ISBN: ISBN 9781442660083

Jean E. Feerick, Assistant Professor of English
Brown University

Strangers in Blood explores, in a range of early modern literature, the association between migration to foreign lands and the moral and physical degeneration of individuals. Arguing that, in early modern discourse, the concept of race was primarily linked with notions of bloodline, lineage, and genealogy rather than with skin colour and ethnicity, Jean E. Feerick establishes that the characterization of settler communities as subject to degenerative decline constituted a massive challenge to the fixed system of blood that had hitherto underpinned the English social hierarchy.

Considering contexts as diverse as Ireland, Virginia, and the West Indies, Strangers in Blood tracks the widespread cultural concern that moving out of England would adversely affect the temper and complexion of the displaced individual, changes that could be fought only through willed acts of self-discipline. In emphasizing the decline of blood as found at the centre of colonial narratives, Feerick illustrates the unwitting disassembling of one racial system and the creation of another.

Table of Contents

• Introduction: Bloodwork
• 1. Blemished Bloodlines and The Faerie Queene, Book 2
• 2. Uncouth Milk and the Irish Wet Nurse
• 3. Cymbeline and Virginia’s British Climate
• 4. Passion and Degeneracy in Tragicomic Island Plays
• 5. High Spirits, Nature’s Ranks, and Ligon’s Ladies
• Coda: Beyond the Renaissance

Passing Strange: Shakespeare, Race, and Contemporary America

Oxford University Press
April 2011
240 pages
Hardback ISBN13: 9780195385854; ISBN10: 0195385853

Ayanna Thompson, Professor of English
Arizona State University

Notions, constructions, and performances of race continue to define the contemporary American experience, including America’s relationship to Shakespeare. In Passing Strange, Ayanna Thompson explores the myriad ways U.S. culture draws on the works and the mythology of the Bard to redefine the boundaries of the color line.

Drawing on an extensive—frequently unconventional—range of examples, Thompson examines the contact zones between constructions of Shakespeare and constructions of race. Among the questions she addresses are: Do Shakespeare’s plays need to be edited, appropriated, updated, or rewritten to affirm racial equality and retain relevance? Can discussions of Shakespeare’s universalism tell us anything beneficial about race? What advantages, if any, can a knowledge of Shakespeare provide to disadvantaged people of color, including those in prison? Do the answers to these questions impact our understandings of authorship, authority, and authenticity? In investigating this under-explored territory, Passing Strange examines a wide variety of contemporary texts, including films, novels, theatrical productions, YouTube videos, performances, and arts education programs.

Scholars, teachers, and performers will find a wealth of insights into the staging and performance of familiar plays, but they will also encounter new ways of viewing Shakespeare and American racial identity, enriching their understanding of each.

Features

• Productively engages a topic of perennial debate: race and Shakespeare
• Offers first sustained examination of the relationship between contemporary American constructions of Shakespeare and race
• Explores the seldom considered ways Shakespeare has infiltrated American popular culture, from films like the screwball comedy Bringing Down the House to DIY performances on YouTube

Table of Contents

• Acknowledgments
• 1. Introduction: The Passing Strangeness of Shakespeare in America
• 2. Universalism: Two Films that Brush with the Bard, Suture and Bringing Down the House
• 3. Essentialism: Meditations Inspired by Farrukh Dondy’s novel Black Swan
• 4. Multiculturalism: The Classics, Casting, and Confusion
• 5. Original(ity): Othello and Blackface
• 6. Reform: Redefining Authenticity in Shakespeare Reform Programs
• 7. Archives: Classroom-Inspired Performance Videos on YouTube
• 8. Conclusion: Passing Race and Passing Shakespeare in Peter Sellars’s Othello
• Works Cited
• Index