Mixed Race Studies

Taste, Manners, and Miscegenation: French Racial Politics in the US

American Literary History
Volume 19, Issue 3 (2007)
pages 573-602
DOI: 10.1093/alh/ajm025

Robert Fanuzzi, Assistant Chair and Associate Professor of English
St. Johns University, Queens, New York

A prequel:

A French gourmand, in flight from political turmoil at home, arrives in post-Revolutionary America with a taste for satire, a Rabelaisian eye for folly, and a gargantuan appetite for turkey. Journeying from the Francophone enclave of Philadelphia to the “backwoods” of Hartford, he enjoys the hospitality of a Mr. Bulow, “a worthy old American farmer,” and his “four buxom daughters, for whom our arrival was a great event” (Brillat-Savarin 77). Having charmed his hosts, he enjoys still more success as a member of their shooting party, bagging the prize turkey for “sport.” Afterwards, the gourmand makes sport of one of the most widely noted mannerisms of Americans, the childlike but grating chauvinism for their nation that stops every conversation in its tracks. True to form, his American host foregoes the customary bon voyage wishes in order to drill into his departing guest the national creation myth. His own well-tended estate, he reminds his French visitor, pays eloquent tribute to the providential system of mild laws and low taxes that has rewarded the labor of self-sufficient yeomen like him. He means to leave his listener with the thrilling prospect of continual, self-perpetuating prosperity, but all the gourmand has heard is a steady droning in his ear. “I was thinking,” he recalls as he rode away, “of how I would cook my turkey” (81).

In The Physiology of Taste (1825), an eccentric philosophical treatise on cookery, cuisine, and conviviality, Jean-Anthelme Brillat-Savarin made quick work of the Americanist commentary that so many of his fellow travelers inscribed into their narratives of North American travel. The most well known of these French travel writers, Jean de Crevecoeur and Alexis de Tocqueville, used their narratives to generate the synthetic, formalized images of democracy—the pervasive equality of condition; the assimilation …

Read the entire article here.

Historical Fantasy, Speculative Realism, and Postrace Aesthetics in Contemporary American Fiction

American Literary History
Volume 23, Number 3 (Fall 2011)
pages 574-599
E-ISSN: 1468-4365 Print ISSN: 0896-7148

Ramón Saldívar, Professor of History
Stanford University

Since the turn of the century, a new generation of minority writers has come to prominence whose work signals a radical turn to a postrace era in American literature. Outlining a paradigm that I term historical fantasy, I argue that in the twenty-first century, the relationship between race and social justice, race and identity, and indeed, race and history requires these writers to invent a new “imaginary” for thinking about the nature of a just society and the role of race in its construction. It also requires the invention of new forms to represent it. In this light, I address the topic of race and narrative theory in two contexts: in relation to the question of literary form and in relation to history. Doing so will allow me to explain the reasons for what I take to be the inauguration of a new stage in the history of the novel by twenty-first-century US ethnic writers.

At the outset, I wish to make one thing clear about my use of the term “postrace”: race and racism, ethnicity and difference are nowhere near extinct in contemporary America. W. E. B. Du Bois’s momentous pronouncement in 1901 that “The problem of the twentieth century is the problem of the color line” could not have been a more accurate assessment of the fate of race during the twentieth century (354). Today race remains a central question, but one no longer defined exclusively in shades of black or white, or in the exact manner we once imagined. That is, apart from the election of Barack Obama, one other matter marks the present differently from the racial history of the American past: race can no longer be considered exclusively in the binary form, black/white, which has traditionally structured racial discourse in the US. If for no other reason than the profoundly shifting racial demographics of early twenty-first-century America, a new racial imaginary is required to account for the…

Read or purchase the article here.

“A Race of Mules”: Mixed-Bloods in Western American Fiction

The Canadian Journal of Native Studies
Volume 15, Number 1 (1995)
ISSN  0715-3244
pages 61-74

Brian Hubner

The regional literature of the American west includes a wide variety of characters. One character is hard to find, however: the Métis or mixed blood, for these novels lack appropriate literary space within their structure for Métis. As a result Métis, when they do appear, are forced to choose between either White or Indian worlds.

Read the entire article here.

Historicizing Hybridity and the Politics of Location: Three Early Colonial Indian Narratives

Journal of Intercultural Studies
Volume 28, Issue 1 (2007)
pages 143-155
DOI: 10.1080/07256860601082996

Adrian Carton
Centre for Cultural Research
University of Western Sydney, Australia

From White Mughals to Vikram Seth, novels, historical blockbusters and more nuanced anthropological and postcolonial critiques have exposed the fiction of fixed notions of “race” through sensitive understandings of the liminal space of the “inter-racial” relationship and the “mixed-race” experience. In an era where the textual and cultural production of hybridity has become a new form of cultural capital, articulations of racial “inbetween-ness” have also become somewhat universalised and romanticised. While acknowledging the radical potential of these new paradigms of transnational slippage and métissage as an affront to the old narratives of racial certainty, this article challenges the universalization of the term “mixed-race” in the context of colonial India, both ontologically and historically. By historicising cultural difference according to the social syntax that gives it meaning, it asks whether the term “mixed race” has political relevance in all colonial spaces and across time and culture or whether it needs to be interrogated as an historical product in itself. Finallly, this article turns to the politics of location in a global context to illustrate the limits of Homi Bhabha’s notion of the “third space” by moving beyond celebratory and static notions of the “mixed-race” experience.

Read or purchase the article here.

In the Middle, In Between: Cultural Hybridity, Community Rejection, and the Destabilization of Race in Percival Everett’s “Erasure”, Adam Mansbach’s “Angry Black White Boy”, and Danzy Senna’s “Caucasia”

Howard University
2011
84 pages
Publication Number: AAT 1495397
ISBN: 9781124728568

Laura R. Perez

A Thesis Submitted to the Faculty of the Graduate School of Howard University In partial fulfillment of the requirements for the Degree of Master of Arts in the Department of English

Cultural hybridity, a term first introduced by post-colonial theorist Homi Bhabha, has been a shifting and difficult to define concept within academic discourse. My thesis will focus on cultural hybridity as the embodiment of a pluralistic identity that encompasses the characteristics or attributes of more than one culture or race. I will examine three contemporary literary works of racial satire—Percival Everett’s Erasure, Adam Mansbach’s Angry Black White Boy, and Danzy Senna’s Caucasia—that present culturally hybrid protagonists and explore the ways in which these protagonists are utilized to destabilize race. Furthermore, I will demonstrate the tensions that this destabilization creates through community rejections of each protagonists’ hybridity – tensions that become inherent to hybridity itself.

My exploration will include an analysis of the protagonists’ hybridity—the ways in which they do not fit into the existing notions of what blackness or whiteness is—and how this hybridity is marginalized by their communities. Following this, I will explicate the protagonists’ responses to their marginalization—their creation of dual identities or alter egos and the racial/psychoanalytic significance of this process. I will draw upon post-colonial and critical race theory writings, as well as Freudian and Lacanian theory, to frame my analysis. But most importantly, I will draw upon the work of scholars—including Marwan Kraidy, Jopi Nyman, Sabrine Broeck, Pnina Werbner, Peter Burke, and Robert Young—to theorize hybridity within my analysis.

Finally, I will examine the novels’ conclusions, during which the protagonists’ dual identities are forcefully merged, and demonstrate the lack of resolution that this merging creates. This examination will reveal that the community rejections of hybridity in each novel are, in themselves, impossible to mediate. Thus, I will prove that each protagonist’s hybrid positioning not only destabilizes race by challenging the concreteness of racial categorizations, but that this positioning, and the community’s response to it, also demonstrates the tensions inherent to hybridity itself. In this way, each text undermines the black-white binary, while also affirming the tensions that result from not willfully engaging in it.

Table of Contents

• Thesis Committee
• ABSTRACT
• CHAPTER 1: INTRODUCTION
  • Background to the Problem
  • Statement of the Problem
  • Review of Literature
  • Theoretical Framework and Methodology
  • Plan of Research
  • Definition of Terms
• CHAPTER 2: PERCIVAL EVERETT’S ERASURE
• CHAPTER 3: ADAM MANSBACH’S ANGRY BLACK WHITE BOY
• CHAPTER 4: DANZY SENNA’S CAUCASIA
• REFERENCES

Purchase the dissertation here.

Creolization, colonial citizenship(s) and degeneracy: A critique of selected histories of Sierra Leone and South Africa

Current Sociology
Volume 59, Number 5 (September 2011)
pages 635-654
DOI: 10.1177/0011392111408678

Zimitri Erasmus, Senior Lecturer in Sociology
University of Cape Town

This work examines the nexus between creolization, colonial citizenship(s) and discourses of degeneration. It focuses on two sites: (1) 19th- and 20th-century Freetown, Sierra Leone, and (2) the early Cape and 20th-century South Africa. The author engages three key thinkers: Édouard Glissant, Jean-Loup Amselle and Mahmood Mamdani to illustrate how these colonial administrations deployed creolization to construct partial citizenships derived from ideas of ‘mixed race’ and ‘corrupted’ or ‘lacking’ culture. The author argues that ‘Creole’ and ‘creole’ signified, in the colonial imagination, a ‘degenerate type’ behind its legal category, ‘non-native’, and shows how uses of the concepts ‘creolization’ and ‘creole’, in selected histories of the Cape and Freetown, surrender to their colonial meanings, obscure their biopolitical significance and so, collude with discourses of degeneration. The article concludes first, that Edouard Glissant’s conception of creolization as method counters ethnological reasoning and second, that his concept ‘Relation’ enables citizenship(s) that contest social inequality and live with difference.

Read or purchase the article here.

Blacks, the white elite, and the politics of nation building: Inter and intraracial relationships in “Cecilia Valdes” and “O Mulato”

Tulane University
May 2006
274 pages
Publication Number: AAT 3275113
ISBN: 9780549253327

Geoffrey Scott Mitchell

A Dissertation Submitted on the Twenty-Sixth day of May 2006 to the Department of Spanish and Portugues in Partial Fulfillment of the Requirments of the Graduate School of Tulate University for the Degree of Doctor of Philosophy

This project is an examination of the novels O Mulato (Aluísio Azevedo, 1889) and Cecilia Valdés (Cirilo Villaverde, 1882) and their call for social reform and a re-examination of the place of blacks in the emerging republics of Brazil and Cuba. Both novels question and criticize social constructs of race while pressing for an improved treatment of both free and enslaved blacks.

This project provides an intellectual history of eighteenth and nineteenth century rac(ial)ist theories that exerted a pronounced influence on Azevedo and Villaverde. Specifically, this section examines physiognomy, phrenology, and craniometry in addition to sociological and anthropological approaches to racial hybridism, the evolutionary theories of Darwin and Spencer, and the geographical determinism of Buckle. Finally, the chapter provides a close reading of Comte’s positivism and its reception by the intelligentsia in Cuba and Brazil.

Azevedo’s O Mulato purports to discredit racial discrimination by white society and the destructive influence of the Catholic clergy in Brazil’s northern province of Maranhão during the 1870s by deploying the metaphor of an unsuccessful, interracial relationship involving a wealthy and educated mulatto and his white, aristocratic cousin. Although Azevedo endeavored to illustrate the problematic nature of racial discrimination and the social compartmentalization of blacks in Brazil—both relics of Portuguese colonialism—he nevertheless succumbed to the racialist ideologies of the nineteenth century and imbued his protagonist with stereotypical characteristics. Although blacks were rising socially via education and the military, Azevedo nevertheless envisioned a future, positivistic republic necessarily led by a white elite.

In Cecilia Valdés, Villaverde deploys an unsuccessful, interracial relationship involving a poor but beautiful, nearly-white mulatta and her aristocratic, half-brother as agents of the policy of whitening. As in O Mulato, the metaphor of an unsuccessful, interracial relationship reveals the difficulty in crossing racial and social castes and thus uniting different socio-economic sectors of the imagined community. Only one intraracial romance involving whites proves to be successful in the novel. This relationship serves as a metaphor indicating that only enlightened whites are capable of leading Cuba out of colonialism and into independence.

TABLE OF CONTENTS

• ACKNOWLEDGMENTS
• 1. INTRODUCTION: SEPARATE AND UNEQUAL
• 2. RACISM’S ROOTS: AN INTELLECTUAL HISTORY OF SELECT RACIALIST THEORIES OF THE NINETEENTH CENTURY
• 3. BLACK MEN, WHITE WOMEN, AND THE FORMATION OF THE POSITIVIST STATE: ALUISIO AZEVEDO AND O MULATO
• 4. FAILED RELATIONSHIPS, FRAGMENTED SOCIETIES: RACE, SEX, AND METAPHOR IN CECILIA VALDES
• 5. CONCLUSION: BLACKS, THE WHITE ELITE, AND PROJECTS FOR NATIONAL IDENTITY
• ENDNOTES
• BIBLIOGRAPHY

Purchase the dissertation here.

Transcultural Transformation: African American and Native American Relations

University of Nebraska
November 2009
139 pages

Barbara S. Tracy

A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy

The intersected lives of African Americans and Native Americans result not only in Black Indians, but also in a shared culture that is evidenced by music, call and response, and story. These intersected lives create a dynamic of shared and diverging pathways that speak to each other. It is a crossroads of both anguish and joy that comes together and apart again like the tradition of call and response. There is a syncopation of two cultures becoming greater than their parts, a representation of losses that are reclaimed by a greater degree. In the tradition of call and response, by denying one or the other something is lost. Claiming the relationship turns transcultural transformation into a powerful response. Working from Henry Gates’ explanation of signifying combined with Houston Baker’s description of blues literature, I examine signifying, call and response, and blues/jazz elements in the work of three writers to discover the collective lives of African Americans, Native Americans, and Black Indians. In the writing of Black-Cherokee Alice Walker, I look for the call and response of both African and Native American story-ways. I find these same elements in the writing of Spokane/Coeur d’Alene writer Sherman Alexie, in his blues writings and his revision of Robert Johnson’s and other stories. In the work of Creek/Cherokee Craig Womack, I examine a Creek/Cherokee perspective of Black Creeks and Freemen. In all of these works, I find that the shared African American and Native American experience plainly takes place in these works in a variety of ways in which the authors call upon oral and written story, song, and dance, and create a response that clearly signifies the combined power of these shared experiences. This is a fusion of shared traditions with differences that demonstrate the blending of voices and culture between two peoples who have been improvising together for a long time.

Table of Contents

• Abstract
• Acknowledgments
• Introduction: Speaking of Things Yet Unspoken: Native Americans, African Americans, and Black Indians
• 1. The Red-Black Center of Alice Walker’s Meridian: Asserting a Cherokee Womanist Sensibility
• 2. Crossroads: The African American and Native American Blues Matrix in Sherman Alexie’s Reservation Blues
• 3. “Red is Red”: Transcultural Convergence and Craig Womack’s Drowning in Fire
• Conclusion: Common Ground: Let the Music Start
• Works Cited

Read the entire dissertation here.

The Film You Didn’t See – Who’s the Alien, Cowboy?

Cultural Weekly
2011-08-25

Marcia Alesan Dawkins, Visiting Scholar
Brown University

Ulli K. Ryder, Visiting Scholar
Center for the Study of Race and Ethnicity in America
Brown University

Chances are you didn’t see Cowboys and Aliens. The film won’t get to $100 million box office in the US, and it is sinking fast overseas as well.  There’s even been collateral damage—in the wake of its lackluster performance, Disney has put the brakes on the even-more-expensive Lone Ranger, to have starred Johnny Depp.
 
Cowboys and Aliens didn’t get audience traction because of mixed genres and mixed reviews, but the most intriguing aspect audiences and critics alike missed is the film’s approach to mixed races and mixed species.  The movie is an overt critique of colonialism and racism.  Think we’re reaching for subtext?  Well, it’s about as obvious as a gigantic spaceship hovering over the Western sky…

Read the entire article here.

Mixed-Bloods, Mestizas, and Pintos: Race, Gender, and Claims to Whiteness in Helen Hunt Jackson’s Ramona and María Amparo Ruiz de Burton’s Who Would Have Thought It?

Western American Literature
Volume 36, Number 3 (Fall 2001)
pages 212-231

Margaret D. Jacobs, Professor of History & Director, Women’s and Gender Studies
University of Nebraska, Lincoln

Since the 1980s, a growing number of scholars in widely different fields have discredited race as a self-evident category of human social relations. Alongside the work of scientists who have found no genetic or biological basis for racial categorization, critical race theorists have looked to changes in legal definitions of race and citizenship to conclude that race is socially and culturally constructed. Historians have contributed to the field by analyzing the history of Whiteness and the so-called White race. Many groups considered “White” today were once deemed non-White; it was only through renouncing common cause with other stigmatized “races” that certain Americans such as Irish and Jewish immigrants were able to attain White status and privilege. Of course, “choosing” to become White has not been an option for some Americans whose skin color is not light enough to allow them to pass for White. But as George Fredcrickson argues, it is not from color alone that race is constructed. He asserts that “theessential element [in notions of race and racism] is that belief, however justified or rationalized, in the critical importance of differing lines of descent and the use of that belief to establish or validate social inequality”.

The social construction of race played out in myriad spaces: in brightly lit courtrooms and dark bedrooms, in factories and fields, in movie theaters and swimming pools, in classrooms and offices, in fast-moving trains and plodding city buses. The realm of literature as well became a space in which various American sought to envision and enforce their notions of race. The literature of the American West offers a particularly rich bounty of competing constructions of race. Until recently it has been all too common in the fields of both western American literature and western history to study Anglo-Americans’ views of the West and its peoples. A growing number of scholars, however, have challenged the ethnocentrism and cultural hegemony of this approach.

Significantly, though, we are not the first to engage in such a critique of Anglo-Americans’ portrayals of the West. Even as Easterners flooded bookstores and literary journals with their accounts of the West in the nineteenth century, an elite and well-educated Californians, Maria Amparo Ruiz de Burton, penned her own challenge to such representations. In 1872, countering Anglo notions that Californians were a “half barbaric” race who were unfit to govern themselves, to hold property, or to occupy professional positions, Ruiz de Burton published Who Would Have Thought It?, a political satire dressed up as a romance novel. Although written twelve years before one of the most famous Anglo novels about nineteenth-century California, Helen Hunt Jackson’s Ramona, Ruiz de Burton’s novel nevertheless reads like a sharp retort and a satire of Jackson’s view of California and the West…

Read the entire article here.