Mixed Race Studies

Memories of Interracial Contacts and Mixed Race in Dutch Cinema

Journal of Intercultural Studies
Volume 28, Issue 1 (2007)
Pages 69 – 82
DOI: 10.1080/07256860601082947

Pamela Pattynama, Professor of Media and Culture
University of Amsterdam

This essay explores the (post)colonial relationship between the present-day Netherlands and its former colony the Dutch East Indies—a continuing relationship that has generated a wide range of memories. Exploring two Dutch films on the colonial past and comparing them with two autobiographical writings of Dutch writers of mixed race, it argues that the recurrent theme of interracial contacts emerges as the privileged metaphor for the relation between Holland and its ex-colony. A recurring feature of Dutch representations of interracial contacts, it is specifically the figure of the Indonesian concubine, the so-called nyai, which continues to obsess the male gaze. The essay concludes that through their focus on loss, separation and failure in representing interraciality, the films speak primarily to the incapacity of the Dutch nation to engage effectively with its colonial past.

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Seeing Black Women Anew through Lesbian Desire in Nella Larsen’s Passing

Rocky Mountain Review
Rocky Mountain Language Association
Volume 60, Number 1 (Spring 2006)
pages 25-52

H. Jordan Landry, Professor of English
University of Wisconsin, Oshkosh

Beginning in the 1910s and 1920s, a series of novels advocate that African Americans commit themselves to “loving blackness,” as bell hooks calls African-American ethnic pride (9-10). By loving blackness, the novels promise, African Americans will advance African-American culture, overcome internalized racism, and achieve emotional stability. Together, these novels create a powerful, early 20th-century discourse about embracing ethnic pride and resisting assimilation into white culture.

Unfortunately, this discourse champions its iconoclastic ideas about race by invoking conventional images of women’s gender and sexuality. The popular literary figure of the “mulatto” woman and her role in the triangle of desire, the literary device structuring almost all narrative in the Western literary tradition (Sedgwick 1-20; Girard 1-38), become central to this discourse. The mulatto woman plays one of two roles in the discourse’s triangles of desire. In the first, she conforms to the most conventional form of femininity imaginable and woos the black man toward ethnic pride. According to this discourse, the mulatto woman’s extreme femininity bolsters the black man’s masculinity, confirming his sense of superiority, power, and control. This ego boost endows the black man with the capacity to take pride in African-American culture and contribute to it rather than assimilating into white society. In the second, the mulatto woman defies all the sex and gender norms of dominant culture and lures the black man into vassalage to whiteness. Her rebellion against predefined sex and gender roles feminizes her partner, thereby seducing him into false servility. Since this discourse defines conventional femininity as sexual loyalty, submission, and homage to a black man, the way for the mulatto woman to express ethnic pride is not simply through loving a black man but actually through subordinating herself to one. Of course, embracing inferiority is a limited form of pride indeed. In addition to representing mulatto women’s submission as positive, this early 20th-century literary discourse blames assimilation on mulatto women’s pursuit of freedom from gender and sexual strictures. Thus, mulatto women must regulate their gender and sexuality for ethnic pride to burgeon, and their failure to do so spells a threat to the continuation of African-American culture.

These images of mulatto women circulate widely from the 1910s to the 1920s due to a shift in interest among African-American writers. Whereas late 19th- and turn-of-the-century African-American literature often stressed the need for white culture to accept African Americans, by the 1910s and 1920s, African-American writers began to encourage pride in both African and African-American traditions separate from white culture. This dramatic shift in values results in a corresponding change in representations of mulatto women. Through the two stereotypical roles allotted to mulatto women, writers weight the major “choice” within the erotic triangle—that of ethnic pride or assimilation—with gendered meanings.

In Passing, Larsen reveals that these two dominant fictions about mulatto women effectively regulate women of mixed ethnicity’s performance of gender identity causing them to enact a normative version of femininity. According to Larsen, the two fictions encourage self-regulation by escalating these women’s anxiety. As a result, the women become more aware of others’ external policing of their behavior and, in reaction, internalize these judgments and police themselves. In Larsen’s work, women of mixed ethnicity fear being defined by other African Americans as race traitors if they resist sexual and gender norms. Yet, their attempts to live up to a fictionalized ideal of femininity increases their sense of failure and self-blame as they find it impossible to conform themselves continually to such an image. Moreover, according to Larsen, the more women of mixed ethnicity invest in mulatto female stereotypes, the more they blame each other for and exonerate men from ethnic and sexual betrayal. In Passing, Larsen questions this construction of mulatto women as race and sexual traitors by tracing such blame back to the contemporary literary discourse that imagines racial uplift as dependent on women’s containment…

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Chesnutt and Realism: A Study of the Novel

The University of Alabama Press
2006
208 pages
Cloth ISBN: 978-0-8173-1520-7
E-Book ISBN: 978-0-8173-8228-5

Ryan Simmons

An important examination of Charles Chesnutt as a practitioner of realism.
 
With the release of previously unpublished novels and a recent proliferation of critical studies on his life and work, Charles W. Chesnutt (1858–1932) has emerged as a major American writer of his time—the age of Howells, Twain, and Wharton. In Chesnutt and Realism, Ryan Simmons breaks new ground by theorizing how understandings of literary realism have shaped, and can continue to shape, the reception of Chesnutt’s work.
 
Although Chesnutt is typically acknowledged as the most prominent African American writer of the realist period, little attention has been paid to the central question of this study: what does it mean to call Chesnutt a realist? A writer whose career was circumscribed by the dismal racial politics of his era, Chesnutt refused to conform to literary conventions for depicting race. Nor did he use his imaginative skills to evade the realities he and other African Americans faced. Rather, he experimented with ways of portraying reality that could elicit an appropriate, proportionate response to it, as Simmons demonstrates in extended readings of each of Chestnutt’s novels, including important unpublished works that have been overlooked by previous critics.
 
Chesnutt and Realism also addresses a curiously neglected subject in American literary studies—the relationship between American literary realism and race. By taking Chesnutt seriously as a contributor to realism, this book articulates the strategies by which one African American intellectual helped to define the discourses that influenced his fate.

Negotiating Coloured Identity Through Encounters with Performance

University of the Western Cape
November 2005
148 Pages

Gino Fransman

A thesis submitted in fulfilment of the requirements for the degree of MA in the Faculty of Arts University of the Western Cape

In this study theatre, as staged performance and as text, will be used as an exploratory and discursive tool to examine the negotiation of Coloured identity in the ‘New South Africa’. I investigate debates on Coloured identity while also drawing on theories of the performativity of identity. The role of performance in negotiating this identity is foregrounded; this provides a context for a case study which evaluates responses by Coloured and Black students at the University of the Western Cape to popular Coloured identity-related performances. These include Marc Lottering’s ‘Crash’ and ‘From the Cape Flats With Love’, and Petersen, Isaacs and Reisenhoffer’s ‘Joe Barber’ and ‘Suip’. These works, both as texts and as performance, will be used to analyse the way stereotypical representations of Coloured identities are played with, subverted or negotiated in performance. I attempt to establish how group stereotypes are constructed within the performance arena, and question whether attitudes can be negotiated through encounters with performance.

Table of Contents

• Introduction
• Chapter One
  • Setting the Scene
• Staging, de-staging and re-staging the Coloured:
  • Chapter Two
    • Staging the Coloured––An Inter-disciplinary Approach
    • Comedy and Reflexivity
  • Chapter Three
    • De-staging the Coloured
    • The Theatre in Action: Using Stereotype
  • Chapter Four
    • Framing the Performances
    • The Performances as Texts
    • ‘Joe Barber’ – The Script
    • ‘Suip’ – The Script
  • Chapter Five
    • The Performances: Re-staging the Coloured
    • Conveying Meaning and Method
    • ‘From the Cape Flats With Love’
  • Chapter Six
    • The Case-Study: Methodology and Discussion
    • The Sample
    • Ethics Statement
    • The Participants as Spectators/Audience
    • Audiences and Venues
    • Special Features of the Performances Useful for the Investigation
    • Methods of Data Collection
  • Chapter Seven
    • Conclusions
• Bibliography
• Appendix A:
  • Images
  • Marc Lottering ‘From the Cape Flats With Love’
  • ‘Crash’ Promotional Material
  • ‘Joe Barber’
  • ‘Suip’ Promotional Material
• Appendix B:
  • Sample Questionnaire

Introduction

Where is the theatre now located in the ‘New South Africa’? To what extent has the focus shifted to “the representation of present struggle” (Orkin, 1996:61), rather than the struggle for a democracy enshrined within a constitution? How does this contribute to establishing an emergent national identity, and simultaneously affect specific group identities? These questions are key to the discussions that follow, as the national identity encompasses different groups assembled under one banner: the ‘New South Africa’. These groups, in turn, are all subject to group negotiations of identity.

In the study that follows, theatre as staged performance and as text will be used as exploratory and discursive tools to investigate the negotiation of identities. The aim is to explore this theme by examining the responses to four popular Coloured identity-related staged performances; Marc Lottering’s ‘Crash’ (2004) and ‘From the Cape Flats with Love’ (2001), as well as Petersen, Isaacs and Reisenhoffer’s ‘Joe Barber’ (1999) and ‘Suip’ (1996). These works, both as performance and as text, will be used to investigate the way stereotypical representations of Coloured identities are played with, subverted or negotiated in performance. In this work I attempt to establish how meanings are constructed within the performance arena. I also examine how they have been negotiated by using the responses of a selected group of students at the University of the Western Cape (UWC), as a case study, in order to explore current student attitudes.

The primary focus of the thesis examines Coloured identity as a construction still represented as a stereotype at times, but also as fluidly reflecting the changing South African society. The readings of the performances, as well as the performances as texts, illustrate occasions where this fluidity, or lack of fluidity in stereotypical instances, is represented on the stage. On the other hand the case study provides a student audience response to representations of Coloured people on the stage in South Africa. The slippages between being a cultural insider and investigating that very culture often manifest themselves, within the scope of this work and beyond its constraints. It is the difficulty of maintaining the theoretical trend that Coloured identity is fluid, which makes identifying these manifestations in the performances and case study so fascinating. The thesis explores this tension as far as possible within a limited scope for detail…

…Chapter One: Setting the Scene

‘Coloureds don’t feel included in mainstream South African society’… this sense of exclusion could in some ways explain why they had ‘no real stake in obeying the rules of this society’. (Ted Leggett, Institute of Security Studies- South Africa: 2004)

I am a Coloured. At least that is what I call myself. In South Africa today, ten years after democracy, it is surprising that this statement requires qualification. No qualification, in our democratic country, is required for someone stating, “I am Black,” or “I am White.” Yet, Coloured identity is mired in questions of, amongst others, belonging, status, and power. The contradictions implicit in claiming a Coloured identity are explored here, as my own claiming of the term places me in opposition to ‘being named’. To myself, it means one thing, but to someone else, it could carry an entirely different meaning when it is ascribed to me, and thus imposes a way of being onto the term Coloured.

Richard van der Ross, one of the former rectors of UWC (which was established in 1960 as a Coloured or ‘Bush’ College), states that at first, those now called Coloured were simply referred to as “from the Cape”. He says:

In time, however, through education and general development, the group has become aware of its situation and oppression, and has sought to shake off its feelings and position of inferiority… They base their claims on the long line of descent taking them back, in some cases, to the original inhabitants of the land of their birth… the new group which has emerged has been known by many names. (2005:94)

 In the 1600s, slaves of mixed parentage had already been afforded more privilege than Black slaves. Following this rationale, boys born of mixed slave parents were preferred over the descendants of Black slaves, as “the masters thought they learned rapidly” (2005:35). Following a progression of ascribed names, Robert Shell (quoted in Van der Ross) says the identification of the group occurred “after the abolition of the slave trade (1808) [when] the convenient name coloured was introduced into the South African vocabulary, where it stubbornly persists” (2005:98).

Van der Ross outlines an intricate web of inter-group mixing, from slaves, colonists, locals, exiles and freed slaves. That these groups are all represented in his framework does not indicate that inter-mixing necessarily occurred amongst all of these groups in a single family line. For the purposes of this study, the combinations of these do “not mean that all the components are to be found in any individual [C]oloured person. There may be no more than two” (2005:98).

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The Collage Aesthetic in the Harlem Renaissance

Ashgate Publishing
November 2009
232 pages
Includes 5 b&w illustrations
Hardback ISBN: 978-0-7546-6198-6

Rachel Farebrother, Lecturer in American Studies
University of Swansea

Beginning with a subtle and persuasive analysis of the cultural context, Farebrother examines collage in modernist and Harlem Renaissance figurative art and unearths the collage sensibility attendant in Franz Boas’s anthropology. This strategy makes explicit the formal choices of Harlem Renaissance writers by examining them in light of African American vernacular culture and early twentieth-century discourses of anthropology, cultural nationalism and international modernism. At the same time, attention to the politics of form in such texts as Toomer’s Cane, Locke’s The New Negro and selected works by Hurston reveals that the production of analogies, juxtapositions, frictions and distinctions on the page has aesthetic, historical and political implications. Why did these African American writers adopt collage form during the Harlem Renaissance? What did it allow them to articulate? These are among the questions Farebrother poses as she strives for a middle ground between critics who view the Harlem Renaissance as a distinctive, and necessarily subversive, kind of modernism and those who foreground the cooperative nature of interracial creative work during the period. A key feature of her project is her exploration of neglected connections between Euro-American modernism and the Harlem Renaissance, a journey she negotiates while never losing sight of the particularity of African American experience. Ambitious and wide-ranging, Rachel Farebrother’s book offers us a fresh lens through which to view this crucial moment in American culture.

Contents

• Acknowledgements
• List of Abbreviations
• Introduction
• 1. Boasian Anthropology and the Harlem Renaissance
• 2. ‘[F]lung out in a jagged, uneven but progressive pattern’: ‘Culture-citizenship’ in The New Negro
• 3. ‘[A]dventuring through the pieces of a still unorganized mosaic’: Jean Toomer’s Collage Aesthetic in Cane
• 4. ‘Think[ing] in Hieroglyphics’: Zora Neale Hurston’s Cross-Cultural Aesthetic
• 5. Reading Zora Neale Hurston’s Textual Synthesis in Jonah’s Gourd Vine and Moses, Man of the Mountain
• Conclusion
• Bibliography
• Index

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Segregated Miscegenation: On the Treatment of Racial Hybridity in the North American and Latin American Literary Traditions

Routledge
2003-02-28
Pages: 144
Trim Size: 6 x 9
Hardback ISBN: 978-0-415-94349-9

Carlos Hiraldo, Professor of English
LaGuardia Community College, City University of New York

Through the comparative study of literatures from the United States and Latin America, Segregated Miscegenation questions received notions of race and nation. Carlos Hiraldo examines the current understanding of race in the United States alongside alternative models of racial self-definition in Latin America. His provocative analysis traces the conceptualization of blackness in fiction and theories of the novel, and troubles the racial and ethnic categories particular to each region’s literary tradition.

Table of Contents

• Acknowledgments
• Introduction: Coloring Latinos, Coloring the United States
  • The Novel as Popular Culture
  • Race in Latin America
  • Latinos as a U.S. Race
  • The Novel in the Dissemination and Reconfiguration of Notions about Race
• Chapter One: Novel Concepts: The Role of the Novel in Developing Ideas of Nation and Race in the Americas
  • Mikhail Bakhtin, Georg Lukacs, and the “New World” of the Novel
  • Benedict Anderson and the Novel as a Tool of National Imagination
  • Fredric Jameson and the Many Worlds in the Americas
  • Novels and the Fictionalization of Racial Attitudes
• Chapter Two: Enslaved Characters: Nineteenth-Century Abolitionist Novels and the Absence of Bi-racial Consciousness
  • Differences between Bi-racial and Mulatto Characters
  • The Myth of Racial Purity versus the Dreams of a Miscegenated Paradise
  • The Limitations of Nineteenth-Century Racial Representations
  • Uncle Tom’s Cabin and Bi-racial Characters in Nineteenth-Century U.S. and Latin American Literatures
  • Sab as a Nineteenth-Century Cuban Romantic Tale about Race
  • The Complicit Ignorance of Cecilia Valdes
  • A Thin Line between Black and White in Martin Morua Delgado’s Sofia and Mark Twain’s Pudd’nhead Wilson
  • Race without Romance in Antonio Zambrana’s El negro Francisco
• Chapter Three: Mulatto Fictions: Representations of Identity-Consciousness in U.S. and Latin American Bi-racial Characters
  • Mulatto Characters as Racial and Cultural Nexus
  • Passing the Tragic Mulatta in Twentieth-Century U.S. Literature
  • Gabriela and the Sexualized Mulatia in Twentieth-Century Latin American Literature
  • Pobre negro, The Violent Land, and the Limits of Mulatto Characters in Twentieth-Century Latin American Literature
  • Joe Christmas and the Unmerry Existence of Mulatto Characters in Twentieth-Century U.S. Literature
  • Go Down, Moses and the Mumbled Recognition of Racial Confluence in the United States
  • The Bluest Eye and the Persistence of Anti-mulatto Fiction in the United States
• Chapter Four: Identity Against the Grain: Latino Authors of African European
  • Heritage and Their Encounters with the Racial Ideology of the United States
  • Latino Authors and the “One Drop” Rule
  • Piri Thomas, Julia Alvarez, and the Limitations of Choosing Sides in the U.S. Racial Divide
  • Esmeralda Santiago and Negi’s Persistent Puertoricanness in the Face of the “One Drop” Rule
• Chapter Five: Choosing Your Own Face: Future Trends of Racial
  • Discourses in the United States
  • Latino Influence in Other Cultural Products
  • The Latin American Racial Paradigm behind the “Wigga”
  • The Rock, Tiger Woods, and a Universal Race
• Notes
• Bibliography
• Index

The Ethics of Mixed Race Studies

The University of Wisconsin, Milwaukee
May 2009
215 pages
Publication Number: AAT 3363443
ISBN: 9781109229738

Justin Ponder

Minstrel passing: Citizenship, race change, and motherhood in 1850s America

Saint Louis University
2009
116 pages
Publication Number: AAT 3383188
ISBN: 9781109452945

Roshaunda D. Cade, Writing Coordinator, Academic Resource Center
Webster University, St. Louis, Missouri

A Dissertation Presented to the Faculty of the Graduate School of Saint Louis University in Partial Fulfillment of the Requirements for the egree of Doctor of Philosophy

This dissertation explores how mixed race slave mothers in American literature of the mid-Nineteenth Century combine the performances of blackface minstrelsy and racial passing in order to perform minstrel passing and access the freedoms of citizenship. Minstrel passing seeks to gain the advantages of the other through performances of deception, and it gains more liberties for the performer than either passing or minstrelsy do alone. While minstrel passing does not grant freedom, it grants the freedom to behave like and be treated as a citizen. During this era, motherhood defined female citizenship. But instead of solely resigning women to the domestic sphere, motherhood emboldens women to try things they have never done before. For these slave women, motherhood pushes them to seek the benefits of citizenship.

I argue that in the following the texts, Uncle Tom’s Cabin (1852), Harriet Beecher Stowe; Clotel (1853), William Wells Brown; The Bondwoman’s Narrative (2002), Hannah Crafts; Pudd’nhead Wilson (1894), Mark Twain, these bids for citizenship happen largely through the acts of blackface minstrelsy, racial passing, and minstrel passing. Because these performances privilege self-definition, they become tools in the feminist arsenal of autonomy and create space for feminist citizenship. Each of these novels deals with mixed race slave mothers minstrel passing their way into freedom. Additionally, the complexity of the minstrel passing situations intensifies in each novel, revealing the complicated nature of the mid-Nineteenth Century moment.

The mid-century collision of increasingly confusing racial definitions, the 1850 Fugitive Slave Law, the emergence of blackface minstrelsy as a national form of entertainment, and the Women’s Rights Movement created a unique atmosphere for American women, black and white. To that end, the 1850s offered a variety of ways for women to accommodate citizenship. I maintain that this era created a space for mixed race slave mothers to perform racial deception, in order to exercise autonomy and define their own spheres, and find the freedom to enjoy the privileges of life, liberty and the pursuit of happiness inherent in U.S. citizenship.

TABLE OF CONTENTS

• CHAPTER 1: INTRODUCTION: CREATING CITIZENSHIP IN 1850s AMERICA
• CHAPTER 2: CREATING CITIZENSHIP THROUGH MOTHERHOOD, MINSTRELSY, AND PASSING IN HARRIET BEECHER STOWE’S UNCLE TOM’S CABIN
  • Introduction
  • Stowe’s Search for Mother
  • Accidental Feminism
  • Citizenship
  • Eliza, George, and Harry: Minstrel Trio
  • Conclusion
• CHAPTER 3: SECURING LIBERTY AND CITIZENSHIP THROUGH PASSING AND MINSTRELSY IN WILLIAM WELLS BROWN’S CLOTEL
  • Introduction
  • Growing up with Currer
  • Althesa’s Attempts at American Liberty
  • Clotel’s Migration from Black Female Slave to Free White Man
  • Conclusion
• CHAPTER 4: MOTHERHOOD AND DECEPTION AS FREEDOM IN THE BONDWOMAN’S NARRATIVE BY HANNAH CRAFTS
  • Introduction
  • Searching for Mother
  • White Womanhood
  • Othermothering
  • Little Orphan Hannah
  • Conclusion; or, White Womanhood Revisited
• CHAPTER 5: MULATTA MAMA PERFORMING PASSING AND MIMICKING MINSTRELSY IN MARK TWAIN’S PUDD’NHEAD WILSON
  • Introduction
  • Mark Twain and Motherhood
  • Privilege, Citizenship, and Race
  • Roxy as Racial Passer
  • Roxy as Blackface Minstrel
  • Conclusion
• CHAPTER 6: CONCLUSION: MINSTREL PASSING INTO AMERICAN CITIZENSHIP
• Works Cited
• Vita Auctoris

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Fear and Desire: Regional Aesthetics and Colonial Desire in Kate Chopin’s Portrayals of the Tragic Mulatta Stereotype

The Southern Literary Journal
Volume 43, Number 1 (Fall 2010)
pages 1-22
E-ISSN: 1534-1461 Print ISSN: 0038-4291

Dagmar Pegues

The interrogation of the category of race in Kate Chopin’s fiction represents an essential dimension of regional aesthetics, and it offers an alternative view to previous interpretations that focus primarily on feminist themes. This article examines the role of Louisiana as a specific region in the construction of the tragic mulatta stereotype in the fiction of Kate Chopin, primarily in her stories “Désirée’s Baby” and “La Belle Zoraïde,” and by analogy in her most successful novel The Awakening. I propose to extricate Chopin’s work from the virgin/whore dichotomy so often applied to white and non-white characters respectively. From a new perspective, an illumination of the portrayals of the tragic mulatta figure in Chopin’s texts invites a reconsideration of the stereotype of the tragic mulatta that typically oscillates between evocations of the exotic and the sentimental. Attempting to reclaim the category of race in regionalist fiction by examining the tragic mulatta stereotype in the selected texts, I see parallels between this pervasive image of southern local color fiction and the post-colonial paradigm, i.e. the dichotomy of the colonizer versus the colonized as it is suggested by Frantz Fanon in Black Skin, White Masks as well as the notion of stereotype as a form of normalizing, yet contradictory, judgment in Homi K. Bhabha’s The Location of Culture. From this perspective, the trope of the tragic mulatta appropriated by Chopin in her fiction represents an essential point of concurrence of the issues of gender, race, and region, and it points to the underlying racial anxiety manifested by the existence of ambivalent feelings of fear and desire toward the racial Other. Consequently, the internalization of colonial commodification of the racially Other can be interpreted as the true tragic element in the…

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Meridians: Mapping Metaphors of Mixed Race Indentity

University of Florida
August 2004
238 pages

Shane Willow Trudell

A dissertation presented to the Graduate School of the University of Florida in partial fulfullment of the requirements for the degree Doctor of Philosophy

Although mixed race identity traditionally has been equated with conflict, the conflict is not necessarily lived but may be more accurately viewed as a conflict of language, a conflict of metaphors. Traditionally, metaphors of mixed race identity have reflected notions of opposition and hierarchy; at the same time, mixed race individuals have searched for Utopian spaces in which conflict and tragedy are alleviated and race is imagined as a unifying, rather than divisive, idea. This study looks at the treatment of mixed race women in twentieth century novels, beginning with Jean Toomer’s Cane (1925) and then jumping to the end of the century—to Fran Ross’s Oreo (1975), Danzy Senna’s Caucasia (1998), and Jenoyne Adams’s Resurrecting Mingus (2001)—to study texts written during and after the Black Power Movement. It begins with an analysis of metaphors of blackness and whiteness that developed in the nineteenth century and then questions the ways these metaphors have traditionally complicated possibilities for mixed race identity, resulting in replications of the tragic mulatto and adherence to the one-drop rule. Subsequently, the analysis moves to contemporary metaphors of mixed race identity to explore their limits and possibilities and the ways in which these metaphors are implicated by questions of gender. The texts under analysis respond to the same set of problems, including the longing for Utopian spaces of wholeness and harmony within mixed race identities and non-traditional families. Additionally, these texts contain a latent struggle over questions of history, family, and racial identity. They long to articulate Utopian visions while they are confined within the historical moments and literary formulas in which they were written, and they struggle to negotiate postmodern questions of identity, self, wholeness, and harmony—both individual and communal—while bound by literary and social conventions that resist the Utopian visions they hope to articulate. Each text attempts to envision Utopian social, political, familial and individual spaces where the “play” of identity—the possibility of negotiation and individualization—may be manifested, Utopian visions of harmony may be realized, and new metaphors may be articulated.

TABLE OF CONTENTS

• ACKNOWLEDGMENTS
• PREFACE
• ABSTRACT
• CHAPTER
• 1. CARTOGRAPHIES OF RACIAL IDENTITY
  • Intimate Cartography
  • Mapping Past Paths and New Directions
  • Mapping the Contemporary Landscape
  • Mapping Metaphors
  • Mixed Metaphors
  • Playing With the Map
  • Mapping the Path Ahead
• 2. THE IVORY TOWER AND THE KETTLE BLACK: NINETEENTH CENTURY METAPHORS OF RACE
  • Race Crystallized
  • Climbing the Ivory Tower
  • Climbing into the Kettle Black
  • Continued Crystallization
• 3. LINES OF CONTACT AND COHERENCE: MERIDIANS IN THE WORK OF JEAN TOOMER
  • Points of Departure
  • Dividing Lines
  • Transcending the Divide
  • Points of Contact
• 4. TRAVELING THROUGH FRAN ROSS’S OREO, NO ORDINARY COOKIE
  • The Frontier: Where Two Come Together
  • TraveHng Beyond the Boundaries
  • “She Got Womb”
  • Travelers, Questers, and Cookies
  • Traveling in/as Twos
• 5. RE-VISIONS OF DIFFERENCE IN DANZY SENNA’S CAUCASIA
  • Disappearing: The Skin We’re In
  • Bodies at Play: Performing (and Being) Race(d)
  • Appearing in the Mirroring
  • Longing and Belonging
  • Appearing in Motion and Blurring the Lines
  • Reappearing beyond Recognition
• 6. HOME LIFE: CONFLICTED DOMESTICITY IN JENOYNE ADAMS’S RESURRECTING MINGUS
  • Home Bound
  • Divided Houses
  • Cracking the Mirror
  • Coming Home
• 7. MERIDIANS ON THE MAP OF IDENTITY
• WORKS CITED
• BIOGRAPHICAL SKETCH

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