Mixed Race Studies

Mapping the liminal identities of mulattas in African, African American, and Caribbean literatures

Pennsylvania State University
December 2006
285 pages
AAT: 3343682
ISBN: 9780549992738

Khadidiatou Gueye

Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2006

In twentieth-century African, African American, and Caribbean literatures, mixed-blood women are often misread as figures frozen in tragic postures. Such unrealistic portraitures replicate the traditional white-authored pathologizations of racial hybridity. Drawing on the theoretical framework of liminality, this study investigates how mulattas negotiate their identities in specific socio-cultural environments, times, and places. Four writers of African descent and dissimilar socio-historical backgrounds are studied: Abdoulaye Sadji from Senegal, Bessie Head from South Africa, Mayotte Capécia from Martinique, and Nella Larsen from the United States.

The study is divided into five chapters that deal with the experiences of mulattas in autobiographical writing, sexuality, madness, racial passing, and expatriation. Thematic and stylistic discrepancies in the works examined are ancillary to the common liminal strategies of de-marginalization and self-reconstruction of female heroines. Their attempts at self-assertion appear in the ways in which they resist the constrictions of patriarchal and racist regimes. Their construction of spaces of agency is interwoven with ambiguity, ambivalence, and contradictions, which are emblematic of the discontinuities of their lives and paradigmatic of their intricate search for identity. In the works, the liminal experiences of mulattas are framed within the quests for social visibility, the affirmation of humanity, the renegotiation of space, and the anomic straddling between oppositional boundaries and statuses. Through their striving to rise above the limitations imposed on their gender and race, mulattas commit acts of transgression and dissemblance, and disrupt racial taxonomy. I demonstrate that liminality is a major unifying thread that runs through all the narratives and argue that it creates alternative existential paradigms for mixed-blood women. Liminality is an appropriate tool that challenges monolithic views of identities through the re-articulation of cultural meanings.

My main contribution is twofold. First, I extend the traditional cartography of liminality, which is usually based on small-scale societies where individuals have loyalty to their primary communities. Second, I suggest new vistas for race criticism in diasporic studies.

Table of Contents

• Acknowledgements
• Chapter One
  • Monoracial, Biracial, and the Entre-Deux
  • Introduction
  • Black/White Polarization
  • Racial Hybridity
  • Betwixt and Between: The Ambiguity of Liminality
• Chapter Two
  • Liminal Psychoautobiographies: Rites and Routes
  • Autobiography as Autrebiographie: Je-Jeu in Mayotte Capécia’s Je suis martiniquaise
  • Internal Drama: Spectralized Presences in Bessie Head’s A Question of Power
• Chapter Three
  • The Liminal Experience of Sexuality and the Problematic of Respectability
  • Sexuality at Point Zero in Nella Larsen’s Quicksand and Mayotte Capécia’s La négresse blanche
  • Sexuality and Normative Illegitimacy in Mayotte Capécia’s La négresse blanche
  • Nini, mulâtresse du Sénégal: Between Sexual Empowerment and Disempowerment
• Chapter Four
  • Herspace: Liminal Madness and Racial Passing of the Mulatta
  • I am Mad But I am Not Mad: Shuttling Between Seamless Identities in Bessie Head’s A Question of Power
  • Telling a New Story: Racial Performance and Ambiguity in Nella Larsen’s Passing
• Chapter Five
  • The Limen of Journeys: Mulattas and Colonial Paris
  • The French Métropole: Interior Landscapes in Nini, mulâtresse du Sénégal
  • Migration and Trans-Caribbean Identity in Je suis martiniquaise and La négresse blanche
• Conclusion
• Works Cited

Purchase the dissertation here.

Untragic Mulatto: Charles Chesnutt and the Discourse of Whiteness

American Literary History
Volume 8, Number 3 (Fall 1996)
pages 426-448
DOI: 10.1093/alh/8.3.426

Stephen P. Knadler

Among Charles Chesnutt’s earliest political essays is a little studied piece that he wrote for the New York Independent entitled “What Is a White Man?” (1889). At a time when he was, it has been argued, at best accommodating—at worst, pandering to—the taste of his genteel Northern readers for the exotic local colors of plantation fiction (Brodhead 204), Chesnutt was reinterpreting race as less a stigma against blacks, or an advantage for whites, than a cultural practice by which all are marked. The little-known Cleveland lawyer’s entrance into racial polemics was prompted by Atlanta Constitution editor Henry Grady’s series of speeches on the material progress of the New South. Although many Southerners viewed the economic development’ of the South with hope and apprehension, Grady had appeased their misgivings and sanctioned industrial advancement through a recurrent rhetorical appeal to “white supremacy.” In his speech “The South and Her Problems,” delivered at the Texas State Fair (1887), for example, Grady had recruited the implacable rise and expansion of the Anglo-Saxon spirit as a guarantee for a New South of industrialism and urban growth. This “transcending achievement” of the New South, Grady argued, could not be impeded, for the “supremacy of the white race must be maintained forever… This is the declaration of no new truth. It has abided forever in the marrow of our bones, and shall run forever with the blood that feeds Anglo-Saxon hearts” (53; emphasis added)…

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Dougla, Half-doogla, Travesao, and the Limits of Hybridity

Anthurium: A Caribbean Studies Journal
Volume 7, Issues 1 & 2 (Fall 2009)
30 paragraphs
ISSN 1547-7150

Jennifer Rahim, Senior Lecturer in English
University of the West Indies, St. Augustine

Discourses on Caribbean culture and identity have been, if anything, prolific and energetic in their manufacture and circulation of a virtual plethora of signs, an entire vocabulary of terms recruited to articulate the concept of the hybrid, whether biological or cultural, as a corrective, if not redemptive possibility for the region and beyond. Indeed, cultural discourses throughout the Americas have at one time or the other looked to hybridity like a raised standard to heal Empire’s poisonous legacy of Manichean systems of value applied to race and ethnic difference. Without a doubt, these discourses have been deployed in sometimes naïve, sometimes cunningly politicized ways. If anything, they have been most productive in providing an instructive archive of narratives that reveal the far from idyllic and democratic histories of forced and consensual interracial mixings and cross-cultural aesthetic practices that characterize the region’s evolution.
 
Whatever the names with which the ever expanding family of hybrid identities have been baptized—Mulatto, Mestizaje, Creole, Spanish, Cocoa Payol, callaloo, Travesaou, Dougla, and so on—all share the following features: their origination in the diasporic multiracial, multiethnic make up of Caribbean societies; their particular histories and politics of application in contexts of privilege associated with colour, class, gender, and physical appearance; their role in the promotion of a rhetoric of nationalist accommodation to salve tensions among diverse race and ethnic groups; their elevation as signifiers of a regional and/or planetary destination that will be the radical reconstitution of demeaning stereotypes instituted under colonialism; and finally, their shared histories of failure to convincingly realize the very possibilities for which they have been embraced given the uneven weighting of differences that comprise the “mix.”

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What Racial Hybridity? Sexual Politics of Mixed-Race Identities in the Caribbean and the Performance of Blackness

Lucayos
The School of English Studies of The College of The Bahamas’ Journal of Caribbean and Postcolonial Criticism and Creative Work
Volume 1 (2008)
pages 90-105

Papers from the 26th West Indian Literature Conference, March 8-10, 2007

Angelique V. Nixon, Assistant Professor in Residence of Woman’s Studies
University of Connecticut

for our blood, mixed
soon with their passion in sport,
in indifference, in anger,
will create new soils, new souls, new
ancestors; will flow like this tide fixed
to the star by which this ship floats
to new worlds, new waters, new
harbours, the pride of our ancestors mixed
with the wind and the water
the flesh and the flies, the whips and the fixed
fear of pain in this chained and welcoming port.

~ Kamau Brathwaite “New World A-Comin’”

The authenticity of “Blackness” has continuously been challenged in the debates over identity politics, specifically within Black Cultural Studies, Black feminisms, African American Studies, and Postcolonial Theory. The meaning of the word “Black” often depends upon the social, historical, cultural, and geographical context, but it is almost invariably political. In the United States, Black refers to African Americans (including mixed people of African descent because of the “one drop” rule), while in Britain, the term Black politically generally categorizes all non-white people—Asians, Africans, and Afro-Caribbeans (Kanneh 86). In the Caribbean, the word “Black” is usually used to describe people of African descent, but its history remains complex given the array of reactions to racial mixing by different colonial powers (meaning the development of racial categories determined by blood and coded by law). Each European colony had legal codes and categories for mixed race identities, which created different “classes” of people determined by skin color. Today, the word “Black” has different political and social meanings, but at the same time, we cannot deny the realities of race and racism for Black people and other people of color around the world. Furthermore, mixed-race Black identities continue to have a major affect on how we think about race and identity. And considering the different political and social connotations of the word “Black” and the massive consumption of Black culture, “Blackness” as a signifier remains elusive and subject to appropriation and commodification; hence, Blackness has been and continues to be constructed and commodified by all kinds of people and places.

Therefore, any essential notion of ‘the Black subject or experience’ has been contested by a number of theorists; however, Stuart Hall argues for a “new politics of representation” that engages in difference and recognizes Black experience as Diaspora experience (170). In essence, he argues that we must remain committed to engaging in the politics of Black representation, while simultaneously recognizing the differences within our difference. The challenges to “identity politics, recent debates over ‘mixed race’ identities, forms of racism, and class complicate the broad terrain of ‘racial difference’ on which ‘Blackness’ is identified” (Kanneth 94). In these debates, postmodernism has been helpful to Black Cultural Studies insomuch as it allows for multiple Black identities, but as bell hooks recognizes in “Postmodern Blackness,” the postmodern critique of identity appears at first glance to threaten any opportunity for those who have suffered from oppression, domination, or colonization (hooks 23). But hooks argues that a postmodern critique of essentialism is useful in opening up constricting notions of Blackness, and this would be a radical and serious challenge to racist discourse that uses the notion of a Black authentic experience (28). She asserts that “such a critique allows us to affirm multiple Black identities, varied Black experience. It also challenges colonial imperialist paradigms of Black identity which represent Blackness one-dimensionally in ways that reinforce and sustain white supremacy” (28). While hooks does posit that we critique and abandon essentialist notions of Blackness, at the same time, she says that we must still “struggle for radical Black subjectivity”—where the lived and diverse experiences of Black people complicate our sense of identity (29). Although hooks does not specifically discuss mixed-race identities, I use her insights to discuss the possibilities around the signification of “Blackness.”

Given the recent media attention on mixed-race and bi-racial identities (including Tiger Woods, Barack Obama, Kamora Lee [Kimora Lee Simons], Alicia Keys, and others) and the historical fetishization of “exotic” women of color, I am interested in how racial performance and performativity operates in a mixed-race body, and most specifically, how these complicate the signification of Blackness. Thus, how is the Blackness of a mixed-race person embodied? What does this embodiment of Blackness mean for a mixed-race person? Are mixed-race Black identities normalized through choosing a race, passing, or legal codes that regulate race? How is mixed race situated in the discourse of racism? When a racially mixed person claims or asserts Blackness through performance or a speech act utterance (I am Black, but I’m mixed, or I’m mixed and Black, or I identify as Black) does this destabilize racism or essentialist notions of race? In this project, I offer a theoretical framework about what I call the sexual politics of mixed-race identities and performance of Blackness in the Caribbean context, which I argue through using both personal narrative and literary representations….

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Skin, race and space: the clash of bodily schemas in Frantz Fanon’s Black Skins, White Masks and Nella Larsen’s Passing

Cultural Geographies
Volume 18, Number 1 (2011-01-06)
pages 25-41
DOI: 10.1177/1474474010379953

Steve Pile, Professor of Human Geography
The Open University, United Kingdom

Nella Larsen’s novel Passing offers the opportunity to reconsider the relationship between race and space. The novel provides an account of space that is highly racialized. It describes 1920s Chicago as having heavily proscribed white and black spaces. However, race itself is far more uncertain. The novel’s two main characters, Irene and Clare, though black by blood in US American racial schematics, are both able to pass as white. Their skin colour renders their race ultimately unknowable: they can easily cross the borders between the white and the black world. By using Frantz Fanon’s notions of corporeal schemas and epidermal schemas, and by focusing on skin itself, it is possible to open up another way of seeing race and space in the novel. The paper argues that these bodily schemas ultimately clash, and come to grief, in the novel. Even so, this clash of bodily schemas enables a possible resolution to the problem of seeing the body either through black/white grids of signification and power, or through their aggregation into phenotypes or races. In this view, bodily schemas may come to define race and space, but never exclusively in one way or another.

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Musical Miscegenation? Rock Music and the History of Sex

e-misférica
Hemispheric Institute for Performance & Politics
Issue 5.2: Race and its Others (December 2008)

Tavia Nyong’o, Associate Professor of Performance Studies
New York University

Image by Bruce Yonemoto

Countering facile analogies between musical hybridity and sex across the color line that characterize certain popular discourses about American popular music, this essay explores the genealogy of “miscegenation” in U.S. political discourse. Undermining claims that “musical miscegenation” explains black influence in rock music, the essay shows how “miscegenation” emerged precisely as a means of policing and proscribing black citizenship and black/white social equality.

“So, when it comes, miscegenation will be a terror …”
—Norman Mailer, “The White Negro,” 1957

When pop music critic Sasha Frere-Jones wondered aloud in the New Yorker magazine as to how, when, and why “indie rock lost its soul” in the mid-1990s, he provoked a small controversy among popular music critics, bloggers, and fans. Lamenting rock’s decreasing reliance on what he described as “the ecstatic singing and intense, voicelike guitar tones of the blues, the heavy African downbeat, and the elaborate showmanship that characterized black music of the mid-twentieth century,” Frere-Jones targeted contemporary musicians that he considered to be guilty of divorcing (white) rock from its (black) roots (Frere-Jones 2007a). Part of his argument resembled prior cases made by music critics like Albert Murray (1990) and Kandia Crazy Horse (2004), who have also extolled the universal basis and relevance of black music. But it took a peculiar turn when he attributed the steady diminution of black heat, rhythm, and ecstasy in 1990s and 2000s rock to a cultural separatism jointly enforced by hip hop and academic political correctness…

…Miscegenation as Political Coinage

Scholars and journalists routinely employ miscegenation, with or without scare quotes, to denote the “mixing” of the so-called races. Even when they pause to think about it, even when, as with Frere-Jones when they are challenged on their use of it, they typically ignore or seem unaware that the word appeared at a particular time and place, and for a particular purpose. Whatever Ralph Emerson meant by the “smelting pot,” for example, he could not have meant “miscegenation” musical or otherwise, simply because the word did not yet exist, and because he chose not to use the closest variant with a racial connotation that did exist at the time, amalgamation. While a variety of terms for race, caste, and color “mixing” have emerged from the time of the Encounter with the New World, no single term can accurately index all of that history. Miscegenation is not the translation of the Spanish mestizaje or the Portuguese mestizagem it is commonly assumed to be, as both terms long predate it. Nor does it have any etymological relation to words like “mulatto,” “mestizo,” or, for that matter, “hybrid.” It is, to quote William Carlos Williams, a “pure product” of the U.S., a specimen of rhetorical chicanery and pseudo-scientific quackery whose astonishing success at infiltrating the language should only surprise those who doubt the immense resources of racial disavowal in the shaping of our culture…

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Ellen Craft’s Radical Techniques of Subversion

e-misférica
Hemispheric Institute for Performance & Politics
Issue 5.2: Race and its Others (December 2008)
16 pages

Uri McMillan, Assistant Professor of English
University of California, Los Angeles

Image by Bruce Yonemoto

This paper considers the antebellum performance(s) of fugitive slave Ellen Craft. Craft, an African-American female slave from Georgia, impersonated a white male slaveholder, Mr. William Johnson, in order to escape from slavery with her husband William. I argue that through various techniques of performance—cross-racial impersonation, prosthetics, costume, hair, and gender performance, for example—Craft radically destabilized nineteenth-century social norms, particularly racial and gender mores. An antebellum subject who manipulated her body as an elastic object, Ellen Craft made costumes out of the rigid nineteenth-century identities of “blackness” and “whiteness,” particularly 19th century white masculinity. In this paper, specifically, I analyze the corporeal techniques Craft wielded in her original performance to escape in America before moving to her appearances later on the abolitionist lecture stage in England.

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A New Look At The Life Of Jean Toomer

National Public Radio
All Things Considered
2010-12-30

Robert Siegel, Host

Rudolph P. Byrd, Goodrich C. White Professor of American Studies and African American Studies
Emory University

Jean Toomer received much acclaim for his portrait of African-American life in the early 20th century in his 1923 book Cane. The Harlem Renaissance author wrote vivid vignettes in a series of poems and short stories in the book. Next week, the book will be re-released with a new introduction written by Harvard scholar Henry Louis Gates and Emory University scholar Rudolph Byrd. In the 70-page introduction, the two scholars write that Toomer, a light-skinned black man of mixed heritage, chose to live much of his life as a black man passing as white. NPR’s Robert Siegel talks with Byrd about the life of Toomer.

Jean Toomer was a writer whose 1923 book “Cane” wove poetry, prose and drama into its glimpses of African-American life in the early 20th century. “Cane” earned him a place among the leading lights of the Harlem Renaissance, and a new edition of the book has a different take on Toomer’s life.

Toomer was a light-skinned man who spoke of himself as being neither white nor black. Well, two scholars of African-American literature, Henry Louis Gates Jr. of Harvard and Professor Rudolph Byrd of Emory University contribute an introduction to the new book, which is to be published next week.

And they conclude that Toomer – his writings notwithstanding – lived much of his life as a black man passing for white. Their investigation is one of both textual criticism and genealogical research.

Professor Byrd joins us now. Professor Gates is not with us because his father, Henry Louis Gates Sr., passed away this week, and we send our condolences.

Professor Byrd, welcome to the program.

Professor RUDOLPH BYRD (African-American Studies, Emory University): Mr. Siegel, it’s a pleasure to be with you.

SIEGEL: And your conclusions are based on both facts and a reading of those facts. First, what did you find out?

Prof. BYRD: Oh, the newly unearthed facts are in census records. There’s a draft registration and his marriage license. The census records list Toomer as white. The draft registrations record Toomer as Negro. And then, the marriage license lists both the bride and groom as white.

What is fascinating about these findings is that, first of all, this is information that has been overlooked, and so it adds an important dimension to the long speculation about Toomer’s racial ancestry, which really began with the publication of “Cane” in 1923.

SIEGEL: Now, Toomer, in writings, distanced himself from the label Negro.

Prof. BYRD: Yes.

SIEGEL: But he did speak of lots of different blood that flowed in his veins.

Prof. BYRD: Yes.

SIEGEL: And he described himself as someone who had spent some years of his life – as they said in the day – in colored schools…

Prof. BYRD: Yes.

SIEGEL: …and many years living as white.

Is that accurate? Is his description of how he grew up accurate?

Prof. BYRD: It is and it isn’t. He did attend Henry Highland Garnet School, which was a black school. He did attend Paul Lawrence Dunbar High School, which was a black school…

Read the article here.  Listen to the interview (00:05:44) here.

On “Mulatto”

Modern American Poetry
Langston Hughes (1902-1967)
Compiled and Prepared by Cary Nelson

From Langston Hughes (Twayne, 1967)
James A. Emanuel

This dramatic dialogue offers a tensely individualized conflict between father and son that is hardened by the vigor and scorn of the words and broadened by carefully placed, suggestive details from nature. The son’s adamant voice opens the poem, but is transformed into a passive Negro feminine presence exuberantly recalled by the white father, who feels half-pleasurably nagged in his fancied return to the conception and infancy of his son. The poet, employing the past awakened in the white man, leaves him musing and moves the growing child swiftly through years of hostile rejection by his white half-brothers—implying virtual estrangement from his father, whom he no longer reminds of sexual freedom in the Negro quarter….

A Comparison of Langston Hughes’s “The Mulatto” and Claude McKay’s “Mulatto”

2007
John Claborn

Reading McKay’s traditional poetics alongside his contemporary Langston Hughes’s open-form, experimental poetics brings out the specificity of the sonnet’s formalizing force. Consider Hughes’s “Mulatto” (1927) and McKay’s earlier 1925 sonnet, “The Mulatto.” Since slavery, the problem of the mulatto child disavowed by his/her white father-master has been a site of intense emotion and trauma—a problem that these two poems address head-on from the perspective of the mulatto son. Hughes’s “Mulatto” embraces a hybrid form structured by interpolations, multiple voices, and polyphony—in short, the poem is “mulatto” in form as well as content…

Read both essays here.

“What Ain’t Called Melungeons is Called Hillbillies”: Southern Appalachia’s In-Between People

Forum for Modern Language Studies
Volume 40, Issue 3 (2004)
page 259-278
DOI: 10.1093/fmls/40.3.259

Rachel Rubin, Professor of American Studies
University of Massachusetts, Boston

The essay investigates literary evocations of Appalachia’s “in-between” people, the Melungeons. Melungeons are deployed by some as mystery (no one has conclusively traced their origins) and by others as solid fact (they are non-white) to shore up their own contingent sense of white privilege. The construction of Melungeon identity by outsiders has facilitated a process of “re-centring” whereby those poor white people so frequently scorned as “hillbillies” place themselves at the heart of a racialised mountain landscape.

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