Mixed Race Studies

The half-caste and the dream of secularism and freedom: Insights from East African Asian writing

Scrutiny2
Volume 13, Issue 2 (September 2008)
pages 16 – 35
DOI: 10.1080/18125440802485987

Dan Ojwang, Senior Lecturer of African Literature
University of the Witwatersrand, Johannesburg, South Africa

Focusing on the work of Bahadur Tejani, Peter Nazareth and Moyez Vassanji, this article attempts to account for the popularity of tropes of miscegenation in the literature produced by East African writers of South Asian descent. The appearance of the figure of the half-caste in this body of writing is especially striking given the fact that miscegenation was much derided in colonial discourse and viewed in fear by traditionalists within the diaspora who saw in it a violation of the integrity of communal boundaries. This article argues that the invocation of miscegenation, and related ideas, was an attempt on the part of this group of writers to reconsider the meanings of citizenship and belonging along the broad lines of secular humanism. In some important sense, the halfcaste symbolized a quest for freedom from the authority of tradition and the naturalization of cultural difference during colonialism. 

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Near Black: White-to-Black Passing in American Culture

University of Massachusetts Press
November 2008
224 pages
paper ISBN 978-1-55849-675-0; cloth ISBN 978-1-55849-674-3

Baz Dreisinger, Associate Professor of English
John Jay College of Criminal Justice, City University of New York

A provocative look at the shifting contours of racial identity in America

In the United States, the notion of racial “passing” is usually associated with blacks and other minorities who seek to present themselves as part of the white majority. Yet as Baz Dreisinger demonstrates in this fascinating study, another form of this phenomenon also occurs, if less frequently, in American culture: cases in which legally white individuals are imagined, by themselves or by others, as passing for black.

In Near Black, Dreisinger explores the oft-ignored history of what she calls “reverse racial passing” by looking at a broad spectrum of short stories, novels, films, autobiographies, and pop-culture discourse that depict whites passing for black. The protagonists of these narratives, she shows, span centuries and cross contexts, from slavery to civil rights, jazz to rock to hip-hop. Tracing their role from the 1830s to the present day, Dreisinger argues that central to the enterprise of reverse passing are ideas about proximity. Because “blackness,” so to speak, is imagined as transmittable, proximity to blackness is invested with the power to turn whites black: those who are literally “near black” become metaphorically “near black.” While this concept first arose during Reconstruction in the context of white anxieties about miscegenation, it was revised by later white passers for whom proximity to blackness became an authenticating badge.

As Dreisinger shows, some white-to-black passers pass via self-identification. Jazz musician Mezz Mezzrow, for example, claimed that living among blacks and playing jazz had literally darkened his skin. Others are taken for black by a given community for a period of time. This was the experience of Jewish critic Waldo Frank during his travels with Jean Toomer, as well as that of disc jockey Hoss Allen, master of R&B slang at Nashville’s famed WLAC radio. For journalists John Howard Griffin and Grace Halsell, passing was a deliberate and fleeting experiment, while for Mark Twain’s fictional white slave in Pudd’nhead Wilson, it is a near-permanent and accidental occurrence.

Whether understood as a function of proximity or behavior, skin color or cultural heritage, self-definition or the perception of others, what all these variants of “reverse passing” demonstrate, according to Dreisinger, is that the lines defining racial identity in American culture are not only blurred but subject to change.

The Masters and the Slaves: Plantation Relations and Mestizaje in American Imaginaries

Palgrave Macmillan
January 2005
176 pages
Size 5 1/2 x 8 1/4
Paperback ISBN: 1-4039-6708-3
Hardcover ISBN: 1-4039-6563-3

Edited by:

Alexandra Isfahani-Hammond, Assistant Professor of Luso-Brazilian Literature
University of California, San Diego

The Masters and the Slaves theorizes the interface of plantation relations with nationalist projects throughout the Americas. In readings that cover a wide range of genres–from essays and scientific writing to poetry, memoirs and the visual arts–this work investigates the post-slavery discourses of Brazil, the United States, Cuba, Puerto Rico, Haiti and Martinique. Indebted to Orlando Patterson‘s Slavery and Social Death (1982) and Paul Gilroy‘s The Black Atlantic (1993), these essays fill a void in studies of plantation power relations for their comparative, interdisciplinary approach and their investment in reading slavery through the gaze of contemporary theory, with particularly strong ties to psychoanalytic and gender studies interrogations of desire and performativity.

Table of contents

• Introduction
• The Sugar Daddy: Gilberto Freyre and the White Man’s Love for Blacks—César Braga-Pinto
• Writing Brazilian Culture—Alexandra Isfahani-Hammond
• Authority’s Double Shadow: Thomas Jefferson and the Architecture of Illegitimacy—Helena Holgersson
• Fixing History: Race, Nation, and the Symbolics of Servitude in Haitian Noirisme —Valerie Kaussen
• Fanon as ‘Metrocolonial’ Flaneur in the Caribbean Post-Plantation/Algerian Colonial City—Nalini Natarajan
• From the Tropics: Cultural Subjectivity and Politics in Gilberto Freyre—Jossiana Arroyo
• Hybridity and Mestizaje: Syncretism or Subversive Complicity—Ramón Grosfoguel
• Giants of Three Colors: A Writer and an Artist Imagine Racial Mixture in 1940s Brazil—Luiza Franco Moreira
• Messianic Melancholic Imagination: Imagine Community with the Dead—Shreerekha Subramanian

White Negritude: Race, Writing, and Brazilian Cultural Identity

Palgrave Macmillan
December 2007
208 pages
Size 5 1/2 x 8 1/4
Hardcover ISBN: 1-4039-7595-7

Alexandra Isfahani-Hammond, Associate Professor of Luso-Brazilian Literature
University of California, San Diego

White Negritude analyzes the discourse of mestiçagem (mestizaje, métissage, or “mixing”) in Brazil. Focused on Gilberto Freyre‘s sociology of plantation relations, it interrogates the relation of power to writing and canon formation, and the emergence of an exclusionary, ethnographic discourse that situates itself as the gatekeeper of African “survivals” in decline. Taking Freyre’s master/slave paradigm as a point of departure for theorizing a particular form of racial and authorial impostery, this book analyzes the construction of race and raced writing in Brazil in relation to U.S. identity politics and Caribbean “mestizo projects.”

Table of Contents

• Vanishing Primitives: An Introduction
• Poetry and the Plantation: Jorge de Lima‘s White Authorship in a Caribbean Perspective
• White Man in the Tropics: Authorship and Atmospheric Blackness in Gilberto Freyre
• Joaquim Nabuco: Abolitionism and Erasure in the Americas
• From the Plantation Manor to the Sociologist’s Study: Democracy, Lusotropicalism, and the Scene of Writing

Uma Mulata, Sim!: Araci Cortes, ‘the mulatta’ of the Teatro de Revista

Women & Performance: a journal of feminist theory
Volume 16, Issue 1 (March 2006)
pages 7-26
DOI: 10.1080/07407700500514996

Judith Michelle Williams, Professor of African and African-American Studies
University of Kansas

Araci Cortes, a mulata assumida, rose to be one of the most successful performers in Rio de Janeiro‘s teatro de revista (revue theatre) during the 1920s and 1930s. In this essay I place her career in the context of the Afro-Brazilian artists of her generation and evaluate how her embodiment of the Brazilian mulata on and off the stage interacted with the emerging discourse of Brazil as a mulatto nation. Lauded for her distinct Brazilianness and criticized for her petulant and uncompromising personality, Cortes excelled as a singer, dancer and comic actress, most often portraying the mulatta roles that before her fame were enacted by white actresses. Cortes is a complicated figure who was able to exploit the narratives and stereotypes that surrounded her mixed-race body and gain, fame, fortune and success. Although rather than leave behind her Afro-Brazilian connections she maintained relationships with even the most militant of Brazilian blacks she spoke about race only in the vague terms of her era. Yet through her emblematic performances she reconfigured ideas of gender and race in Brazil. She provides an example of how Afro-Brazilians have used performance to create an alternative discourse of race in Brazil.

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Indians and Mestizos: Identity and Urban Popular Culture in Andean Peru

Journal of Southern African Studies
Volume 26, Issue 2 (June 2000)
pages 239 – 253
DOI: 10.1080/03057070050010093

Fiona Wilson

The article begins with a discussion of the chronology of conquest and liberation in Peru and reflects on the changing meanings given to the racial categories of Indian and mestizo (half-caste) in colonial and post-colonial periods. Using popular culture as a lens, the transformations taking place in images of race and urban social identities are analysed, using as a case study a provincial town in the Andean highlands in the course of the twentieth century. Through changing forms of street theatre urban groups worked out new identities by weaving together, juxtaposing and contesting different cultural forms. The article explores in detail two manifestations of street theatre that predominated. These are the Dance of the Inca in the 1900s that addressed Indian/white relations, and carnaval where relations between mestizo and white were played out for much of the twentieth century.

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Double Consciousness in the Work of Helen Oyeyemi and Diana Evans

Women: A Cultural Review
Volume 20, Issue 3 (December 2009)
pages 277-286
DOI: 10.1080/09574040903285735

Pilar Cuder-Domnguez, Associate Professor
University of Huelva, Spain

The first novels published by Helen Oyeyemi and Diana Evans feature twins of mixed-race parentage—a Nigerian mother and an English father—growing up in Britain. Eight-year-old Jessamy in Oyeyemi’s The Icarus Girl is unaware that she was born a twin, but on travelling to Nigeria she encounters TillyTilly, a troublesome girl she seems unable to shake off. Georgia and Bessi in Evans’s 26a are identical twins who share all their experiences until a visit to their mother’s homeland of Nigeria opens a breach in their perfect union. Both novels were published in 2005 and display certain commonalities of plot, characterisation, location and stylistic choice. Oyeyemi and Evans both explore Yoruba beliefs surrounding the special nature of twins—half way between the world of humans and gods. If one twin dies, parents commission a carving called ‘ibeji‘ to honour the deceased and to provide a location for their soul. The specialness attributed to twins by the Yoruba is compounded in both novels by the fact that they are mixed-race and by the diverging locations, cultures and languages of their parents. Thus, this article addresses how the two writers deploy Yoruba beliefs in order to raise questions about the cultural grounding of their characters’ identities, and how being twins becomes a metaphor for the ‘double consciousness’ of being black and British.

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Mutants, mudbloods, and futureheroes: Mixed race identity in contemporary narrative

The University of New Mexico
May 2008
327 pages
Publication Number: AAT 3318087
ISBN: 9780549676652

Felecia Rose Caton-Garcia

A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico, Albuquerque, New Mexico

At the beginning of the twenty-first century, the United States is experiencing the expansion of a self-identified biracial, multiracial, and mixed race citizenry. This work examines the dominant tropes operative in the study of mixed race narrative cultural production, specifically film, fiction, and life-writing, in order to historicize and contextualize contemporary cultural production. In particular, this dissertation examines contemporary narratives with regard to the “tragic mulatto” trope in US culture throughout the 19th and 20th century and articulates the ways in which the abundance of contemporary work on mixed race both sustains and resists old archetypes and narratives. To this end, a survey of life-writing, fiction, and speculative film and fiction of the past fifteen years is conducted to determine new narrative tropes governing mixed race identity, particularly those identities that deviate from the historical black/white binary of biracial identity.

While some texts remain grounded in the idea of the mixed race person as deficient or problematic with regards to race and gender identity development, the dissertation identifies a general turn away from the “tragic mulatto” archetype, and a turn toward the mixed race identity as a holistic hybrid identity that is more than the sum of its parts. The study reveals that contemporary renderings of mixed race identity have become transnational, dynamic, unsettling, and synergistic. Further, the emergent tropes in mixed race narratives suggest hybridity as the inevitable future of humanity and some contemporary texts suggest that this hybridity is the mechanism through which humanity will progress toward racial equity and substantive democratic principles. These new narratives are explicated, analyzed, and critiqued with regard to their function in contemporary United States culture and politics.

Table of Contents

• Chapter One—Beguiling and Mysterious: Multiracialism Comes of Age
  • The Mulatto Millennium
  • A Note on Terms
  • Interracial Intimacy and Miscegenation in U.S. History and Law
  • Mixed Race in the Social Sciences
  • The Tragic Mulatto y Mas: the Need for a Hybrid Criticism
• Chapter Two—Like Mother Like Daughter?: The Poetics of Mixed Race Autobiography
  • “Likeness” and Culture
  • A Matter of Perspective: The Autobiographical Impulse
  • Hands Across the Ouija Board: The Process of Writing Autobiography
  • Who Are Your People?: Racial Identity and Family
  • “Don’t ask so many questions”: The Color of Family
  • “I find family there”: Choosing Blackness in Bulletproof Diva
  • Beyond Family: Class, Gender, and Sexuality in Racial Formation
  • Blood and Water
• Chapter Three—Graceful Monsters: Mixed Race, Desire, Love, and Family in Contemporary Fiction
  • The Borders of the Tragic Mulatto
  • Hybrid Arts: The Use of Aesthetics to Narrate Mixed Race Identity
  • The Man in the Mirror: Double-Consciousness, Alternative Realities, and Mixed Race in Diaz, Alexie, Tenorio, and Davies
• Chapter Four—Vin Ordinaire: Hollywood Film and the Mixed Race Futurehero
  • Geek Nation: The Rise of Science Fiction in Hollywood Film
  • Beautiful Mutants: Transgressive Bodies and Futuresexuals
  • Saving Humanity, Sacrificing Self: Tragedy and Triumph for the New Mulatto
• Chapter Five—Mudbloods, Mutants, and Mulattos: New Speculative Fiction
  • Multiplicities: Histories, Futures, Realities, Races, Genders
  • Technologies of Hybridity: William Gibson and China Mieville
  • Half-Blood Magic: Harry Potter’s Muddy Dilemma
• Conclusion—Synergy and Symbiosis: What’s at Stake in the Stories We Tell
  • References Cited

Read or purchase the dissertation here.

Race marks: Miscegenation in nineteenth-century American fiction

University of Massachusetts, Amherst
1997
195 pages

Kimberly Anne Hicks

This dissertation examines the process of miscegenation in the work of four authors who occupy pivotal positions in American writing about race. It is concerned with a variety of fictional and non-fictional texts produced by William Wells Brown, George Washington Cable, Pauline Hopkins, and Thomas Dixon between the years 1846 and 1915. This study will examine how miscegenation provided these authors with a way of narrativizing American race relations in a period which encompasses slavery, emancipation, Reconstruction and Redemption, as well as the creation of a segregated South and an imperial America.

Individual chapters engage in cultural as well as literary analyses by reading mixed-race characters as literary signs which gave rise to a wide range of narrative possibilities, as political instruments which allowed each author to intervene in contemporary debates about the construction of American history, the nature of race, and laws designed to regulate interracial contact. While remaining aware of the personal and political differences which separate the writers under consideration, this study notes similarities in the ways in which each makes use of mixed-race characters and miscegenation plots.

Attention to gender likewise unites the individual chapters. The fact of mixed parentage signifies differently for male and female characters, no matter what plot these authors chose. For each, the figure of the quadroon woman presented special problems, as indicated by the sheer number of pages each devoted to telling child re-telling her story. This study traces the permutations of plots centered around quadroon women by reading a number of fictional works by each of the primary authors. It also examines the ways in which constructions of gender are overdetermined by methods of race representation which appear in the works of African-American writers, as well as in that of their white counterparts.

By focusing on a works which illustrate the interconnectedness between black and white Americans from slavery through segregation–works created by authors who themselves represent, in their persons as well as their politics, a variety of subject positions–this dissertation seeks to locate itself in the context of current efforts to produce a new canon of American literature, one more truly reflective of the varied nature of American life. It examines a literature not of race, but of race relations; one which repeatedly describes positions on a racial continuum too complicated to be characterized in terms of black and white.

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Acts of Intercourse: “Miscegenation” in three 19th Century American Novels

American Studies in Scandinavia
Volume 27 (1995)
pages 126-141

Domhnall Mitchell, Professor of English
Norwegian University of Science and Technology, Trondheim, Norway

Until this period of the evening, the duties of hospitality and the observances of religion had prevented familiar discourse. But the regular offices of the housewife were now ended for the night; the handmaidens had all retired to their wheels; and as the bustle of a busy and more stirring domestic industry ceased, the cold and selfrestrained silence, which had hitherto only been broken by distant and brief observations of courtesy, or by some wholesome allusion to the lost and probationary condition of man, seemed to invite an intercourse of a more general character.

James Fenimore Cooper, The Wept of Wish-ton-Wish (Columbus, Ohio; Charles E. Merrill, 1970).

In a 19th century American novel like Cooper’s The Wept of Wish-ton-Wish, intercourse usually means conversation, an important activity which supports, sustains and secures a community’s perception of its shared identity. If we take the above quotation as an example, Cooper manages to convey a sense of common purpose and harmonious enterprise, to such an extent that the people described seem almost to function as members of one family. But intercourse of another, sexual kind also takes place in the novel, between one of the white daughters of this family and a Narragansett sachem. The second kind of intercourse takes place outside the confines of, and disturbs the kind of stability and integrity represented by, the first. The unanimity of social institutions is disrupted and threatened first by the arrival and second by the acceptance of the Indian within the white family. When it is remembered that, in 19th century American history, the word intercourse is further associated with a series of acts regulating the transaction of land and goods between European Americans and Native Americans, and that there was contention about exactly what kind of contact, if any, should be maintained between the two groups, then it can be seen that this single word carries with it a complex sequence of literary and cultural connotations.

Intercourse, then, is a useful term with which to begin looking at aspects of relations between Native American Indians and Europeans in certain 19th Century American novels. For the word can have several definitions. It implies physical intimacy; it can also mean commercial exchange, including the transaction of property: and finally, it suggests discourse, or dialogue. These different meanings indicate different levels we might profitably look at.

In its modern sense, intercourse suggests sexual relations, and several 19th century novels imagine the possibility of union between Indians and Whites. I have chosen three of these; Hobomok, written by Lydia Maria Child and published in 1824; Catharine Maria Sedgwick‘s Hope Leslie, which appeared in 1827; and the second, revised, 1833 edition of The Wept of Wish-ton-Wish (or The Borderers), by James Fenimore Cooper, which was first printed in 1829. Although all three of the works under consideration were written by Americans in the 1820s, the time and place of their narration is 17th century New England, so there is an element of dialogue between texts and historical contexts. The dialogue also involves a reconstruction of early colonial history. These novels integrate or negotiate with Indian versions of historical events as well as attempting to create colourful rather than credible Native characters. For example, in 1653, a woman was hanged for taking the Indian demigod Hobbamock as her husband, and it is therefore interesting that Child’s novel Hobomok begins with Mary Conant going into the forest late at night and meeting the Indian character of the same name, who she later marries and has a child by.  Instead of the dominant 17th century imperatives of war and suspicion, Hobomok dramatizes the possibility of an assimilation which is at once sexual and cultural. And yet, what I intend to show in this article is that Indian loving is in fact not very different in its final results from the kind of Indian hating which characterized later works such as James Hall’s Sketches of History, Life and Manners in the West (1835) and Robert Montgomery Bird’s Jibbenainosay, or Nick of the Woods (1837)…

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