Mixed Race Studies

Race Mixture in Nineteenth-Century U.S. and Spanish American Fictions: Gender, Culture, and Nation Building

University of North Carolina Press
October 2004
192 pages
5.5 x 8.5, notes, bibl., index
Paper ISBN:  978-0-8078-5564-5

Debra J. Rosenthal, Associate Professor of English
John Carroll University

Race mixture has played a formative role in the history of the Americas, from the western expansion of the United States to the political consolidation of emerging nations in Latin America. Debra J. Rosenthal examines nineteenth-century authors in the United States and Spanish America who struggled to give voice to these contemporary dilemmas about interracial sexual and cultural mixing.

Rosenthal argues that many literary representations of intimacy or sex took on political dimensions, whether advocating assimilation or miscegenation or defending the status quo. She also examines the degree to which novelists reacted to beliefs about skin differences, blood taboos, incest, desire, or inheritance laws. Rosenthal discusses U.S. authors such as James Fenimore Cooper, Catharine Maria Sedgwick, Walt Whitman, William Dean Howells, and Lydia Maria Child as well as contemporary novelists from Cuba, Peru, and Ecuador, such as Gertrudis Gómez de Avellaneda, Clorinda Matto de Turner, and Juan León Mera. With her multinational approach, Rosenthal explores the significance of racial hybridity to national and literary identity and participates in the wider scholarly effort to broaden critical discussions about America to include the Americas.

Mixing Race, Mixing Culture: Inter-American Literary Dialogues

University of Texas Press
2002
6 x 9 in.
324 pp., 4 photos, 1 chart
ISBN: 978-0-292-74348-9
Print-on-demand title

Edited by

Monika Kaup, Assistant Professor of English
University of Washington, Seattle

Debra Rosenthal, Assistant Professor of English
John Carroll University

Over the last five centuries, the story of the Americas has been a story of the mixing of races and cultures. Not surprisingly, the issue of miscegenation, with its attendant fears and hopes, has been a pervasive theme in New World literature, as writers from Canada to Argentina confront the legacy of cultural hybridization and fusion.

This book takes up the challenge of transforming American literary and cultural studies into a comparative discipline by examining the dynamics of racial and cultural mixture and its opposite tendency, racial and cultural disjunction, in the literatures of the Americas. Editors Kaup and Rosenthal have brought together a distinguished set of scholars who compare the treatment of racial and cultural mixtures in literature from North America, the Caribbean, and Latin America. From various angles, they remap the Americas as a multicultural and multiracial hemisphere, with a common history of colonialism, slavery, racism, and racial and cultural hybridity.

Table of Contents

• Acknowledgments
• Introduction
• I. Mixed-Blood Epistemologies
  1. Werner Sollors, Can Rabbits Have Interracial Sex?
  2. Doris Sommer, Who Can Tell? The Blanks in Villaverde
  3. Zita Nunes, Phantasmatic Brazil: Nella Larsen‘s Passing, American Literary Imagination, and Racial Utopianism
• II. Métissage and Counterdiscourse
  1. Françoise Lionnet, Narrating the Americas: Transcolonial Métissage and Maryse Condé‘s La Migration des coeurs
  2. Michèle Praeger, Créolité or Ambiguity?
• III. Indigenization, Miscegenation, and Nationalism
  1. Priscilla Archibald, Gender and Mestizaje in the Andes
  2. Debra J. Rosenthal, Race Mixture and the Representation of Indians in the U.S. and the Andes: Cumandá, Aves sin nido, The Last of the Mohicans, and Ramona
  3. Susan Gillman, The Squatter, the Don, and the Grandissimes in Our America
• IV. Hybrid Hybridity
  1. Rafael Pérez-Torres, Chicano Ethnicity, Cultural Hybridity, and the Mestizo Voice
  2. Monika Kaup, Constituting Hybridity as Hybrid: Métis Canadian and Mexican American Formations
• V. Sites of Memory in Mixed-Race Autobiography
  1. Rolando Hinojosa-Smith, Living on the River
  2. Louis Owens, The Syllogistic Mixedblood: How Roland Barthes Saved Me from the indians
• Coda: From Exoticism to Mixed-Blood Humanism
  1. Earl E. Fitz, From Blood to Culture: Miscegenation as Metaphor for the Americas
• Contributors
• Works Cited
• Index

Read the entire introduction here.

Demystifying the Tragic Mulatta: The Biracial Woman as Spectacle

Stanford Black Arts Quarterly
Volume 2, Issue 3 (Summer/Spring 1997)
pages 12-14

Stefanie Dunning, Associate Professor
Miami University (of Ohio)

To talk about the complexities of subjectivity is to enter into a discussion which necessarily locates itself at the intersection of race, clans, gender and sexuality. When thinking about my own subjective position, I am confronted by constructions that simultaneously identify, name, abridge and abstract me. Sometimes they help guide my thoughts about myself; at other times, they limit my thinking, reducing me to general categories of color, class, and desire. My present task, interrogation of a biracial subject position, is as much a gender discussion as it is a racial one. My investments in this discussion are deep; I am writing theoretically and distantly about myself— looking for truths about biraciality that I recognize in the words of other theorists, hoping to trace for myself and my audience one thread within a complex, unraveling cultural text. I am not interested here with how biracial subjects manage their subjectivites; such an approach inherently positions biraciality as problematic, the historical consideration of which falls beyond the scope of this project. Instead I will explore the way biracial subjectivity is gendered through its construction.

Women are the primary signifiers of miscegenation in literature and film. Likewise, the critical discourse on biraciality foregrounds the “tragic mulatta.” Yet, theorists regularly circumvent the issue of gender and theories lack interrogation of the point at which race and gender meet to sign biraciality. Visibility, i.e. what biracial people “look” like, makes up a significant part of biracial women’s experiences with uniracial onlookers. Moreover, visibility informs biracial women’s response to the uniracial “gaze.” This paper posits that biraciality is read differently “along gender lines.” While discourses about “mulattos” efface biracial men, biracial women are discursively foregrounded as “exotic.” Effectively, biraciality is inscribed with a specifically female status: the desire of ‘uniracial’ onlookers to exoticize biracial women inform the “gaze” which casts biracial women, “spectacle.”…

Read the entire article here.

Queer in Black and White: Interraciality, Same Sex Desire, and Contemporary African American Culture

Indiana University Press
2009-04-21
152 pages
5 b&w photos, 5.5 x 8.25
ISBN-13: 978-0-253-22109-4

Stefanie K. Dunning, Associate Professor
Miami University, Oxford, Ohio

This book analyzes representative works of African American fiction, film, and music in which interracial desire appears in the context of same sex desire. In close readings of these “texts,” Stefanie K. Dunning explores the ways in which the interracial intersects with queerness, blackness, whiteness, class, and black national identity. She shows that representations of interracial desire do not follow the logic of racial exclusion. Instead they are metaphorical and anti-biological. Rather than diluting race, interracial desire makes race visible. By invoking the interracial, black gay and lesbian artists can remake our conception of blackness.

Table of Contents

• Acknowledgments
• Introduction
• 1. “Ironic Soil”: Recuperative Rhythms and Negotiated Nationalism
• 2. “No Tender Mercy”: Same-Sex Desire, Interraciality, and the Black Nation
• 3. (Not) Loving Her: A Locus of Contradictions
• 4. “She’s a B*(u)tch”: Centering Blackness in The Watermelon Woman
• Epilogue: Reading Robert Reid-Pharr
• Notes
• Index

Hollywood Fantasies of Miscegenation: Spectacular Narratives of Gender and Race

Princeton University Press
2004
376 pages
6 x 9, 142 halftones.
Paperback ISBN: 9780691113050

Susan Courtney, Associate Professor of English and Film Studies
University of South Carolina

Hollywood Fantasies of Miscegenation analyzes white fantasies of interracial desire in the history of popular American film.  From the first interracial screen kiss of 1903, through the [Motion Picture] Production Code‘s nearly thirty-year ban on depictions of “miscegenation,” to the contemplation of mixed marriage in Guess Who’s Coming to Dinner (1967), this book demonstrates a long, popular, yet underexamined record of cultural fantasy at the movies.

With ambitious new readings of well-known films like D.W. Griffith‘s 1915 epic The Birth of a Nation and of key forgotten films and censorship documents, Susan Courtney argues that dominant fantasies of miscegenation have had a profound impact on the form and content of American cinema.

What does it mean, Courtney asks, that the image of the black rapist became a virtual cliché, while the sexual exploitation of black women by white men under slavery was perpetually repressed? What has this popular film legacy invited spectators to remember and forget? How has it shaped our conceptions of, and relationships to, race and gender?

Richly illustrated with more than 140 images, Hollywood Fantasies of Miscegenation carefully attends to cinematic detail, revising theories of identity and spectatorship as it expands critical histories of race, sex, and film. Courtney’s new research on the Production Code’s miscegenation clause also makes an important contribution, inviting us to consider how that clause was routinely interpreted and applied, and with what effects.

Read the introduction in HTML or PDF format.

Why Are People Different?: Multiracial Families in Picture Books and the Dialogue of Difference

The Lion and the Unicorn
Volume 25, Number 3, September 2001
pages 412-426
E-ISSN: 1080-6563
Print ISSN: 0147-2593
DOI: 10.1353/uni.2001.0037

Karen Sands-O’Connor

The issue of race has often been contentious in children’s literature, from controversies over Twain‘s Adventures of Huckleberry Finn, to Bannerman‘s Little Black Sambo, to Keats‘s The Snowy Day, to Herron’s Nappy Hair. How race is portrayed and who portrays it have been crucial for many critics. Violet J. Harris suggests this preoccupation with cultural authenticity, as she terms it, centers on “individual books and their portrayals of people of color, as well as the representation of specific aspects of their cultures such as values, customs, and family relationships” (40-41). Francis Wardle counters, “presenting the Black race and cultural group as a single, unified, world-wide entity is not only inaccurate, but denies the tremendous richness of economic, cultural, linguistic, national, political, social and religious diversity that exists in the world-wide Black community” (“Mixed-Race Unions” 200). This insistence on cultural authenticity poses even more problems when more than one culture is portrayed within a family, and it is perhaps for this reason that little has been written on the multiracial family as portrayed in literature…

Purchase the entire article here.

Neither Black Nor White Yet Both: Thematic Explorations of Interracial Literature

Oxford University Press
March 1997
592 pages
Hardback ISBN13: 9780195052824; ISBN10: 019505282X

Werner Sollors, Henry B. and Anne M. Cabot Professor of English Literature and Afro American Studies; Director of the History of American Civilization Program
Harvard University

Why can a “white” woman give birth to a “black” baby, while a “black” woman can never give birth to a “white” baby in the United States? What makes racial “passing” so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making “miscegenation” appear as if it were incest? When did the myth that one can tell a person’s race by the moon on their fingernails originate? How did blackness get associated with “the curse of Ham” when the Biblical text makes no reference to skin color at all?

Werner Sollors examines these questions and others in Neither Black Nor White Yet Both, a new and exhaustively researched exploration of “interracial literature.” In the past, interracial texts have been read more for a black-white contrast of “either-or” than for an interracial realm of “neither, nor, both, and in-between.” Intermarriage prohibitions have been legislated throughout the modern period and were still in the law books in the 1980s. Stories of black-white sexual and family relations have thus run against powerful social taboos. Yet much interracial literature has been written, and this book suggests its pervasiveness and offers new comparative and historical contexts for understanding it.

Looking at authors from Heliodorus, John Stedman, Buffon, Thomas Jefferson, Heinrich von Kleist, Victor Hugo, Aleksandr Sergeevic Puskin, and Hans Christian Andersen, to Lydia Maria Child, Harriet Beecher Stowe, William Wells Brown, Mark Twain, Charles Chesnutt, Kate Chopin, Cirilo Villaverde, Aluisio Azevedo, and Pauline Hopkins, and on to modern writers such as Langston Hughes, Jessie Fauset, Boris Vian, and William Faulkner, Sollors ranges across time, space, and cultures, analyzing scientific and legal works as well as poetry, fiction, and the visual arts, to explore the many themes and motifs interwoven throughout interracial literature. From the etymological origins of the term “race” to the cultural sources of the “Tragic Mulatto,” Sollors examines the recurrent images and ideas in this literature of love, family, and other relations between blacks, whites, and those of “mixed race.”

Sollors’ interdisciplinary explorations of literary themes yield many insights into the history and politics of “race,” and illuminate a new understanding of the relations between cultures through the focus on interracial exchanges. Neither Black Nor White Yet Both is vital reading for anyone who seeks to understand what has been written and said about “race,” and where interracial relations can go from here.

Table of Contents

• List of Illustrations
• Introduction:
• Black—White—Both—Neither—In-Between xv
• 1. Origins; or, Paradise Dawning 31
• 2. Natus Æthiopus/Natus Albus 48
• 3. The Curse of Ham; or, from “Generation” to “Race” 78
• 4. The Calculus of Color 112
• 5. The Bluish Tinge in the Halfmoon; or, Fingernails as a Racial Sign 142
• 6. Code Noir and Literature 162
• 7. Retellings: Mercenaries and Abolitionists 188
• 8. Excursus on the “Tragic Mulatto”; or, the Fate of a Stereotype 220
• 9. Passing; or, Sacrificing a Parvenu 246
• 10. Incest and Miscegenation 285
• Endings 336
• Appendix A: A Chronology of Interracial Literature 361
• Appendix B: Prohibitions of Interracial Marriage and Cohabitation 395
• Notes 411
• Selected Bibliography 523
• Index 561

Impossible Purities: Blackness, Femininity, and Victorian Culture

Duke University Press
1998
272 pages
13 b&w photographs
Cloth ISBN: 0-8223-2105-X, ISBN13: 978-0-8223-2105-7
Paperback ISBN: 0-8223-2120-3, ISBN13 978-0-8223-2120-0

Jennifer DeVere Brody, Professor, African and African American Studies
Duke University

Using black feminist theory and African American studies to read Victorian culture, Impossible Purities looks at the construction of “Englishness” as white, masculine, and pure and “Americanness” as black, feminine, and impure. Brody’s readings of Victorian novels, plays, paintings, and science fiction reveal the impossibility of purity and the inevitability of hybridity in representations of ethnicity, sexuality, gender, and race. She amasses a considerable amount of evidence to show that Victorian culture was bound inextricably to various forms and figures of blackness.

Opening with a reading of Daniel Defoe’s “A True-Born Englishman,” which posits the mixed origins of English identity, Brody goes on to analyze mulattas typified by Rhoda Swartz in William Thackeray’s Vanity Fair, whose mixed-race status reveals the “unseemly origins of English imperial power.” Examining Victorian stage productions from blackface minstrel shows to performances of The Octoroon and Uncle Tom’s Cabin, she explains how such productions depended upon feminized, “black” figures in order to reproduce Englishmen as masculine white subjects. She also discusses H. G. Wells’s The Island of Dr. Moreau in the context of debates about the “new woman,” slavery, and fears of the monstrous degeneration of English gentleman. Impossible Purities concludes with a discussion of Bram Stoker’s novella, “The Lair of the White Worm,” which brings together the book’s concerns with changing racial representations on both sides of the Atlantic.

This book will be of interest to scholars in Victorian studies, literary theory, African American studies, and cultural criticism.

Biracial Identity in the Media

Annual Meeting of the International Communication Association, TBA
Montreal, Quebec, Canada
2008-05-22
18 Pages

Iliana Rucker
University of New Mexico

Many scholars have studied racial representations and have determined that images of racial groups we see on television shape the way we view these racial groups (Gorham, 1999; Tamborini & Mastro, 2000). This paper looks at how biracial/multiracial characters in film are represented and the language or lack of language used in the representation. In this paper, I examine the language in the films Imitation of Life and Get on the Bus, particularly regarding the biracial characters and how this racially mixed representation is either silenced or given a voice. The importance of this topic lies in the influential aspect of media.  There are very few biracial characters in the media. Their race plays into the message that they are sending, and I am curious in seeing who has the power to name their identity.

Read the entire paper here.

Miscegenating the Discourse: Mixed Race Asian American Art and Literature

Jessica Hagedorn In Conversation with Wei Ming and Laura Kina
As part of The President’s Signature Series 2009-2010

2009-10-22 at 18:00 CDT (Local Time)
DePaul University Art Museum
2350 N Kenmore

This event is co-sponsored by Asian American Studies, The Cultural Center, English, The President’s Office of Institutional Diversity and Equity, OMSA, and The Women’s Center.

What does it mean to be a Mixed Asian American Writer/Artist?

Mixed Race Studies scholar Wei Ming Dariotis, Assistant Professor Asian American Studies San Francisco State University, and Laura Kina, DePaul University Associate Professor Art, Media, & Design, Vincent dePaul Professor & Director Asian American Studies, will take on identity, categorization, and issues specific to Asian American mixed heritage populations in their dialogue with award winning writer, screenwriter and performer, Jessica Hagedorn, author of Dogeaters, Dream Jungle, The Gangster of Love, Danger And Beauty, and editor of Charlie Chan Is Dead: An Anthology of Contemporary Asian American Fiction and Charlie Chan Is Dead 2: At Home in the World. Her next novel, Toxicology, will be published by Viking Penguin in 2011.

This event is free and open to the public.