Mixed Race Studies

Narrative Order, Racial Hierarchy, and “White” Discourse in James Weldon Johnson’s The Autobiography of an Ex-Colored Man and Along This Way

MELUS: Multi-Ethnic Literature of the U.S.
Volume 36, Number 3, Fall 2011
page 37-62
DOI: 10.1353/mel.2011.0041

Masami Sugimori, Instructor of English
University of South Alabama

African Americans became increasingly mobile during the early twentieth century, as exemplified by the Great Migration that began around 1910. Reflecting the general anxiety about such racial mobility, the March 2, 1911, issue of The Independent included an article about racial passing, “When Is a Caucasian Not a Caucasian?” Referring to the downfall of a “white” family whose part-black ancestry, unknown even to themselves, accidentally became public, the anonymous author discusses the “stupidity” and “cruelty” of the one-drop law and advises “all white negroes” to leave the South and live as “white people” so that, “as the bleaching process goes on, the conundrum will cease to concern them, When is a Caucasian not a Caucasian?” Despite the author’s insight into the precarious nature of racial categories, the article’s logic is predicated on the assumption of stable whiteness. On the one hand, along with its title, the article’s rhetorical question “Who knows where . . . it [the family’s tragedy] may strike next?” emphasizes that any white person can really be nonwhite. On the other hand, to highlight the “stupidity” and “cruelty” of white supremacy, the writer must posit an unquestionably pure-white man as the society’s representative. Thus, concerning the husband who annulled his marriage to an unwitting passer under Louisiana’s “infamous law against intermarriage,” the article states that “[t]here was no question that he was a full Caucasian” (479) despite its ongoing claim of the endless questionability of pure whiteness.

One finds such simultaneous refutation and affirmation of clear-cut racial classification in James Weldon Johnson’s novel about passing published a year later, The Autobiography of an Ex-Colored Man (1912). As Samira Kawash points out. the novel’s scrutiny of the racial binary even problematizes “the simple black passing for white’ logic of passing . . . and its attendant model of race as the expression of a prior, embodied identity,” so that the “Ex-Coloured Man’s relation to blackness is shown…

Science of desire: Race and representations of the Haitian revolution in the Atlantic world, 1790-1865

University of Notre Dame
July 2008
489 pages
Publication Number: AAT 3436234
ISBN: 9781124353197

Marlene Leydy Daut, Assistant Professor of English and Cultural Studies
Claremont Graduate University, Claremont, California

A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

This dissertation reads representations of the Haitian Revolution with and against the popular historical understanding of the events as the result of the influence of enlightenment philosophy or the Declaration of the Rights of Man on Toussaint L’Ouverture; or what I have called a “literacy narrative.” This understanding is most visible in texts such as C.L.R. James’s The Black Jacobins (1938) and reproduces the idea that Toussaint read Raynal’s Histoire des deux Indes (1772) and thus became aware that slavery was contrary to nature and was inspired to lead the revolt. Instead, I show how eighteenth- and nineteenth-century understandings of the Revolution were most often mediated through the discourse of scientific debates about racial miscegenation–an eighteenth- and nineteenth-century obsession with what happens when white people produce children with black people–making the Revolution the result of the desire for vengeance on the part of miscegenated figures, whose fathers refused to recognize or defend them, rather than a desire for the ideals of liberty and equality; or what I have called the “mulatto vengeance narrative.”

Chapter one examines the figure of the “tropical temptress” in the anonymously published epistolary romance La Mulâtre comme il y a beaucoup de blanches (1803). Chapter two takes a look at “evil/degenerate mulattoes” in Herman Melville’s “Benito Cereno” (1855) and Victor Hugo’s Bug-Jargal (1826). In chapter three I analyze the trope of the “tragic mulatto/a” in French abolitionist Alphonse de Lamartine’s verse drama Toussaint L’Ouverture (1850); the Louisiana born Victor Séjour’s short story, “The Mulatto” (1837); and Haitian author Eméric Bergeaud’s Stella (1859). Chapters four and five look at the image of the “inspired mulatto” in French novelist Alexandre Dumas’s adventure novel, Georges (1843); black American writer William Wells Brown’s abolitionist speech turned pamphlet, “St. Domingo; its Revolutions and its Patriots” (1854); and the Haitian poet and dramatist Pierre Faubert’s play, Ogé; ou le préjugé de couleur (1841; 1856). By insisting on a discourse of science as a way to understand these representations, I show how these texts contributed to the pervasive after-life of the Haitian Revolution in the nineteenth-century Atlantic World, on the one hand, but also created an entire vocabulary of desire with respect to miscegenation, revolution, and slavery, on the other.

CONTENTS

• Acknowledgments
• Introduction
  • Part 1: Mulatto Vengeance and the Haitian Revolution
  • Part 2: Literacy Narratives and the Haitian Revolution
  • Part 3: Notes on Terminology
• Chapter 1: Tropical Temptresses: Desire and Repulsion in Revolutionary Saint-Domingue
  • Part 1: The Color of Virtue
  • Part 2: Colonialism and Despotism
  • Part 3: Desire and Abolition
• Chapter 2: Black Son, White Father: Mulatto Vengeance and the Haitian Revolution in Victor Hugo’s Bug-Jargal and Herman Melville’s “Benito Cereno”
  • Part 1: Victor Hugo’s Parricide
  • Part 2: Melville’s “Usher of the Golden-Rod”
• Chapter 3: Between the Family and the Nation: Parricide and the Tragic Mulatto/a in 19th-century Fictions of the Haitian Revolution
  • Part 1: Séjour’s Oedipal Curse
  • Part 2: Toussaint’s Children
  • Part 3: Bergeaud’s Romantic Vision
• Chapter 4: The “Inspired Mulatto:” Enlightenment and Color Prejudice in the African Diaspoa
  • Part 1: Alexandre Dumas and the Haitian Revolution
  • Part 2: Economics and Civilization
  • Part 3: The “Never-to-be-forgiven course of the mulattoes”
• Chapter 5: “Let Us Be Humane After the Victory:” Pierre Faubert’s New Humanism
• Conclusion
• Works Cited

Purchase the dissertation here.

“Our Ancestors came from many Bloods”. Gendered Narrations of a Hybrid Nation

Lusotopie
Volume 12, Issue 1 (2005)
pages 217-232
DOI: 10.1163/176830805774719728

Isabel P.B. Fêo Rodrigues, Professor of Anthropology
University of Massachusetts, Dartmouth

Narratives of mixed ancestry in Cape Verde use gender as common denominator in the weaving of a Creole nation. These narratives may hide tensions, conflicts, and adversities, but they also contain elements of fusion and national cohesion. They are and have been gendered narratives, partial and selective of the elements of fusion substantiating and sustaining a Cape Verdean identity vis-à-vis the multiple symbolic and material challenges faced by this young post-colonial nation-state. In them, Cape Verde is portrayed as an exceptional African case with boundaries carved by the ocean, free from ethnic conflict, and without a pre-colonial past through which to filter present realities.

A Tangled Text: William Wells Brown’s Clotel (1853, 1860, 1864, 1867)

Wesleyan University
April 2009
104 pages

Samantha Marie Sommers

A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in English and the American Studies Program

Table of Contents

• Introduction
• A Canonical Misfire: The Trouble With “Firstness” for Brown and Clotel
• Capturing the Process: Clotel Makes [Its Own] Literary History
• A Close Reading of a Tangled Text
• Considering the Object: Reading Four Paratexts
  • Clotelle: A Tale of the Southern States
  • Clotel; or, The President’s Daughter
  • Miralda; or, The Beautiful Quadroon
  • Clotelle; or, The Colored Heroine
• Conclusion
• Works Cited and Consulted

Introduction

In 1853 William Wells Brown published Clotel; or, The President’s Daughter. This was the first of the four editions that comprise the first novel published by an African American writer. The story was based upon the popular rumor that Thomas Jefferson fathered several children with his slave mistress. Clotel follows the story of Jefferson’s lover Currer, their daughters, Clotel and Althesa, and their granddaughter, Mary, as these biracial characters live through and escape from slavery. This first Clotel was a hardcover edition published in London. From December 1860 to March 1861, a reconceived Clotel was published in Thomas Hamilton’s New York City newspaper The Weekly Anglo-African under a new title: Miralda; or, The Beautiful Quadroon. Much of the documentary style of the first edition was lost as Brown removed the numerous advertisements, newspaper accounts, poems, and other extra-narrative material contained in the 1853 Clotel. Importantly, Brown erases all references to Jefferson in this and the subsequent American volumes. In 1864 Clotel was again repackaged, this time for the American Civil War. Clotelle: A Tale of the Southern States was sold as part of James Redpath’s dime-novel series, “Books for the Camp Fires.” The text of this edition was nearly identical to Miralda, aside from several changes in characters’ names (including that of the eponymous heroine). Redpath directed the repackaging of the text, and he marketed the narrative as entertainment for the Union troops and their sympathizers. In 1867 Brown published Clotelle; or, The Colored Heroine, a final version of the novel, as an American hardcover edition with new chapters that offered an updated ending for the post-bellum audience. My view of the four editions as components of a larger Clotel project takes the study of Clotel in a new direction, examining the novel as a dynamic text captured in four volumes. Traditionally, the four editions have been viewed as a sequence that measures either Brown’s political softening in response to the demands of the American literary market, or Clotel’s movement away from the obscurity of its fragmented style toward the conventions of nineteenth-century domestic fiction.

I view the four Clotels as a tangled text that necessitates a relational reading across the editions. The task of my thesis is to demonstrate the efficacy of this method of reading by exploring the different historical and political factors that motivate each edition, addressing the disparities in the readerly experience of the four texts, and tracking the movement from one print form to another. Even in the most recent work on William Wells Brown, scholars persist with their provisional treatment of the three later editions of Clotel; most egregiously, Miralda is all but disregarded in any discussion of Clotel. My approach attempts to correct this partial view of the novel. Throughout this thesis I will distinguish the four editions by year (the 1853 Clotel, 1860 Clotel, 1864 Clotel, and 1867 Clotel) or by name (Clotel, Miralda, the Redpath Clotelle, and the 1867 Clotelle.) These two naming systems reflect the connection of the editions to one another as well as the distinctiveness of each volume. By referring to the collective work as the four Clotels I wish to emphasize my view that the editions are four parts of a single project.

I first encountered the four editions of Clotel in the fall of 2007. I read the 2004 Penguin edition for my American Studies junior colloquium: Literary Studies as American Studies with Professor Charles Baraw. This edition, edited by Maria Giulia Fabi, includes three appendices that reprint the endings from each subsequent edition of Clotel. In her notes, Fabi explains important aspects of the changes across the volumes including characters’ names, the serialization of Miralda, and the deletion of certain politically critical passages from the American editions. My interest in the four editions stemmed from a curiosity about the implications of transferring a single story across three distinct print formats: the book, the newspaper, and the pamphlet. Because I came to the text with a personal interest in book design and production, I wanted to consider the effect of the design of these versions on the reception of their changing narratives. I sensed an inherent paradox in the story of four discrete objects transmitting one author’s evolving narrative in a moment of perhaps the most profound transition in national ideology. In my final paper for the course, I argued that the close readings of (what I now know to be) the “paratexts” for the four Clotels offered a powerful literary and cultural critique of the novel and its place in nineteenth century publishing. Retrospectively, I see my first encounter with the four Clotels in a single paperback edition as an impetus for my questioning the inherent connection of the later editions to the 1853 edition. Even the perfunctory representation of the American editions in the 2004 Clotel encapsulates the trouble of their minority status in contemporary scholarship, that motivates much of the work in this thesis.

My initial paper on Clotel did not resolve the relationship of the four texts to one another, but the practice of considering the four editions as elements of material culture informed the argument of this thesis: William Wells Brown’s novel Clotel is a four-volume text that must be read relationally and with attention to the materiality of each edition. It is worthwhile to study Clotel as a pamphlet, but when we can study it as a pamphlet that was once serialized in a newspaper and later became a hardcover book, we see the dynamic nature of the text. It is only when we consider four editions equally and relationally that we see how Clotel is inimitable as much for its multi-dimensionality as it is for its historical significance. By calling for this dynamic method of reading, the novel challenges our current methods for historicizing literary texts. I seek to contest the convention of canonizing a single edition of Clotel. We must abandon our reliance on the 1853 edition for critical analysis and our tendency to perform a cursory reading of the later editions of the novel. These practices cannot fully attend to the evolutionary nature of Clotel as a text that responds to four distinct historical moments, nor to the changing political motivations of a single author. We must instead read Clotel as what it truly is: a tangled text…

Read the entire thesis here.

Defining Mixed Race on Television: an Analysis of Barack Obama and Saturday Night Live

California State University, Sacramento
Fall 2011
109 pages

Amanda Joy Davis

THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in COMMUNICATION STUDIES

This study uses a semiotic approach to textual analysis to examine social constructions of Barack Obama’s race in televised sketch comedy to discover how this construction contributes to the process of hegemony regarding society’s treatment of mixed race. Polysemy will be explored as a key contributing factor. The television program chosen for this study is Saturday Night Live (SNL); the program will be examined for visual and linguistic references to Obama and mixed race. The absence of mixed race references will also be analyzed for their contribution to the show’s overall message. This study argues that while SNL mentions mixed race, it ultimately adds to the hegemonic treatment of mixed race individuals. That is, it identifies Obama as monoracial, ignoring his mixed race heritage in favor of a neat, pre-existing category. While SNL had the opportunity to step outside of the typical dismissal of mixed race and defend their choice of actor to portray Obama, and refer to him as mixed race on a consistent basis, they opted instead to categorize him as monoracial. In doing so, SNL upholds the silent treatment given to the mixed race community, forcing a monoracial identification based on appearance, a hegemonic course of action.

Read the entire thesis here.

Eurasian Women as Tawa’if Singers and Recording Artists: Entertainment and Identity-making in Colonial India

African and Asian Studies
Volume 8, Issue 3 (2009)
pages 268-287
DOI: 10.1163/156921009X458118

Shweta Sachdeva Jha, Assistant Professor of English
Miranda House, University College for Women, University of Delhi

Scholarship on Eurasians has often addressed issues of migration, collective identity and debates around home. Women performers however do not find themselves discussed in these histories of Eurasian peoples in India. This paper aims to account for individual agency in shaping one’s identity within the meta-narratives of collective identity of migrant peoples. I focus on two Eurasian women entertainers in the colonial cities of Benares and Calcutta who chose to forget their mixed-race past to fashion successful careers using new identities as tawa’if singers and actors in the late nineteenth and early twentieth centuries. This, I shall argue, was possible within the wider context of emergent colonial modernities in colonial India. By choosing micro-level case histories of these celebrity entertainers, I want to argue for including popular culture as an arena of identity-making within histories of migration and gender. To engage with popular culture, I shall extend our perception of historical ‘archive’ to include a varied set of materials such as biographical anecdotes, discographies, songbooks, and address the fields of poetry, music and history. Through this project I hope to rethink ideas of gender, culture and agency within wider debates of migration and identity-making.

Traveling with Her Mother’s Tastes: The Negotiation of Gender, Race, and Location in “Wonderful Adventures of Mrs. Seacole in Many Lands”

Signs
Volume 26, Number 4, Globalization and Gender (Summer, 2001)
pages 949-981

Sandra Gunning, Professor of English, Afroamerican and African Studies and Women’s Studies
University of Michigan

The autobiography Wonderful Adventuers of Mrs. Seacole in Many Lands ([1857] 1984) by) Jamaican mixed-race “Creole” Mary Jane Grant Seacole (1805-81) reveals a great deal about the complex interplay in the nineteenth century between gendered mobility, black diaspora identity, colonial power, and transnational circularity. As a black entrepreneur and “doctress” who ran combination lodging houses and taverns in the Caribbean and Central America, Seacole relocated midcareer to Turkey during the Crimean War (1854-56) to service the needs of English soldiers on the battlefield. After losing her business when the war ended sooner than expected, she settled in England and attempted to recover from bankruptcy…

Creole Performance in Wonderful Adventures of Mrs. Seacole in Many Lands

Gender & History
Volume 15, Issue 3, November 2003
pages 487–506
DOI: 10.1111/j.0953-5233.2003.00317.x

Rhonda Frederick, Associate Professor of African & African Diaspora Studies Program
Boston College

Mary Seacole’s autobiography has been read as a feminist performance as well as a paradigmatic Victorian travel narrative. While these assessments address important aspects of the memoir, neither affords the author’s Jamaicanness significant space in its analysis. This essay addresses the silences left when Wonderful Adventures is removed from its Jamaican context, then offers a reading of it from this perspective. Grounded in histories that document nineteenth-century Jamaican social categories, the article analyses Seacole’s book using Caribbean literary perspectives that explore raced, ‘coloured’ and geographically-located identities. The result is an interpretation of the memoir that offers insight into Jamaica’s Creole population, its status and colour politics, and identity concerns. All have been expertly shaped by Seacole’s rhetorical manoeuvres.

Read or purchase the article here.

The idea of nature in “Benito Cereno.”

Studies in Short Fiction
Spring, 1993

Terry J. Martin

Although many critics have analyzed specific natural images in Melville’s Benito Cereno, no one has yet focused exclusively on the role of nature in the novella, nor looked fully at its problematic relation to Delano. Such an examination can both reveal much about Melville’s artistry and enhance our understanding of the protagonist’s special kind of self-delusion. Midway through the novella, Delano performs an act that is at once typical and revelatory of his ideology: overwhelmed by fears for his life and doubts about providence, he turns to nature for reassurance:

As [Delano] saw the benign aspect of nature, taking her innocent repose in the evening, the screened sun in the quiet camp of the west shining out like the mild light from Abraham’s tent–as charmed eye and ear took in all these, with the chained figure of the black, clenched jaw and hand relaxed. (96-97).

The personal qualities that Delano attributes to nature (i.e., its “benign[ity]” and “innocen[ce]”), together with the religious associations that the sight evokes, reveal a kind of Emersonian belief in the transcendent goodness and moral providence of nature. It is, in other words, God’s benignity that Delano sees suffused throughout the scene. Delano is not a thoroughgoing pantheist; he retains the idea of a personal God, noticeable especially when he later declares, “There is someone above” (77). Nevertheless, for Delano, just as for Emerson, this transcendent spirit is shadowed forth in phenomenal nature, and Delano would no doubt agree with Emerson that “particular natural facts are symbols of particular spiritual facts” (13). This belief in effect turns nature into a vast allegory of the divine spirit. For Delano, the mere appearance of benignity in nature warrants belief in the transcendent reality of benignity…

…Delano’s belief that nature possesses a transcendent moral order legitimates for him the interpretation of natural signs. To be sure, Delano’s behavior is no different from that of most of his contemporaries when he interprets, for example, the color of skin according to this ideal order. If all things signify. then surely white, being the opposite of black, must entail different spiritual characteristics as well. Indeed, Delano has only to look to nature” to find objective corroboration for his belief that whites are “by nature . . . the shrewder race” (75) and therefore naturally superior to blacks: the (apparent) dominance of the whites and servitude of the blacks on the San Dominick offers sufficient proof of Delano’s premise. But Delano has also observed what he takes to be the evident inferiority even of free blacks at home. Blacks have presented themselves as “good-humor[ed],” “easy,” “cheerful,” and “harmonious in every glance and gesture; as though God had set the whole negro to some pleasant tune” (83). They are, he thinks, fit “for avocations about one’s person,” like “natural valets and hair-dressers; taking to the comb and brush congenially as to the castanets, and flourishing them apparently with almost equal satisfaction” (83). Furthermore, blacks are, in Delano’s view, exempt “from the inflicted sourness of the morbid or cynical mind” (84). However, he also deems them essentially “stupid” (75), displaying the “docility arising from the unaspiring contentment of a limited mind, and that susceptibility of blind attachment sometimes inhering in indisputable inferiors” (84). For Delano, skin color is simply the seal that providence uses to stamp inferior goods.

Of course, who knows what happens when the races are “unnaturally” mixed? Delano conjectures about the effect: “It were strange, indeed, and not very creditable to us white-skins, if a little of our blood mixed with the African’s, should, far from improving the latter’s quality, have the sad effect of pouring vitriolic acid into black broth; improving the hue, perhaps, but not the wholesomeness’ (89). It will be seen from this that the racially crossed offspring are at a distinct disadvantage in Delano’s world, in which natural signs correlate with spiritual identity, because their identities are as uncertain as the effect of mingled magic potions. In fact, the mulatto represents a special semiotic problem for Delano precisely because the mulatto is neither black nor white and is hence unable to be interpreted with any degree of certainty. Delano is therefore even willing to consider the possibility that a mulatto with a regular European face is a devil (89). After all, a belief in the inherent allegorical qualities of matter requires that the mulatto be something less than white but greater than black, and devilishness at least presupposes intelligence gone astray…

Read the entire article here.

‘Perpetual others’: The role of culture, race, and nation in the formation of a mixed-race identity

University of Minnesota
June 2004
275 pages
Publication Number: AAT 3149283
ISBN: 9780496086603

Jacquetta Elizabeth Amdahl

A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY

The insistence upon a racial identity for multiracial blacks that is not singularly African American has been problematic throughout American history. The link between a racial identity that publicly acknowledges one’s ties to the African American community and the private ownership of one’s complete ancestry has been one that has been consistently tenuous for blacks of multiracial heritage. However, the first generation of openly multiracial African American artists have utilized their visibility in popular culture, as well as work they do within it, as spaces in which to forcefully assert this link. By consciously embracing and cultivating both public and private racial identities, they have distinguished themselves from the postracialist and even anti-black sentiments espoused by leaders and scholars within the Multiracial Category Movement (MCM).

This project explores the links between cultural expression, racial formation, and political agency through the investigation of the public lives and artistic expression of multiracial artists born between 1964 and 1970. These individuals were chosen because of their proximity to the Loving v. Virginia decision that overturned anti-miscegenation statutes. They are the first generation of officially recognized multiracial African Americans.

The project further examines the links between gender and race in representations of multiracial African Americans, as well as the history of the mixed race black population, and finally, the rise of the Multiracial Category Movement, and multiracial studies. Through these explorations, the inherently political nature of race is uncovered, and the public nature of racial identity is revealed. Finally, it concludes that the need for a fluid and expanded notion of African American identity, rather than the broadening of the definitions of whiteness, is the necessary answer to questions surrounding multiracial African American identities.

TABLE OF CONTENTS

• Introduction: From African American to Multiracial? Racial Identity and Public Discourse
• Chapter 1: Reports from the ‘Third Space’: The Music and Visual Presence of Mixed Race Artists in Popular Culture
  • The Hughes Brothers
  • Lenny Kravitz
  • Vin Diesel
• Chapter 2:From Tragic Mulatto to Erotically Autonomous Black Woman: Halle Berry’s Journey to Monster’s Ball
• Chapter 3: From Blue Vein Societies to Black Power: The ‘Mulatto Elite’ and the Black/White Binary
  • The Beginnings of Separate but Equal
  • The New Negro
  • The Quest to Solve the ‘American Dilemma’
• Chapter 4: Beyond the Private Realm: The Multiracialist Struggle with Public Racial Identities
  • The Multiracial Category Movement (MCM)
  • Multiracial Studies
  • Postracialists
  • Critical Scholarship lhat Explores Multiracial Issues
• Epilogue: Still ‘A Family Affair’: Implications of a Multiracial African American Identity

Purchase the dissertation here.