Mixed Race Studies

Writing Reconstruction: Racial Fluidity and National Reunion in A Romance of the Republic

ESQ: A Journal of the American Renaissance
Volume 61, Number 4, 2015 (No. 241 O.S.)
pages 631-666
DOI: 10.1353/esq.2015.0017

Lori Robison, Associate Professor of English
University of North Dakota

Speaking to a nation traumatized by the divisive war and anxious to find reunification, Lydia Maria Child, with her 1867 novel A Romance of the Republic, presents a portrait of a new national family that transcends the narrow racial and regional identifications of the antebellum past. Carolyn Karcher, Child’s biographer, notes that the novel was very consciously written to address the contemporary challenges of Reconstruction: “Written against the backdrop of the betrayal Johnson was engineering of all the promises the war had seemingly endorsed—genuine emancipation for African Americans; recognition of the indispensable role they had played as soldiers, spies, and auxiliaries; and their incorporation as equal citizens into a truly reconstructed Union—A Romance of the Republic insistently rehearses the history that its white audience was so rapidly forgetting.” This characterization of Child’s motivations for writing the novel hints at its complex rhetorical situation: the novel delves back into the recent, pre-war past to revisit the arguments against slavery, as a means of making the case for more progressive Reconstruction policies in the present and future. Worried, rightfully, that Reconstruction would undo the potential that emancipation had brought for a more egalitarian society, Child faced a contradictory writing task: she needed to represent a future in which the national “house divided” has been re-united while, simultaneously, not letting her readers forget the national divisiveness created by slavery in the recent past.

It is these contradictory tasks, I believe, that led Child to choose the sentimental romance as the genre through which to write this early novel of Reconstruction. To address the threat of cultural amnesia, the novel, which is set almost entirely in the antebellum period, uses appeals to sympathy to undermine slavery—just as do Child’s earlier abolitionist texts. Yet to also avoid entrenching resistant readers in the past, the novel, at the same time, uses the romance’s insistence on union to represent a more promising future. Conflating domestic union with national (re)union (a conflation signaled by the novel’s title), Child gives her readers a means of imagining a new post-war nation. The novel’s final scenes take place in the days following the end of the Civil War and it is in these final pages that the “republic” of the title is imagined in the new domestic space that heroines Rosa and Flora have achieved for themselves. Though it does not end with a wedding, the novel nonetheless does end like the traditional romance plot, with the promise of a new, united family and continuing, utopian domesticity.

Rhetorically, then, Child’s choice of genre makes a great deal of sense. My interest, however, in exploring A Romance of the Republic is to better understand how the literature of Reconstruction—even those texts with very progressive politics—would ultimately pave the way for the pro-Confederate romances that became so popular by the turn of the century. Post-Reconstruction literary representations of the regional and racial politics of national reunification came increasingly to be lodged in the genre of the sentimental romance. Published early in Reconstruction, A Romance of the Republic initiates this trend, largely because of its transitional status as an abolitionist text addressing post-abolition issues. As June Howard reminds us, “empathy and sympathy have different politics at different moments, and at any given moment are likely to have mixed and complicated politics,” and A Romance uses many of the rhetorical strategies that Child and other abolitionists had used so effectively in the fight against slavery, although the post-war fight for racial equality had very different political stakes. The hallmarks of the sentimental romance, sympathetic connection built through an appeal to union and family, effectively undermined slavery by asserting the humanity of those who had been enslaved. However, this sympathetic appeal also, I believe, worked to fix identities at a time in which our understanding of racial and national identities could have been more fluid and thus could have developed quite differently than they did. In…

The link between “tourism” and “settler colonialism” in Hawai’i

Matador Network
2015-07-29

Bani Amor

Maile Arvin is a Native Hawaiian feminist scholar who writes about Native feminist theories, settler colonialism, decolonization, and race and science in Hawai‘i and the broader Pacific. She is currently a University of California President’s Postdoctoral Fellow in Ethnic Studies at UCR and will be officially joining the department as an assistant professor in July. She is part of the Critical Ethnic Studies Association working group and a member of Hinemoana of Turtle Island, a Pacific Islander feminist group of activists, poets, and scholars located in California and Oregon. You can find some of her academic writing here.

Bani Amor: Tell us about yourself, the work that you do, and how your identities play into that work.

Maile Arvin: So I’m Native Hawaiian, and my family is from Waimanalo, a small town on the windward side of O’ahu. I’m an academic – I research and teach about race and indigeneity in Hawai’i, the larger Pacific and elsewhere. Being Native Hawaiian grounds my work, motivates me to write about Native Hawaiian lives and histories in complicated, respectful ways.

One of my current projects is working with Hinemoana of Turtle Island, a group of Native Hawaiian and other Pacific Islander feminist women, many of whom are also academics but also poets, activists, artists. We support each other in the academic world and are accountable to each other. We talk to each other a lot about current issues that affect Pacific Islanders, usually in news that erases the existence of Indigenous Pacific Islanders altogether, and sometimes write up responses on our blog, muliwai. We’re currently working on a response to the movie Aloha. Or maybe more about the criticism of the movie that is entirely focused on Emma Stone’s casting.

Bani Amor: Word. That leads me to my next question: I often find that travel media and tourism are complicit in settler colonialism, in that it still purports an archaic, false image of indigenous peoples as smiling caricatures who are ready, willing and able to serve at the beck and call of the (white) tourist. Any idea why this is especially the case for Hawai’i?

Maile Arvin: For Hawai’i, because it is actually a U.S. state, there is this incredible sense of entitlement that white Americans in particular feel to being at home in Hawai’i. Since World War II in particular, and the Japanese bombing of Pearl Harbor, there was this narrative of Hawai’i as being the place that militarily makes the rest of the U.S. safe. And along with that, there is also a need to justify and naturalize U.S. military occupation of these islands that are over 2000 miles away from the U.S. continent. So Hawai’i becomes this feminine place in need of the masculine U.S. military to safeguard both Hawai’i and the rest of the U.S. And Native Hawaiian women in particular become these symbols of a happy, paradisical place, a place where white military men will have fun, will get their own Native Hawaiian girl…

Read the entire interview here.

Analogizing Interracial and Same-Sex Marriage

Philosophy and Rhetoric
Volume 48, Number 4, 2015
pages 561-582

Isaac West, Associate Professor of Communication Studies
Vanderbilt University, Nashville, Tennessee

“Like race” analogies have been critiqued from various perspectives, and this article enters that conversation to engage those criticisms from a rhetorical perspective. In short, this article makes a case for resisting proscriptive judgments about these analogies until they have been contextualized and afforded their complexity as rhetorical figures. A rhetorical perspective of analogies engages them not as truth statements or as part of propositional logic (a monological view of communication) but instead as invitations to explore similar sets of relationships that are qualified through continued dialogue (a dialogical view of communication). Through a case study of a highly recirculated issue of the Advocate, this essay demonstrates the productive possibilities and limitations of analogical reasoning.

Read or purchase the article here.

Sock and Buskin’s new production combines history and mysticism

The Brown Daily Herald
Providence, Rhode Island
2015-11-16

Jennifer Shook, Staff Writer

‘The Road Weeps, The Well Runs Dry’ examines journey of Black Seminoles to Oklahoma

In Sock and Buskin’s newest production “The Road Weeps, The Well Runs Dry,” legend and history come together to present a portrait of mid-19th-century life from a segment of the American population not usually depicted: the Black Seminoles, a group of black and Native American people.

Written by Marcus Gardley, assistant professor in playwriting, and directed by Kym Moore, associate professor of theatre arts and performance studies, “The Road Weeps, The Well Runs Dry” follows a community of Black Seminoles forced to relocate from Florida to Oklahoma on the Trail of Tears. There, they create a new community and culture that is entirely their own while struggling with their racial and cultural histories. The Black Seminoles also face continued rivalries both within their community and with the neighboring Creek tribe. While the play depicts the plight of the diverse Seminole community, it also incorporates a mystical undercurrent that allows for a more metaphorical interpretation of its larger themes…

Read the entire article here.

Interview With Sharon H. Chang on Raising Mixed Race

Hapa Mama: Asian Fusion Family and Food
2015-12-07

Grace Hwang Lynch (HapaMama)

I’ve been reading a new book by Sharon H. Chang called Raising Mixed Race. You might remember Sharon, a Seattle-based writer and scholar, from her guest post A Multiracial Asian Mom Wonders How Her Son Will See Himself (Routledge 2015). With chapter titles that are analogies to home construction (Foundation, Framing, Wiring, etc.), the book aims to get to the historical ideas behind the way we talk about race, including the concept of mixed race identity. I was especially interested because the research focuses specifically on Asian multiracials. Recently, I had a chance to interview Sharon about her work. Read on…

HapaMama: First of all, tell us a little bit about yourself, how the idea for Raising Mixed Race: Multiracial Asian Children in a Post-Racial World came about and the process of researching and writing it.

Sharon H. Chang: I’ve worked with families and children for over a decade in various capacities: as a teacher, parent educator, administrator, school owner, etc. I hold a Master’s degree in Human Development with an Early Childhood Specialization and Raising Mixed Race actually grew out of my Master’s thesis. At the time I had just had my son and was struggling to find resources that would support our mixed race family. Frustrated beyond belief (particularly since I thought things would have changed by now) I finally decided to head into the field and conduct research myself. I interviewed 68 parents of 75 young multiracial Asian children around questions of race, racism and identity. I then compiled and analyzed those interviews, about 800 pages of transcripts, while simultaneously researching critical mixed race studies. Several years later I am at last thrilled to debut the book we are about to see today…

Read the entire interview here.

Third film festival

La Voz News: The voice of De Anza College since 1967
Cupertino, California
2015-10-22

Bojana Cvijic, Staff Writer

De Anza students saw the Lacey Schwartz’s film “Little White Lie” and had a discussion about race and identity issues during the Third Film Festival on Oct. 15 at Euphrat Museum.

Members of the Black Leadership Collective chose the film, discussion questions and overall theme for the festival.

“This is all the students work,” said Julie Lewis, Department Chair of African American Studies, advisor to the Black Leadership Collective, and coordinator for the festival.

The framework for the festival correlated with the Euphrat museum’s ongoing exhibition “Endangered” which also touches on social justice issues.

“Some of the themes that they’ll be talking about is identity, what does it mean to be of a particular identity, who makes those rules, in particular around race, which is a socially constructed concept yet has very real world and lasting implications,” Lewis said before the event….

Read the entire article here.

In Rachel Dolezal’s Skin

Broadly
VICE’s Women’s Interest Channel
2015-12-07

Mitchell Sunderland, Managing Editor

Photos by Amy Lombard

In an exclusive interview, Rachel Dolezal discusses growing up on a Christian homestead, painting her face different colors as a child, and why she’s naming her new baby after Langston Hughes.

On a gloomy Saturday night in Spokane, WA, roughly a dozen people gather in the penthouse suite of the Davenport Grand Hotel for Rachel Dolezal’s baby shower. Hip-hop and jazz play on a flat-screen TV, and paper yellow duckies hang on the silver walls. While Rachel’s 21-year-old adopted son Izaiah pops a bottle of champagne, Rachel’s friends—her ex-boyfriend Charles Miller and several women—eat croissant sandwiches on disposable plastic plates. The women vary in age and race (there’s nearly an equal number of black and white guests), but when I ask them how they know Rachel, most give the same answer: “She does my hair.”

Rachel does her own hair, too. Today, she wears a black weave. “In the winter I like to have [a weave] because you don’t have to wear a hat,” she explains. “In the summer I like to wear braids and dreads—that’s just me.” The women’s conversations, though, aren’t about hair and instead revolve around the baby. An hour into the party, Rachel’s friend passes out pieces of paper for a “baby pool.” She asks the partygoers to predict the baby’s “weight, birthday, and gender.” There’s not an option for race. It’s undoubtedly a sensitive topic in this room, but no less a loaded one. After all, much of Rachel’s story is hinged on the concept that, like gender, race is a social construct…

Read the entire interview here.

Maya Rudolph: ‘I’m not a woman in comedy. I’m a comedian’

The Guardian
2015-12-05

Tom Lamont

She’s been a Saturday Night Live regular for years, with her hilarious celebrity send-ups, and she hit the global bigtime as the bride in Bridesmaids. So why is Maya Rudolph now playing nasty?

Inside a hot studio, on a hot day in Los Angeles, Maya Rudolph is being photographed in a dress that’s luxurious and snazzy but doesn’t breathe so well. She manages her discomfort by changing voices and pulling faces – by slipping in and out of other people’s skins. Now she’s a 40s movie star, slurring vowels and giving sidelong glances. Now she’s Jamaican: “My hair is turning electric, mun.” For a while she’s Maya Rudolph – 43-year-old actor, comedian, Californian – and then she’s Texan, brassy… Beyoncé! “I need some more booty room in this dress.” As the shoot winds down, Rudolph lies on a sofa and silently channels Burt Reynolds. She says she has a particular image of Burt in mind, one from the 70s in which he posed nude for Cosmopolitan on a bearskin rug. Watching on from a corner of the studio, I call up the picture on my phone, for comparison. Nailed it…

…Rudolph had an uncommon upbringing. Her mother was the African American singer Minnie Riperton. In 1975, three years after Rudolph was born, Riperton had a worldwide hit with a ballad called Lovin’ You (“Is easy cause you’re beautiful”). Her father played guitar for his wife on the road, and the Rudolph-Ripertons would tour the country together. Some of Rudolph’s earliest memories are of watching her mother from the wings of shows, or of sleeping in creepy hotels. One year, she lost a tooth, when the family were gigging through casino territory, and she woke up to find a poker chip under her pillow…

Read the entire article here.

Let’s Talk Internalised Racism

Zusterschap: A blog for women who want to challenge social norms.
November 2015

Nicola Codner
Leeds, Yorkshire, United Kingdom

All women have to check themselves for internalized misogyny because we live in a patriarchal society. Similarly, all people of colour have to check themselves for internalised racism due to living in a structurally racist society. While looking at internalised misogyny can be difficult, as a woman of colour I’ve noticed I find it much harder to talk about internalised racism – something about it feels more painful and taboo.

I’m scared of being judged about it by white people and people of colour and I feel ashamed of it in a way I don’t about internalised misogyny. I think this may be to do with the level of dehumanisation the black race has faced through slavery and colonisation so maybe there is something protective there about wanting to avoid the hurt that can come with digging up the topic. It’s quite possible after all that my Jamaican ancestors were slaves as Jamaica was a country which was colonised by the British. Also, I feel more vulnerable as a person of colour discussing internalised racism because I’m in a minority and minorities have to be strong in many ways to survive; it’s not easy to show how we’ve been wounded when we can feel precarious in society anyway. I think for many, part of the issue is not having the vocabulary to discuss the problem. In fact, I only learned the phrase ‘internalised racism’ a few years ago…

…As I got older I did start to accept my identity more – or at least I thought I did. I experienced more subtle racial oppression in upper school which centred mainly round my hair and sometimes my mixed race identity specifically. Some of this bullying came from not just white students but black students too. The stereotype that mixed race kids are cute and special in some way possibly buffered me from some suffering but I did not fit the stereotype of being mixed race and attractive. I had big frizzy hair, braces, glasses and my features were seen as more typically ‘black.’ Eventually, as a young woman, I ditched my glasses and braces and I managed to fit the stereotype of being mixed race and attractive more comfortably. However, what many people don’t realise is that if you embrace that stereotype to prop up your self-esteem in the face of racism it can have a nasty fallout for you. I know this because after years of hating my appearance and thinking I was ugly it seemed quite appealing to buy into the idea that being mixed race was somehow intrinsically beautiful…

Read the entire article here.

The Dougla View: The Taye Diggs Mixed Son Controversy

Just Analise: Exploring and Embracing Authenticity in Life, Culture + Business
2015-12-06

Analise Kandasammy

In case you missed it, about a month ago, African-American actor, Taye Diggs caused an uproar all over cyberspace when during an interview he explained how he would hate for his son to be confused about his racial identity, since people would consider him black and not black and white. That omission would deny his son his mother’s racial identity, Diggs argued.

To which I say…

Read the entire article here.