Mixed Race Studies

Keeping Pictures, Keeping House: Harriet and Louisa Jacobs, Fanny Fern, and the Unverifiable History of Seeing the Mulatta

ESQ: A Journal of the American Renaissance
Volume 59, Number 2, 2013 (No. 231 O.S.)
pages 262-290
DOI: 10.1353/esq.2013.0022

Michael A. Chaney, Associate Professor of English
Dartmouth College

Daguerreotype of Louise Jacobs. From the Fanny Fern and Ethel Parton Papers, 1805-1982, courtesy of the Sophia Smith Collection, Smith College.

Tucked away in Box Three, Folder Thirteen of the Fanny Fern papers held at Smith College is a daguerreotype of a subject officially designated as an unidentified woman. The represented figure does not stand out among the dozen or so other daguerreotypes in the collection. If, as Shawn Michelle Smith has argued, nineteenth-century “photography was used to locate individual bodies within a genealogy of familial hereditary traits and racial characteristics,” this image works post facto to produce a similar effect. Little distinguishes the faded propriety of this young woman seated in an anonymous interior from the other girls in Fern’s collection, such as her daughters Grace and Ellen Eldredge. What does distinguish the photograph, beyond its contents, is the oddity of its existence in the collection. The fact that there is a stray photo at all is curious in a collection so selectively devoted to so few subjects. Indeed, Grace Eldredge alone accounts for nearly half of the dozen subjects pictured, while her father Charles (Fern’s first husband) accounts for three.

A note in the finding aid identifies the sitter as Louisa Jacobs, Harriet Jacobs’s quadroon daughter. That the subject could be Louisa is supported by certain historical “facts” —Jacobs and her white-looking daughter spent time in Fern’s household. But on the other side of this notion of history as a set of verifiable facts is the regime of affect and feeling that surrounds the mulatta, a fascination that pervaded nineteenth-century American culture and the literature it produced. It is only with reluctance while scrutinizing the unidentifiable young woman that one dispels that urge so often discussed in nineteenth-century tragic mulatta narratives to discern traces of African heritage. Putting aside the possibilities that this is not a picture of Jacobs, we are still left to wonder what secret intimacy warrants the inclusion of this unidentified woman in such a closed gallery. As intertext, the image provides a different type of evidence—a suggestive form of evidence—for the rhetorical and psycho-social, if not historical, actualities that circumscribe Fern and Jacobs. These actualities cohere within a discourse of domesticity and the enclosed scenes that that discourse entails, which play out in gaps and silences behind history’s closed doors.

We need not confirm the identity of the photographed subject in order to use the association of sitter and image as an occasion to interrogate the bonds of affiliation that connect Harriet and Louisa Jacobs to Fanny Fern (a.k.a. Sara Willis). It is the burden of this essay to take up these speculations. The method behind such speculation requires a form of “creative hearing” that William L. Andrews advocates for reading slave narratives. To dwell in the seams, gaps, and cuts—those unspeakable or unknowable blind spots that frame the image—it is necessary that we employ a mode of creative seeing. As with Andrews’s formulation, what is seen is less a fiction invented by the critic than a textual provocation—a call to which we are solicited to respond. Accordingly, as we dwell in the fold where the material and the speculative collapse, possibilities emerge for rethinking sentimentalism and its attendant scripts of race, gender, authorship, and domestic labor.

Creative Seeing: An Analysis of the Unverifiable Photograph

The unidentified daguerreotype exists at the threshold of the speculative and the material. To explain, let us begin with the material dimension of the image, which is the same for any daguerreotype. The material daguerreotype is an artifact of a densely contextualized historical archive, in this case, one that subtends the life of Fanny Fern, her family and private life as well as her literary career as a connoisseur of affect. The speculative dimension of the image, which we shall employ in our creative seeing, derives from the conditions of possibility that enclose the subject. We can never know if this is indeed a photograph of Louisa Jacobs; nevertheless, clues in the archive invite speculation beyond the facts supported by conventional approaches to biographical evidence. Indeed…

A Tale of Two Seminole Counties

Indian Voices
August 2013
page 7

Phil Fixico

Some coincidences can’t be ignored, like February the 26th, in both Florida’s and Oklahoma’s Seminole Counties. What does this date and these counties have in common. Trayvon Martin was killed on February 26th, 2012, in Seminole County, Florida. He was born on Feb. 5th, 1995, not in Seminole County, but that, is where his young life would tragically be ended.

My grandfather Pompey Bruner Fixico, on Feb. 14th, 1894, a hundred and one years before Trayvon’s birth, was born in Seminole County, Oklahoma. Eighty-seven years before Trayvon Martin’s death at the hands of an armed killer, who felt entitled to take Trayvon’s life, a similar scenario would end Pompey Bruner Fixico’s life on Feb. 26th, 1925, by someone else, who also didn’t hesitate. Pompey was a good deal older than Trayvon, he was 31 yrs. old and a WW1 Vet who had served his country in France during the War. He left a wife and four children, all younger than Trayvon’s 17 years, who by many, would be considered a child in a young man’s body. Pompey’s death took place, not far from the site of the “worst racial violence in American History”, “The Tulsa Race Riot”. The Riot had occurred 4 years earlier in 1921. Pompey Bruner’s (his father was Caesar Bruner) Draft Registration Card lists, his place of employment, in 1917, as the Brady Hotel, in Tulsa, Ok. It was owned by Mr. Tate Brady, the Grand Wizard of Oklahoma’s Ku Klux Klan, in that area. Grand Wizard Brady was reported to have had a hand in the, “Tulsa Race Riot”…

Read the entire article here.

How my white mother shaped me into a black man

Melissa Harris-Perry
MSNBC
2013-08-13

Albert L. Butler, Radio Host
900 AM WURD, Philadelphia

I am an avid watcher of Melissa Harris-Perry, so I was not at all surprised–and was quite pleased–when host Melissa Harris-Perry tackled the subject of white mothers raising black boys in America in the wake of the George Zimmerman verdict. Prior to turning to her panel, the professor reminisced about her white mother offering a relevant (yet often overlooked) point that white mothers of black boys are confronted by the same realities as black mothers.

As the segment continued, I found myself nodding in agreement as the panel of mothers discussed how important it was to talk about race, discrimination, and culture with their black children. I know firsthand how important this is; I am the black son of a white mother, and my mom made sure she addressed those issues in various ways from my early childhood to my early adulthood. Even now, as I stretch across the 40-year-old threshold, we still discuss all of it. Her choices, in very large measure, empowered me to be the strong, confident black man that I am today…

Read the entire article here.

Alien Citizen, The Play

World Premier at the Asylum Lab
1078 Lillian Way
Hollywood, California 90038
Fridays & Saturdays @ 20:00 PDT (Local Time)
Preview May 3, 2013, Opens May 4 – June 1

Written and performed by Elizabeth Liang
Directed by Sofie Calderon
Associate Produced by Richard Lee, Karen Smith, and Wendy Belcher
Co-produced by Leila Ciszewski
Stage Managed by Michelle Hilyard
House Managed by Charls Sedgwick Hall and Kate Huffman
Lighting & Projection Design by Matt Richter
Sound Design by Dennis Yen
Graphic and Program Design by Gene Michael Barrera

Presented by HapaLis Productions in association with Multiracial Americans of Southern California (MASC)

Who are you when you’re from everywhere and nowhere? Alien Citizen is a funny and poignant one-woman show about growing up as a dual citizen of mixed heritage in Central America, North Africa, the Middle East, and New England.

Elizabeth Liang, like President Obama, is a Third Culture Kid or a TCK. Third Culture Kids are the children of international business people, global educators, diplomats, missionaries, and the military — anyone whose family has relocated overseas because of a job placement. Liang weaves humorous stories about growing up as an Alien Citizen abroad with American commercial jingles providing her soundtrack through language confusion, first love, culture shock, Clark Gable, and sandstorms…

Our protagonist deals with the decisions every global nomad has to make repeatedly: to adapt or to simply cope; to build a bridge or to just tolerate. From being a Guatemalan-American teen in North Africa to attending a women’s college in the USA, Alien Citizen reflects her experience that neither one was necessarily easier than the other. She realizes that girls across the world are growing into womanhood in environments that can be hostile to females (including the USA). How does a young girl cope as a border/culture/language/religion straddler in country after country that feels “other” to her when she is the “other?” Where is the line between respecting others and betraying yourself?

Humor is a great survival mechanism! And friends make all the difference.

For more information, click here.

Schwarzsein, Weißsein, Deutschsein: Racial Narratives and Counter-discourses in German Film After 1950

Duke University
2012
286 pages

Michelle René Eley

Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Carolina-Duke Program – German Studies in the Graduate School of Duke University

This dissertation uses film to explore shifts in conceptions of race, cultural identity and national belonging in Germany from the 1950s West Germany to contemporary reunified Germany. Through the analysis of several German productions featuring Black characters in major narrative or symbolic roles, it identifies narrative and cinematic techniques used to thematize and problematize popular German conceptions of race and racism and to utilize race as a dynamic and flexible symbolic resource in defining specific identity borders. The dominant discourse around the concept of race and its far-reaching implications has long been impeded by the lack of a critical German vocabulary. This gap in mainstream German language is in large part a consequence of the immutable association between “race” (in German, Rasse) as a term, and the pro-Aryan, anti-Semitic dogma of National Socialist ideology. As Germany struggles to address racism as a specific problem in the process of its ongoing project to rehabilitate national identity in a post-colonial era indelibly marked by the Second World War, the films discussed in this work—Toxi (R.A. Stemmle, 1952), Gottes zweite Garnitur (P. Verhoeven, 1967), Angst essen Seele auf (R.W. Fassbinder, 1974), Die Ehe der Maria Braun (R.W. Fassbinder, 1979), Alles wird gut (Maccarone, 1998) and Tal der Ahnungslosen (Okpako, 2003)—provide evidence of attempts to create counter-discourses within the space of this language gap.

Using approaches based primarily in critical race and film studies, the following work argues that these films’ depictions of racism and racial conflict are often both confined by and add new dimension to definitions of Blackness and of conceptions of race and racism in a German context. These attempts at redefinition reveal the ongoing difficulties Germany has faced when confronting the social and ideological structures that are the legacy of its colonialist and National Socialist history. More importantly, however, the films help us to retrace and recover Germany’s history of resistance to that legacy and expand the imaginative possibilities for using poetic politics and communities of coalition to affect social change.

Read the entire thesis here.

Piesche Publishes Anthology on Audre Lorde

Hamilton College, Clinton, New York
College News
2012-12-02

In commemoration of the 20th anniversary of Audre Lorde’s death, Visiting Instructor of German & Russian Studies Peggy Piesche published a new anthology, Eurer Schweigen nützt euch nichts: Audre Lorde und die Schwarze Frauenbewegung in Deutschland (Your Silence Will Not Protect You:  Audre Lorde and the Black Women’s Movement in Germany). The book was launched with a discussion and reading on Nov. 21 in one of the main theaters in Berlin (Volksbühne)…

Read the entire article here.

Black and White Medicine

PsycCRITIQUES
Volume 58, Number 32 (August 2013)
5 pages

Alejandra Suarez, Professor of Psychology
Antioch University, Seattle

A review of Race in a Bottle: The Story of BiDil and Racialized Medicine in a Post-Genomic Age by Jonathan Kahn New York, NY: Columbia University Press, 2013. 311 pp. ISBN 978-0-231-16298-2 (hardcover); ISBN 978-0-231-53127-6 (e-book), hardcover.

What is your race? (a) Mestizo, (b) Greek, (c) Creole, (d) Peninsular, (e) Mulatto, (f) Quadroon, (g) Octoroon, (h) Indian, (i) Chinese, (j) Japanese, (k) Moor, (l) Syrian, or (m) Nubian? In another time and place, these may have been the available choices. Obviously these categories are not anthropologically or scientifically based.

Currently the United States uses the definition of racial categories as published by the Office of Management and Budget (1997) in its Revised Directive 15. Directive 15 stems from the civil rights movement; it aims to provide consistent data and a uniform language in order to increase fairness in society. All federally funded research with human participants is required to address issues of race, although the OMB explicitly states that its categories are not anthropologically or scientifically based.

The current racial choices in the United States are (a) American Indian or Alaska Native, (b) Asian, (c) Black or African American, (d) Native Hawaiian or other PacificIslander, and (e) White. There are two categories for data on ethnicity: (a) Hispanic or Latino and (b) not Hispanic or Latino (Office of Management and Budget, 1997). Many people objected that it is difficult to fit into these categories, so in the 2000 census, one could also self-select multiple categories of race/ethnicity. Selecting one’s race is complicated: It is about identities; it is not about genetic differences.

The human genome project, completed in June 2000, concluded that all human beings, regardless of race, have pretty much the same genes. In fact, the American Anthropological Association has asserted that race is “a worldview, a body of prejudgments that distorts our ideas about human differences and group behavior” and that “racial beliefs constitute myths about the diversity in the human species and about the abilities and behavior of people homogenized into ‘racial’ categories” (American Anthropological Association, 1998, para. 8, and cited in book under review, p. 40).

Race is an ideology that changes according to time and place. However, at the same time that the human genome project has unequivocally demonstrated that race is a construct with no biological validity, the idea of race as a genetically based population variant is becoming more and more entrenched in biomedical research and practice. How is it possible?…

Read the entire review here.

De Blasio Takes His Modern Family on the Campaign Trail

The New York Times
2013-08-07

Michael Barbaro

As his S.U.V. sped down the West Side Highway a few days ago, 30 minutes late to a campaign stop, Bill de Blasio, a Democratic mayoral candidate, proposed a simple solution: let his wife do the talking instead of him.

“Is Chirlane there?” he asked an aide, as he began placing a call on his cellphone to his wife. “I already warned her she should be prepared to speak.”

For the next five minutes, Mr. de Blasio, the public advocate, and his wife, Chirlane McCray, traded talking points while she prepared to address an angry crowd of hospital workers in Brooklyn.

It was a small but telling glimpse into a candidacy that, to a remarkable degree, has thrust family into a starring role — in campaign literature and debate preparation sessions, at political rallies and at subway meet-and-greets…

…In a city where white residents are becoming a minority of the voting population, the family-centric strategy has allowed Mr. de Blasio, who is Italian-American, to portray himself as a paragon of modern, middle-class, multicultural New York: Ms. McCray is black and the couple has two children, Dante and Chiara, 18…

…In the most powerful moment of the new ad, Mr. de Blasio’s son takes aim at Mr. Bloomberg’s reliance on police stops and searches, which have had an outsize impact on young black men. Looking into the camera, Dante de Blasio promises that his father will be the “only one who will end an era of stop-and-frisk that unfairly targets people of color.”…

Read the entire article here.

New Marker Unveiling this Saturday in Manteo!

Chowan Discovery Group
2013-08-07

Marvin T. Jones, Executive Director

For decades, [North Carolina] NC Highway markers in Manteo have honored English exploration, the Lost Colony and Confederate forts.  No reference to the local people has been acknowledged.  Well, this Saturday, the first town encountered by the English, in 1585, will get its own marker.  This NC Highway Historical Marker for the Roanoke Indian town of Dasemunkepuec will be unveiled.  (We call it “Dase”.)

Black German culture, history highlighted at Amherst-sponsored conference

Amherst College News
Amherst College
Amherst, Massachusetts
2013-08-16

Peter Rooney, Director of Public Affairs

As more African-Americans are realizing they have German roots, and as Germans expand the notion of what it means to be German, a new academic discipline dedicated to examining the Black German experience is having its third International Conference at Amherst College this week.

Christian Rogowski, a professor of German at Amherst College, together with Sara Lennox of U Mass, helped organize this year’s conference of the Black German Heritage & Research Association Convention, which will be held from Thursday, August 8 to Saturday, August 10 and is free and open to the public.

“The conference is unique,” Rogowski said, “because it brings together researchers who work on issues of ethnicity and racial diversity and the situation of blacks in Germany with people who themselves fall into that category, people with hyphenated identities such as Afro-German, African-American German or Black German.”

One highlight of the conference is a screening of the film “Toxi”, recently released on DVD by the DEFA Library of the University of Massachusetts, Amherst.  The German movie from 1952 about an African-American girl who is born to a German mother after World War II, shows the impact that birth has on the girl, her family and the community that surrounds her. The film will be screened at 4 p.m. Friday in Stirn Auditorium, where Angelica Fenner of the University of Toronto will moderate a discussion about it…

Read the entire article here.