Mixed Race Studies

Narratives of Passing

Vassar College
Poughkeepsie, New York
2015-?

Amitava Kumar, Professor of English

(Same as AFRS 253) Topic for 2019b: Narratives of Passing. The phrase “passing for white,” peculiar to American English, first appears in advertisements for the return of runaway slaves. Abolitionist fiction later adopts the phenomenon of racial passing (together with the figure of the “white slave”) as a major literary theme. African American writers such as William Wells Brown and William Craft incorporated stories of passing in their antislavery writing and the theme continued to enjoy great currency in African American literature in the postbellum era as well as during the Harlem Renaissance. In this class, we examine the prevalence of this theme in African American literature of these periods, the possible reasons for the waning interest in this theme following the Harlem Renaissance, and its reemergence in recent years. In order to begin to understand the role of passing in the American imagination, we look to examples of passing and the treatment of miscegenation in literature, film, and the law. We consider the qualities that characterize what Valerie Smith identifies as the “classic passing narrative” and determine how each of the texts we examine conforms to, reinvents, and/or writes against that classic narrative. Some of the themes considered include betrayal, secrecy, lying, masquerade, visibility/invisibility, and memory. We also examine how the literature of passing challenges or redefines notions of family, American mobility and success, and the convention of the “self-made man.”

JewAsian: race, religion, and identity for America’s Newest Jews [Review]

Ethnic and Racial Studies
Volume 40, 2017 – Issue 13
pages 2380-2382
DOI: 10.1080/01419870.2017.1329544

Hasia R. Diner, Paul And Sylvia Steinberg Professor of American Jewish History
New York University

Helen Kiyong Kim and Noah Samuel Leavitt, JewAsian: Race, Religion, and Identity for America’s Newest Jews (Lincoln: University of Nebraska Press, 2016).

Sociologists Helen Kiyong Kim and Noah Samuel Leavitt, a married couple, he of Jewish background, presumably European, and she of Korean derivation, have, with this slim book, launched an important topic for further research and scholarly inquiry. The two authors explore here, using the conventional methods of sociological study, a trend, presumably new and emblematic of postmodernity. This trend can be accessed by even the most casual readers nearly every Sunday in the wedding announcements in The New York Times‘ Style section. Like JewAsian—obviously a neologism—The Times postings chronicle the not uncommon phenomenon of, for the most part, Jewish men, bearers of identifiable Jewish surnames, marrying women marked by their names and by the accompanying photographs identifiable as Asian, primarily individuals who themselves or their forbears hailed from China, Korea, and Vietnam.

The text of the wedding announcements, besides detailing the usually impressive occupations and educational backgrounds of bride and groom, and those of their parents, fit well with this fascinating book. Nearly all the nuptial notices indicate that a rabbi or cantor will be officiating at the ceremony, indicating that Jews, certainly the non-Orthodox among them who constitute the American majority, have embraced this emerging reality of marriages across lines of race, ethnicity, and religion. So too the fact that the brides in these marriages have chosen to have their unions solemnized by a member of the Jewish clergy, rather than by someone representing Christianity or Buddhism or any other religious tradition associated with Asian and Asian American culture, represents an important contemporary reality which Kim and Leavitt explore in their book.

The wedding announcements, like the much publicized union between FaceBook’s Mark Zuckerberg and Priscilla Chan, sweethearts since their Harvard days and like the data presented in JewAsian, point to the trend by which the non-Jewish, Asian women who marry Jewish men become integrated and absorbed into the fabric of American Jewish life. Kim and Leavitt, who for the most part leave out the details of their personal journey as an Asian and Jewish couple, focusing carefully on the pairs whom they interviewed, do appropriately indicate in the Preface that they met and fell in love while graduate students at the University of Chicago…

Read or purchase the review here.

Why ‘The Hate U Give’ Is Not a Black Lives Matter Movie

Los Angeles Sentinel
2018-10-18

Melina Abdullah, Professor of Pan-African Studies
California State University, Los Angeles

Patrisse Khan-Cullors, Cofounder of Black Lives Matter and founder of Dignity and Power Now
Los Angeles, California

Some are touting ‘The Hate U Give,’ as “the first Black Lives Matter movie.” Red flags should have gone up the moment we learned that Fox, recently acquired by Disney, was behind the film with a massive public relations budget, footing the bill for hundreds of advance screenings with celebrity guests, marketing swag, and heavy media saturation – especially in Black markets. We might also wonder about the choice to have Audrey Wells, a White screenwriter whose credits include “Under the Tuscan Sun” and “The Truth About Cats and Dogs,” adapt an urban Black novel for the screen. Angie Thomas’ New York Times bestseller on which the film is based swapped out the book cover that originally pictured a chocolate-colored Afroed girl, for the light-skinned young actress, Amandla Stenberg, who plays the lead, Starr Carter, in the film. Stenberg’s braids hang long as she holds a placard that reads “The Hate U Give,” a reference to Tupac’s THUG LIFE acronym (The Hate U Give Little Infants F*cks Everyone). Tupac, Hip Hop icon, poet, and son of a Black Panther, was intentional with his language. THUG LIFE, tattooed across his mid-section, was a scathing critique of the White-supremacist-capitalist system that treats Black and poor children with contempt, depriving them of resources, and ultimately causing the whole of society to suffer the consequences. The film betrays that analysis by entrenching old tropes. “The Hate U Give” makes Black people primarily responsible for their own oppression. The film asks viewers not to challenge a policing system that kills Black people at least every 28 hours, but to focus exclusively on “Black-on-Black crime,” even when unarmed Black boys are killed by White cops…

Read the entire article here.

The Hate U Give’s Amandla Stenberg on bringing Black Lives Matter to the box office

The Guardian
2018-10-19

Steve Rose

Stenberg is the star of a new adaptation of the YA novel phenomenon. The actor, and the film’s director, discuss cinema’s new generation of resistance

Any resemblance between The Hate U Give and your average teen movie evaporates about 20 minutes in, when 16-year-old Starr Carter, played by Amandla Stenberg, witnesses a police officer shoot dead her friend Khalil at point-blank range. By this stage, Starr’s father has already given her The Talk, the time-honoured ritual where African-American parents instruct their children how to behave if stopped by the police: be polite, stay calm, put your hands where they can see them. When their car is pulled over, Starr follows the drill. Khalil reaches for a hairbrush. The police officer thinks it’s a gun. That’s all it takes.

The Hate U Give is fictional, but barely. To see the stricken expression on Stenberg’s face during the shooting scene is to recall Diamond Reynolds, partner of Philando Castile, who livestreamed the aftermath of Castile’s 2016 police shooting from the passenger seat while he bled to death beside her. The victims’ names have almost become a mantra: Castile, Freddie Gray, Oscar Grant, Trayvon Martin, Tamir Rice, Eric Garner, Sandra Bland – all young African Americans killed by law enforcement, each an avoidable tragedy.

“I learned really early on what it feels like to be black in an environment in which no one looks like you,” she says, “And I learned how to be very intentional of how I presented myself in order to fit in.” Code-switching – that capacity to alter your behaviour according to the company you’re in – is something that people of colour are especially familiar with, she continues. “Because you have the cognisance that if you are completely transparent about who you are in a space that doesn’t accept you for who you are, it’ll be detrimental to your ability to succeed. That’s just a fact of growing up in a country that is still based on white institutions,” she says. It can work both ways, Stenberg points out: her mother is African American and her father is Danish. “He was one of the only white people in our neighbourhood, so what I was experiencing at school, he was experiencing at home.”…

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Racial Passing and Double Consciousness in Philip Roth’s The Human Stain

Philip Roth Studies
Volume 14, Number 1, 2018
pages 55-69
DOI: 10.5703/philrothstud.14.1.0055

Dyanne K. Martin, Assistant Professor of English
Broward College, Fort Lauderdale, Floirida

Philip Roth’s nuanced understanding of the issues of race in pre- and post-Civil Rights America offers fresh thinking in a field that perhaps needs to explore new directions. The approach in this article is to use techniques of semiotics to assess the subtle cues in the linguist protagonist’s language as his statements move in and out of clarity, ambivalence, and doubleness. I argue that these forms of semiotic doubleness represent the dualities and ironies with which mixed-race people struggle in a society still divided by race.

Much has been said about Philip Roth’s use of racial passing as a trope in his novel The Human Stain. Critics such as Luminita Dragulescu and Jennifer Glaser argue that the novel represents the complexities of identity performance. Dragulescu, in particular, positions Roth’s use of racial passing as “a terrain of discursive power” (96). Glaser agrees with Dragulescu but adds that Roth’s mixed-race protagonist, Coleman Silk, portrays the traumatic complexities of the mulatto’s decision to traverse not just the color line but also the ethnic line. Passing as both white and Jewish, Silk illustrates what Glaser calls the “ongoing dynamics of racializcd power” in the discipline of critical race theory, a theory that is “inherently comparative” (1465). While these critics have engaged important issues in The Human Stain, they leave unaddressed Roth’s use of verbal or syntactic ambivalence in relation to the trope of racial passing in his novel. When Coleman Silk in a pivotal scene lashes out that he “don’t carry no nigger,” he seems, ostensibly, to be making a simple, straightforward statement (Stain 117). Yet Silks words are both…

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Color Crit: Critical Race Theory and the History and Future of Colorism in the United States

Journal of Black Studies
First Published 2018-10-16
23 pages
DOI: 10.1177/0021934718803735

Robert L. Reece, Assistant Professor of Sociology
University of Texas, Austin

Critical race theory teaches that racism and racial inequality are constants in American society that stand outside of the prejudices of individuals. It argues that structures and institutions are primarily responsible for the maintenance of racial inequality. However, critical race theorists have neglected to formally examine and theorize colorism, a primary offshoot of racial domination. Although studies of colorism have become increasingly common, they lack a unifying theoretical framework, opting to lean on ideas about prejudice and preference to explain the advantages lighter skinned, Black Americans are afforded relative to darker skinned Black Americans. In this study, I deploy a critical race framework to push back against preference as the only, or primary, mechanism facilitating skin tone stratification. Instead, I use historical Census data and regression analysis to explore the historical role of color-based marriage selection on concentrating economic advantage among lighter skinned Black Americans. I then discuss the policy and legal implications of developing a structural view of colorism and skin tone stratification in the United States and the broader implications for how we conceptualize race in this country.

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Gavin McInnes and the Proud Boys: Misogyny, Authoritarianism, and the Rise of Multiracial White Supremacy

The Takeaway
WNYC Studios, New York, New York
2018-10-16

Tanzina Vega, Host

Gavin McInnes is surrounded by supporters after speaking at a rally Thursday, April 27, 2017, in Berkeley, Calif. McInnes, co-founder of Vice Media and founder of the pro-Trump “Proud Boys,” ( AP Photo )

Gavin McInnes, alt-right leader and founder of the far-right group the Proud Boys, was invited to speak at the Metropolitan Republican Club on Manhattan’s Upper East Side this past weekend. In advance of his appearance, McInnes promised to reenact the 1960 assassination of Japanese socialist Inejiro Asanuma, posing in photos depicting ugly Asian caricatures.

His presence drew crowds of both protesters and right-wing counter-protesters to the event, and violence erupted late Friday night. Several cell phone videos show groups of uniformed Proud Boys bragging about the assaults, and NYPD released footage of a protester throwing a bottle at McInnes’ supporters.

The Proud Boys fit into an American tradition of far-right hate groups, but the Internet has enabled disparate groups from all across the country to find support in their message of “western chauvinism.” Also interestingly, the Proud Boys seem to have an ability to attract men of color, which seems at odds with groups that borrow heavily from a white supremacist ideology.

Tanya Hernández, professor of law at Fordham University and the author of the forthcoming book Multiracials and Civil Rights[: Mixed-Race Stories of Discrimination], and David Neiwert, author of Alt-America: The Rise of the Radical Right in the Age of Trump, and correspondent for the Southern Poverty Law Center, join the program to help make sense of this current phenomenon.

Listen to the story here. Download the story (00:11:53) here.

Why Young Men of Color Are Joining White-Supremacist Groups

The Daily Beast
2018-09-04

Arun Gupta

Photo Illustration by The Daily Beast

Patriot Prayer’s leader is half-Japanese. Black and brown faces march with the Proud Boys. Is the future of hate multicultural?

PORTLAND, Oregon—Outfitted in a flak jacket and fighting gloves, Enrique Tarrio was one of dozens of black, Latino, and Asian men who marched alongside white supremacists in Portland on Aug. 4.

Tarrio, who identifies as Afro-Cuban, is president of the Miami chapter of the Proud Boys, who call themselves “Western chauvinists,” and “regularly spout white-nationalist memes and maintain affiliations with known extremists,” according to the Southern Poverty Law Center. Last month, prior to the Patriot Prayer rally he attended in Portland, Tarrio was pictured with other far-right activists making a hand sign that started as a hoax but has become an in-joke. Last year, Tarrio said traveled to Charlottesville, Virginia, for the Unite the Right rally that ended with a neo-Nazi allegedly killing an anti-fascist protester. (The Proud Boys said any members who went to the event were kicked out.)

Tarrio and other people of color at the far-right rallies claim institutional racism no longer exists in America. In their view, blacks are to blame for any lingering inequality because they are dependent on welfare, lack strong leadership, and believe Democrats who tell them “You’re always going to be broke. You’re not going to make it in society because of institutional racism,” as one mixed-race man put it…

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Was Interracial Love Possible in the Days of Slavery? Descendants of One Couple Think So

The New York Times
2018-10-21

Adeel Hassan

Paula Wright, a seventh-generation descendant of an interracial couple, has documented over 500 images that chronicle her family’s history. Tony Cenicola/The New York Times

He was buried in a white cemetery. She was buried in a black cemetery. Their marriage was unheard-of at the time.

Both William Ramey and his wife, Kittie Simkins, were born and raised in Edgefield, S.C., or “Bloody Edgefield,” a town known for its grisly murder rate in the antebellum South. Their relationship defied convention, and yet it survived war and bitter family resentment.

Mr. Ramey, born in 1840, came from a prominent white family. Ms. Simkins was born a slave in 1845, most likely on a property called Edgewood owned by Francis Pickens, who would become a Confederate governor.

The love affair could have been lost if not for Paula Wright, a seventh-generation descendant of the couple who inherited vintage photographs documenting eight generations of her family, dating to 1805. Ms. Wright, a New York Times reader, shared her family’s story with Race/Related earlier this year…

Read the entire article here.

Bitterroot: A Salish Memoir of Transracial Adoption

University of Nebraska Press
October 2018
352 pages
12 photographs
Hardcover ISBN: 978-1-4962-0746-3
eBook (PDF) ISBN: 978-1-4962-1088-3
eBook (EPUB) ISBN: 978-1-4962-1086-9

Susan Devan Harness, Member
Confederated Salish and Kootenai Tribes

In Bitterroot Susan Devan Harness traces her journey to understand the complexities and struggles of being an American Indian child adopted by a white couple and living in the rural American West. When Harness was fifteen years old, she questioned her adoptive father about her “real” parents. He replied that they had died in a car accident not long after she was born—except they hadn’t, as Harness would learn in a conversation with a social worker a few years later.

Harness’s search for answers revolved around her need to ascertain why she was the target of racist remarks and why she seemed always to be on the outside looking in. New questions followed her through college and into her twenties when she started her own family. Meeting her biological family in her early thirties generated even more questions. In her forties Harness decided to get serious about finding answers when, conducting oral histories, she talked with other transracial adoptees. In her fifties she realized that the concept of “home” she had attributed to the reservation existed only in her imagination.

Making sense of her family, the American Indian history of assimilation, and the very real—but culturally constructed—concept of race helped Harness answer the often puzzling questions of stereotypes, a sense of nonbelonging, the meaning of family, and the importance of forgiveness and self-acceptance. In the process Bitterroot also provides a deep and rich context in which to experience life.