Mixed Race Studies

Mixed-Race Women and Epistemologies of Belonging

Frontiers: A Journal of Women Studies
Volume 31, Number 1, 2010
Pages 142-165
E-ISSN: 1536-0334
Print ISSN: 0160-9009
DOI: 10.5250/fronjwomestud.31.1.142

Silvia Cristina Bettez, Associate Professor
Department of Educational Leadership and Cultural Foundations
University of North Carolina, Greensboro

How is it that people know when they belong and to what they belong? This question, about the epistemology of belonging, carries a particular complexity for mixed-race women. How is it that mixed-race women create a sense of identification with others? What are the unities and disjunctures? What can we understand about epistemologies of belonging through examining how mixed-race women create belonging? Through qualitative work based on the life stories of women of mixed heritage, in this paper I examine how the navigation of hybridity, as it is experienced in the lives of six “hybrid” mixed-race women, illuminates the complexities of identity construction and epistemologies of belonging. I use the term epistemology to signify the nature of knowledge, how we come to know things, in this case knowledge, or knowing, related to belonging. Belonging in human relations is connected to identity, both self-identification and identification with others…

Read or purchase the article here.

2010 Hurst Prize Winner: Peggy Pascoe, What Comes Naturally

Legal History Blog
2010-06-03

Mary L. Dudziak, Judge Edward J. and Ruey L. Guirado Professor of Law, History and Political Science
University of Southern California

Peggy Pascoe, University of Oregon, Department of History, has won the Willard Hurst Prize for 2010 from the Law and Society Association for her new book, What Comes Naturally: Miscegenation Law and the Making of Race in America (Oxford University Press). Here’s the Prize Committee’s citation:

What Comes Naturally is a comprehensive, interesting, and important sociolegal history that takes us through the history of miscegenation law beyond its commonly accepted geography. It analyzes how by “naturalizing” miscegenation law, politics, religious beliefs and scientific knowledge came together to sustain a set of legal parameters that eventually became policy in the post Civil War world throughout the United States, enhancing and expanding the Black/White race dichotomy, while complicating it in gendered terms. The book is an outstanding contribution richly nuanced and insightful. It expands our understanding of conceptions of race, not only in the South, but elsewhere. It contains as well a superb elucidation of the role that gender played in the process of defining and elaborating on miscegenation…

Read the entire article here.

Women-Loving Women: Queering Black Urban Space during the Harlem Renaissance

Women’s Studies 197: Senior Seminar
2010-06-07
Professor Lilith Mahmud

Samantha Tenorio

The experience of black “women-loving-women” during the Harlem Renaissance is directly influenced by what Kimberlé Crenshaw terms intersectional identity, or their positioning in the social hierarchies of race, gender, class, and sexual orientation that are simultaneously intertwined. Considering contemporary terms like lesbian and bisexual, it is difficult to define the sexual identity of many famous black women of the early 20th century, such as Gertrude “Ma” Rainey, Bessie Smith, and Bessie Jackson to name a few. However, their work both on and off the stage contributes to the construction of identities during the Harlem Renaissance that transgress both racial and sexual conventions. Although these social identities emerged from a long history of slavery and sexual oppression, they nonetheless produced a seemingly free space for the expression of lesbian sensibilities in the black community during the Harlem Renaissance. At a time of racial segregation in America, but also of ideologies of uplift within the black community, social spaces existed in Harlem where sexual “deviance” and race-mixing could be articulated and seen explicitly. Using song lyrics, literature, and scholarly work on social and cultural spaces of the time period between 1919 and 1939, this paper analyzes how certain forms and sites of cultural production, specifically the blues, the cabaret, and literature helped to construct these transgressive identities.

…Relating Racial Movement to a Queer Politics

Similarly, but not at all equivalent, racial passing implies a more fluid movement between the worlds of black and white. Both Irene and Clare partake in passing for their own gain, though doing so in differing degrees. Their movement between the worlds of black and white represent a fluidity that speaks to a queer reading of Passing and can be read as representing sexual mobility insomuch as segregation was established in order to protect the purity of the white race. This protection is what makes Clare‘s passing, and marriage to a white man, that much more compelling. Here her passing is in direct opposition to segregation and the fear of miscegenation, which are based on the sexual reproduction of a pure white race. Thus, I understand Clare and her passing to be a symbol for the transgression of both racial and sexual boundaries. Her racial fluidity as well as her transgression both speak to a queer reading of Larsen‘s fiction…

Though an act of agency, the movement employed by Larsen can also be read as relating to the theme of mobility and fluidity that is present within queer politics. The figure of the “tragic mulatta” employed by [Nella] Larsen in Quicksand illustrates a point of mediation, or a movement between two worlds, one who is constantly taking part in criminal intimacies. Helga is eternally caught between two worlds, yet being a victim of the “one-drop rule” she is always marked as ultimately belonging to the black race.  Here, though she is of mixed-race, her character illustrates that the bi-racial character cannot exist, she must always be defined as ultimately belonging to one race, and when this individual‘s races include black, she is always labeled as such. This marks the limitations of the tragic mulatta’s movement, but still speaks to a movement that is constantly a theme of queer politics.

Read the entire paper here.

“A Black Girl Should Not be With a White Man”: Sex, Race, and African Women’s Social and Legal Status in Colonial Gabon, c. 1900–1946

Journal of Women’s History
Volume 22, Number 2, Summer 2010
E-ISSN: 1527-2036
Print ISSN: 1042-7961
DOI: 10.1353/jowh.0.0140

Rachel Jean-Baptiste, Associate Professor of African History
University of California, Davis

This article reviews representations and lived experiences of interracial sex and métissage in twentieth-century colonial Gabon to argue that African communities and colonial societies debated over “the métis problem” as question of how to demarcate African women’s sexuality, and socioeconomic and political power in the urban locale. These discourses and social realities reflected ambiguous and contradictory colonial discourses and polyvalent struggles among Gabonese populations to recast gender and respectability in the colonial capital city. Mpongwé women’s participation in interracial relationships, frequently brokered by male kin, had unintended consequences that threatened colonial order and reordered gender hierarchies within Mpongwé communities. Following World War I through the 1950s, shifting coalitions of elite African men, colonial officials, and private French citizens—anxious of the social mobility black and mixed race women achieved and sought to maintain—frowned upon and sought to restrict interracial liasons. Mpongwé women, both black and métis, involved in interracial relationships struggled to maintain control over their property, their labor, and insist upon their respectability in the precarious urban milieu. Using oral and written sources, this article addresses a gap in the scholarship on gender, sexuality, and colonialism by foregrounding how African women and men engaged in and reflected on miscegenation at the center of analysis. Furthermore, this article emphasizes the colonial encounter as a dialectic in which the actions of African women shaped colonial perceptions and policies.

Read or purchase the article here.

In Search of Nella Larsen: A Biography of the Color Line

Harvard University Press
May 2006
624 pages
6-3/8 x 9-1/4 inches
37 halftones
Hardcover ISBN: 9780674021808

George Hutchinson, Newton C. Farr Professor of American Culture
Cornell University

• 2006 Booklist Editor’s Choice
• 2006 Honorable Mention of the Professional/Scholarly Publishing Annual Award Competition, Biography & Autobiography
• Finalist, 2007 Independent Publisher Book Awards, Biography Category
• 2007 Christian Gauss Award for literary scholarship or criticism, Phi Beta Kappa Society
• Choice Magazine A Best Academic Book of the Year

Born to a Danish seamstress and a black West Indian cook in one of the Western Hemisphere’s most infamous vice districts, Nella Larsen (1891-1964) lived her life in the shadows of America’s racial divide. She wrote about that life, was briefly celebrated in her time, then was lost to later generations–only to be rediscovered and hailed by many as the best black novelist of her generation. In his search for Nella Larsen, the “mystery woman of the Harlem Renaissance,” George Hutchinson exposes the truths and half-truths surrounding this central figure of modern literary studies, as well as the complex reality they mask and mirror. His book is a cultural biography of the color line as it was lived by one person who truly embodied all of its ambiguities and complexities.

Author of a landmark study of the Harlem Renaissance, Hutchinson here produces the definitive account of a life long obscured by misinterpretations, fabrications, and omissions. He brings Larsen to life as an often tormented modernist, from the trauma of her childhood to her emergence as a star of the Harlem Renaissance. Showing the links between her experiences and her writings, Hutchinson illuminates the singularity of her achievement and shatters previous notions of her position in the modernist landscape. Revealing the suppressions and misunderstandings that accompany the effort to separate black from white, his book addresses the vast consequences for all Americans of color-line culture’s fundamental rule: race trumps family.

AM Northwest KATU-TV Live Interview with Heidi W. Durrow

AM Northwest
KATU-TV (Portland, Oregon)
Friday, 2010-05-21 09:00-10:00 PDT (Local time), (12:00-1300 EDT, 16:00-17:00Z)

Heidi Durrow appeared on the program AM Norwthwest on KATU-TV (Portland, Oregon) to discuss her new book, The Girl Who Fell From the Sky.

You may view the recorded segment below by pressing the start button or by clicking here.

Coloring History and Mixing Race in Levina Urbino’s ‘Sunshine in the Palace and Cottage’ and Louise Heaven’s ‘In Bonds’

Legacy: A Journal of American Women Writers
Volume 24, Number 2 (2007)
E-ISSN: 1534-0643, Print ISSN: 0748-4321
DOI: 10.1353/leg.2007.0018

Eric Gardner, Professor of English
Saginaw Valley State University, Michigan

While the figure of the “tragic mulatta” is writ large in American literature and literary criticism, this essay shares a recognition most recently advanced by William L. Andrews and Mitch Kachun: “What is remarkable though not always acknowledged . . . is the fact that the majority of beautiful mulattas in American novels before 1865 . . . do not end up unfulfilled” (xliii). Andrews and Kachun note that Metta Victoria Victor’s Maum Guinea, H. L. [Hezekiah Lord] Hosmer’s Adela [The Octooon], John T. Trowbridge’s Neighbor Jackwood, [Thomas] Mayne Reid’s The Quadroon, and E. D. E. N. Southworth’s Retribution feature mixed-race female characters who, though they “must endure a stint in slavery and withstand intimidation by lascivious slave owners and brutal overseers,” “more often than not . . . eventually encounter a northerner or a European on whose love they can rely” (lxv, n. 45; xliii). While it is still too early to make judgments about “the majority”-especially given that Andrews and Kachun’s own work illustrates that we need to be hesitant about assuming any “complete sets”-this essay shares the sense that mixed-race characters who are not “tragic mulattas” have been absent from our discussions for too long.

This absence is complicated by the disproportionately larger presence in our scholarship of archetypal examples of the tragic mulatta type in works such as Lydia Maria Child’s “The Quadroons,” William Wells Brown’s Clotel, and Elizabeth Livermore’s Zoë, even though these works were neither more popular nor exceedingly better than some of the novels noted by Andrews and Kachun. The reasons for this imbalance are complex and beyond the scope of this essay; it may come in part from Child’s early imprint on a vast amount of antislavery literature (including Brown’s story) and in part from the limited senses of racial definition that have dominated much contemporary scholarship. Regardless, the dominance of the figure of the tragic mulatta in our scholarship has limited our consideration of race and racial identity. This imbalance seems to me, for example, to be partially to blame for Lauren Berlant’s dismissal of the full range of types of political efficacy available to mixed-race characters-a formation scholars such as P. Gabrielle Foreman have challenged when applied to Black women’s texts. It has also, among other gaps, led many of us to locate the first real resistance to the figure of the tragic mulatta in works such as Child’s Reconstruction-era Romance of the Republic and Frances Ellen Watkins Harper’s Iola Leroy.

This essay thus begins by acknowledging that there were several early examples of a discourse of mixed-race heroines running counter to the figure of the tragic mulatta-one in which the mixed-race heroine not only avoids a tragic end but actually embraces her genealogy, uses her visual racial indeterminacy to aid nation-building and self-empowerment, and finds fulfillment in a multi-racial family housed within the larger Black community. Specifically, I examine two previously unknown mixed-race heroines who are ultimately far from tragic-indeed, who seem almost consciously constructed as revisions to the tragic mulatta type. This essay argues that, in different ways, the protagonists of both Levina B. Urbino’s Sunshine in the Palace and Cottage (1854) and Louise Palmer Heaven’s In Bonds (published in 1867 under the pseudonym Laura Preston) explode many of the expectations of the tragic mulatta type. Through this work, I hope to begin to re-imagine the contours of our sense of the mixed-race female character (tragic mulatta and otherwise) in American literature.

I focus on a pair of now unknown novels by now relatively unknown authors for a set of reasons. Both were popular in their day: Sunshine went through four editions (under different titles) in six years, and In Bonds, published in both San Francisco and New York, seems to have launched a successful if spotty career. Both have publication circumstances of interest to students of race: the publisher of Sunshine’s fourth edition (which carried the entirely new title The Home Angel) was Thayer and Eldridge, who also contracted to publish Harriet Jacobs’s Incidents in the Life of a Slave Girl before bankruptcy forestalled their doing so; the publisher of In Bonds founded the Overland Monthly and was a colleague of Mark Twain (who would, of course, write works key to considerations of race in American literature). Indeed, both books demonstrate a rich awareness of the literary discourses of race and race-mixing swirling around them. Though evidence about their composition is lacking, Sunshine repeatedly invokes and rewrites the language of the tragic mulatta figure, while In Bonds actually makes specific reference to Uncle Tom’s Cabin as part of the driving force in the novel’s plot (128-29). Though both novels and both authors are absent from contemporary critical work, Sunshine and In Bonds offer fascinating counterpoints to the dominant sense of the figure of the tragic mulatta and presage works that critics have treated as more revolutionary, such as Child’s Romance of the Republic and Harper’s Iola Leroy. Indeed, both Sunshine and (albeit a bit less so) In Bonds suggest that a mixed-race heroine who overcomes potential tragedy is central to America’s future…

The Color of Water: A Black Man’s Tribute to His White Mother (10th Anniversary Edition)

Riverhead an Imprint of Penguin Publishing Group
2006-02-07
352 pages
8.26 x 5.23in
Paperback ISBN: 9781594481925

James McBride

James McBride, journalist, musician, and son, explores his mother’s past, as well as his own upbringing and heritage, in a poignant and powerful debut.

Who is Ruth McBride Jordan? A self-declared “light-skinned” woman evasive about her ethnicity, yet steadfast in her love for her twelve black children. James McBride, journalist, musician, and son, explores his mother’s past, as well as his own upbringing and heritage, in a poignant and powerful debut, The Color Of Water: A Black Man’s Tribute to His White Mother.

The son of a black minister and a woman who would not admit she was white, James McBride grew up in “orchestrated chaos” with his eleven siblings in the poor, all-black projects of Red Hook, Brooklyn. “Mommy,” a fiercely protective woman with “dark eyes full of pep and fire,” herded her brood to Manhattan’s free cultural events, sent them off on buses to the best (and mainly Jewish) schools, demanded good grades, and commanded respect. As a young man, McBride saw his mother as a source of embarrassment, worry, and confusion—and reached thirty before he began to discover the truth about her early life and long-buried pain.

In The Color of Water, McBride retraces his mother’s footsteps and, through her searing and spirited voice, recreates her remarkable story. The daughter of a failed itinerant Orthodox rabbi, she was born Rachel Shilsky (actually Ruchel Dwara Zylska) in Poland on April 1, 1921. Fleeing pogroms, her family emigrated to America and ultimately settled in Suffolk, Virginia, a small town where anti-Semitism and racial tensions ran high. With candor and immediacy, Ruth describes her parents’ loveless marriage; her fragile, handicapped mother; her cruel, sexually-abusive father; and the rest of the family and life she abandoned.

At seventeen, after fleeing Virginia and settling in New York City, Ruth married a black minister and founded the all- black New Brown Memorial Baptist Church in her Red Hook living room. “God is the color of water,” Ruth McBride taught her children, firmly convinced that life’s blessings and life’s values transcend race. Twice widowed, and continually confronting overwhelming adversity and racism, Ruth’s determination, drive and discipline saw her dozen children through college—and most through graduate school. At age 65, she herself received a degree in social work from Temple University.

Interspersed throughout his mother’s compelling narrative, McBride shares candid recollections of his own experiences as a mixed-race child of poverty, his flirtations with drugs and violence, and his eventual self- realization and professional success. The Color of Water touches readers of all colors as a vivid portrait of growing up, a haunting meditation on race and identity, and a lyrical valentine to a mother from her son.

Showing Our Colors: Afro-German Women Speak Out

Orlanda Frauenverlag (German)
1986
University of Massachusetts Press (English)
1992
ISBN: 0-87023-759-4
Likely out of print.

Edited by

May Opitz [Ayim]
Katharina Oguntoye
Dagmar Schultz

Translated by Anne V. Adams

Foreword by Audre Lorde

May Ayim: A Woman in the Margin of German Society

The Florida State University College of Arts and Scienes
Spring Semester, 2005
76 pages

Margaret MacCarroll, Professor of Modern Languages: German Division
Florida State University

A thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Master of Arts

This work explores the life of the Afro-German writer May Ayim by analyzing her writings as well as by discussing the social circumstances in which she lived. Chapter 1 provides a look at the Ayim’s life, with special emphasis on major factors influencing her childhood. The effects of the personal as well as social pressures that Ayim dealt with as a child and young adult are also discussed. Chapter 2 focuses on the history of Afro-German children born shortly after World War II. Chapter 3 includes an explanation of Minor Literature and an examination of May Ayim as an author of such literature. Her importance as such is established. Due to Ayim’s position outside the mainstream of German society, social factors that greatly affected her life as a result of this situation are discussed in Chapter 4. These factors are: identity, culture, and ethnicity. In Chapter 5 Ayim’s attempts to incorporate both the white and black aspects of herself despite the deeply rooted history of racism in Germany are also discussed. Chapter 6 includes an examination of the toll that Ayim’s familial and social experiences played on her feelings of romantic love, especially toward another Afro-German. Chapter 7 examines the exhaustion that Ayim felt toward the end of her life.

Table of Contents

ABSTRACT
INTRODUCTION

1. GROWING UP BLACK IN GERMANY
    Ayim’s Struggle with “Otherness“
    Childhood Pressure
    The White World and Ayim’s Black Father
    Grasping her Africanness
    Desire for Whiteness even in Africa

2. HISTORY OF RACISM IN GERMANY
    Recent History of Racism and Mischlingskinder after World War II

3. MAY AYIM, AUTHOR OF MINOR LITERATURE
    The Afro-German Minority Represented in Ayim’s Poetry

4. THE IDENTITY, CULTURE AND ETHNICITY OF PEOPLE ON THE FRINGES

5. MINOR RACE IN MAJORITY CULTURE
    Racism on the Global Scale
    Incorporating Her White and Black Self

6. MAY AYIM’S LOVE LIFE

7. AYIM’S EXHAUSTION ON THE FRINGE OF SOCIETY

CONCLUSION
NOTES
BIBLIOGRAPHY
BIOGRAPHICAL SKETCH

Read the entire thesis here.