Mixed Race Studies

Identity Crisis for the Creole Woman: A Search for Self in Wide Sargasso Sea

McKendree University Scholars Journal
Lebanon, Illinois
Issue 10, Winter 2008

Stephanie Coartney

“‘And how will you like that’ I thought, as I kissed him. ‘How will you like being made exactly like other people?’” (Rhys 22).

In this excerpt from Jean Rhys’s highly acclaimed novel Wide Sargasso Sea, the character Antoinette wistfully ponders the notion of possessing a socially acceptable identity as she tucks her disabled brother in bed. Echoing through the novel with a haunting sense of irony, this question plagues Antoinette while she struggles to develop her own identity in the face of cultural and racial rejection. Because she is a Creole woman living in the English colony of Jamaica, Antoinette quickly learns that the English as well as Caribbean society consider her an outsider, one whose place in the world is ranked disgracefully below the two cultures of which she is composed. Through social ostracism, legal restrictions and negative verbal labeling, the society dominated by male colonizers seeks to confuse the Creole woman’s notion of self, thereby conquering not only a class of people, but also the threat that individuals such as Antoinette pose to socially constructed norms involving race and gender.

Although some literary critics view Rhys’s representation of Antoinette as the classic case of a woman’s descent into madness to escape masculine domination, the novel itself can more effectively serve as “a reconceptualization of the very concept of identity” (Emery 167)…

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Unwed Mothers, Race, and Transgression in William Faulkner’s Novels

McKendree University Scholars Journal
Lebanon, Illinois
Issue 24, Winter 2015
16 pages

Mindy Allen

As a modernist writer, William Faulkner is conflicted with the autonomy he can allow for his female characters, particularly unmarried mothers. Ideology about women during the early twentieth century, including the debates of birth control and the loss of the Southern Belle,
influence the creation of Faulkner’s female characters. The purpose of this paper is to explore how Faulkner’s unmarried mothers transgress sexual boundaries imposed by patriarchal values in the novels As I Lay Dying, The Sound and the Fury, Light in August, Absalom! Absalom! and Go Down, Moses. Faulkner’s female characters can no longer strive towards the status of the Southern Belle as New South ideals emerge. Faulkner includes many unmarried mothers in his novels, as well as mixed race unmarried mothers. He leaves the impression that, through his novels, he attempts to make since of females transgressing sexual and racial boundaries.

Read the entire article here.

She Is Cuba: A Genealogy of the Mulata Body

Oxford University Press
2015-12-01
240 Pages
53 images
6-1/8 x 9-1/4 inches
Hardcover ISBN: 9780199968169
Paperback ISBN: 9780199968176

Melissa Blanco Borelli, Senior Lecturer in Dance
Royal Holloway University of London

• Weaves together historical method, auto-ethnographic, and performative writing
• Sits at the precipice of scholarly and public interest in Cuban cultural history

She is Cuba: A Genealogy of the Mulata Body traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her racialised identity through her hips and enacts an embodied theory called hip(g)nosis. By focusing on her living and dancing body in order to flesh out the process of identity formation, this book makes a claim for how subaltern bodies negotiate a cultural identity that continues to mark their bodies on a daily basis. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges: bodies watching, looking, touching and dancing with one another. It sets up a genealogy of how the representations and venerations of the dancing mulata continue to circulate and participate in the volatile political and social economy of contemporary Cuba.

Table of Contents

• Prologue, Entre Familia/Between Family
• Introduction
• Chapter 1: Historicizing Hip(g)nosis
• Interlude 1: Echando Cuentos/Telling Stories
• Chapter 2: Hip(g)nosis at Work: Rumors, Social Dance and Cuba’s Academias de Baile
• Interlude 2: A Marriage Proposal
• Chapter 3: Hip(g)nosis as Pleasure: The Mulata in Film
• Interlude 3: Lost Baggage
• Chapter 4: Hip(g)nosis as Brand: Despelote, Tourism and Mulata Citizenship
• Conclusion or Rear Endings
• Index

Putting History in Its Place: An Interview with Bernardine Evaristo

Contemporary Women’s Writing
Volume 9 Issue 3 November 2015
pages 433-448
DOI: 10.1093/cww/vpv003

Jennifer Gustar, Faculty of Creative and Critical Studies
University of British Columbia, Okanagan Campus, Kelowna, British Columbia, Canada

Bernardine Evaristo was born in Woolwich, London, to an English mother of Irish descent and a Nigerian father, who had immigrated to the UK. She has been actively publishing since the release of her first book of poetry, Island of Abraham (1994). She has published six other works since: the semiautobiographical Lara (1997); The Emperor’s Babe (2001), a novel in verse, based in Roman Londinium; Soul Tourists (2005), a hybrid of poetry and prose that explores the spectral black history of Europe; Blonde Roots (2008), a satirical novel that inverts the historical realities of the transatlantic slave trade; Hello Mum (2010), an epistolary novella that explores a fourteen-year-old boy’s sense of disenfranchisement and the consequent lure of gang culture; and, most recently, Mr. Loverman (2013), the story of a closeted homosexual Trinidadian-British Londoner, who must confront the damage perpetuated by his own silences. Evaristo has served as coeditor of two literary anthologies: NW15 (Granta/British Council, 2007) and Ten New Poets (Bloodaxe, 2010). As editor, she has been instrumental in both mentoring and promoting the visibility of black British writers. In 2010, she guest-edited an issue of Wasafiri, entitled Black Britain: Beyond Definition, that celebrates contemporary black writing in the UK. Her 2012 guest-edited volume of the UK’s leading poetry journal Poetry Review, entitled Offending Frequencies, features more poets of color than any previous single issue. In September of 2014, she investigated the publishing industry’s attitude toward women of color as guest editor of Mslexia. She currently works as a Reader in Creative Writing at Brunel University, where, in 2011, she instituted the Brunel University African Poetry Prize. Two of her works have been adapted for radio: The Emperor’s Babe for BBC 1 (2012) and Hello Mum for BBC 4 (2012). She was elected Fellow of the…

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Mistura for the fans: performing mixed-race Japanese Brazilianness in Japan

Journal of Intercultural Studies
Volume 36, Issue 6, 2015
pages 710-728
DOI: 10.1080/07256868.2015.1095714

Zelideth María Rivas, Assistant Professor of Japanese
Department of Modern Languages
Marshall University, Huntington, West Virginia

In this article, I examine fans’ consumption of mixed-race Japanese Brazilian female bodies in Japan. The article does this by examining two case-study representations of Japanese Brazilian female bodies: Miss Nikkei in Karen Tei Yamashita’s mixed-media collection of essays and short stories, Circle K Cycles (2001); and performances by the Japanese idol group Linda Sansei (2013 debut). I argue that although the Japanese Brazilian population has largely been represented as minor characters in Japanese history, literature, and culture, the degree of consumption by fans belies this and points to the multiplicity of Japanese Brazilian identities. Moreover, the gendered, feminized body in these texts becomes a stereotyped, Orientalized, and fetishized Japanese body that is oftentimes juxtaposed to a sexualized, racialized Brazilian body. While this could distance fans and disavow the mixed-race Japanese Brazilian female body, Miss Nikkei and Linda Sansei perform gender and race in ways that demand recognition of their bodies as different to preconceived stereotypes. Fans consume the commodification of these new identitarian representations in a way that allows the mixed-race Japanese Brazilian female to attain social mobility, disavowing traditional categorizations as lower socio-economic class dekasegi, or foreign labourers.

Read or purchase the 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.

Krotoa-Eva’s Suite: A performance by poet Toni Stuart

Goldsmiths University of London
New Cross
London, United Kingdom
Caribbean Studies Centre
Top Floor, Education Building
2015-12-03, 18:30-20:30Z

Join the Centre for Caribbean and Diaspora Studies and the Centre for Feminist Research for a performance by poet Toni Stuart and a ‘Stories are Medicine’ discussion circle.

Toni Stuart (@nomadpoet) is a poet, performer, festival organiser and educator from Cape Town, South Africa.

She’ll be performing poems from her collection in progress, Krotoa-Eva’s Suite – a cape jazz poem in three movements. This is the re-imagined story of Krotoa-Eva, a Khoi woman who played a pivotal role in South African history in the 17th Century, when the first European settlers arrived at Cape Town, as it is known today. The poems give voice to Krotoa-Eva’s “interior” life, and aim to offer a counter-narrative to the male, colonial perspectives through which her story has previously been told.

The performance will be followed by an informal discussion circle around the role of self-care and healing in our work as feminists. And, it will explore how stories and the creative arts might facilitate and support this practice.

For more information, click here.

British Women Writers and the Asiatic Society of Bengal, 1785-1835

Ashgate Publishing
November 2014
160 pages
234 x 156 mm
Hardback ISBN: 978-1-4724-3088-5
eBook PDF ISBN: 978-1-4724-3089-2
eBook ePUB ISBN: 978-1-4724-3090-8

Kathryn S. Freeman, Associate Professor of English
University of Miami, Miami, Florida

In her study of newly recovered works by British women, Kathryn Freeman traces the literary relationship between women writers and the Asiatic Society of Bengal, otherwise known as the Orientalists. Distinct from their male counterparts of the Romantic period, who tended to mirror the Orientalist distortions of India, women writers like Phebe Gibbes, Elizabeth Hamilton, Sydney Owenson, Mariana Starke, Eliza Fay, Anna Jones, and Maria Jane Jewsbury interrogated these distortions from the foundation of gender. Freeman takes a three-pronged approach, arguing first that in spite of their marked differences, female authors shared a common resistance to the Orientalists’ intellectual genealogy that allowed them to represent Vedic non-dualism as an alternative subjectivity to the masculine model of European materialist philosophy. She also examines the relationship between gender and epistemology, showing that women’s texts not only shift authority to a feminized subjectivity, but also challenge the recurring Orientalist denigration of Hindu masculinity as effeminate. Finally, Freeman contrasts the shared concern about miscegenation between Orientalists and women writers, contending that the first group betrays anxiety about intermarriage between East Indian Company men and indigenous women while the varying portrayals of intermarriage by women show them poised to dissolve the racial and social boundaries. Her study invites us to rethink the Romantic paradigm of canonical writers as replicators of Orientalists’ cultural imperialism in favor of a more complicated stance that accommodates the differences between male and female authors with respect to India.

Contents

• Acknowledgements
• Introduction: British women writers and late Enlightenment Anglo-India: the paradoxical binary of Vedic nondualism and the Western sublime
• 1. The Asiatic Society of Bengal: “beyond the stretch of labouring thought sublime”
• 2. “Out of that narrow and contracted path”: creativity and authority in Elizabeth Hamilton’s Translations of the Letters of a Hindoo Rajah
• 3. Confronting sacrifice, resisting the sentimental: Phebe Gibbes, Sidney Owenson, and the Anglo-Indian novel
• 4. Female authorship in the Anglo-Indian meta-drama of Mariana Starke’s The Sword of Peace (1788) and The Widow of Malabar (1791)
• Epilogue: lost and found in translation: re-orienting British revolutionary literature through women writers in early Anglo-India
• Bibliography
• Index

The quadroon concubines of New Orleans on Wanton Weekends

Jude Knight
2015-10-25

Jude Knight

In New Orleans at the end of the 18th Century, a wealthy white man would generally live on his plantation with his wife and children, but he would also have a townhouse in New Orleans where his other family lived: his quadroon mistress and the children he had made with her.

To the men and women involved, these marriages de la main gauche (left-handed marriages) were honourable arrangements. The women were faithful to their protectors, and the men were expected to provide for their children. It was what a gentleman did…

Read the entire article here.

The Octoroon, a Tragic Mulatto Tale of the Old South

Jubilo! The Emancipation Century
2011-01-23

Alan Skerrett, Jr, Editor
Washington, D.C.

The Octoroon is a tragic mulatto play by Irish playwright and actor Dion Boucicault. It opened on Broadway in 1859, just a few years before the American Civil War. The play was based on Mayne Reid’s novel, The Quadroon, and the incidents relating to the murder of the slave in Albany Fonblanque’s novel, The Filibuster…

…The play centers around its heroine Zoe, a Louisiana octoroon in the pre-Civil War era. An octoroon is a person who has one biracial grandparent, while the other three grandparents are white. An octoroon is the child of a white parent and a quadroon parent. A quadroon is the child of a white parent and a biracial parent.

Octoroons are very often light enough to appear white. However, under the era’s one-drop rule, they were considered black. Additionally, any child born to a slave was automatically considered a slave. So, an octoroon born to a quadroon mother, where the quadroon mother was born to a biracial slave mother, was herself a slave…

Read the entire review here.