Mixed Race Studies

Soledad O’Brien and three of the interview subjects from her docu discuss the fifth installment of CNN’s Black in America series

Starting Point with Soledad O’Brien
Cable News Network (CNN)
2012-12-10

Soledad O’Brien, Host

The fifth installment of CNN’s Black in America Series focused on the question, “Who is black in America?” That single, seemingly simple question unravels the complicated, densely packed issue of racial identity in this country. To continue this important conversation, three of the interview subjects from the documentary: Fmr. Editor, Essence Magazine Michaela Angela Davis, “(1)ne Drop Project” Artistic Director and a consulting producer for the documentary Yaba Blay and poet and mentor Perry “Vision” DiVirgilio join “Starting Point” this morning…

O’BRIEN: Joining us to continue this conversation three of the subjects in the documentary, Mikaela Angela Davis is the former editor of “Essence” magazine, Perry “Vision” Divirgilio, a poet and teacher, and Professor Yaba Blay is the artistic director of the One Drop Project and she was a consulting producer on our documentary.

It’s nice to have you all with us. So why do you think this touches such a nerve? I mean, all you do is sit for a minute on my Twitter feed timeline, and realize like people were angry, freaked out, emotional about this. Why?

YABA BLAY, CONSULTING PRODUCER, “BLACK IN AMERICA”: It touches on our lived experience. I think, you know, I don’t know that I’m biased, but I think of all of the black in America iterations, that this is one that everyone can relate to, whether it’s them personally, as a mother, father, grandmother.

All of the feedback I was getting online, always included a personal testimony, how this reminds me of my grandmother, this reminds me of this, I have a story, and I think it’s one of those things that people tap into on a personal level, and it’s — there is an emotion there.

O’BRIEN: The documentary focused on two young poets in your class. You mentor both of them. How unusual were their story? They grapple with racial identity. You picked two people who were the dysfunctional ones. Is that — is that the case or do you think their quest typical?

PERRY “VISION” DIVIRGILIO, POET AND MENTOR: I don’t think it’s dysfunctional. I think what they are doing is very normal for teenagers just brave enough to throw it out there, let the world know this is who I am, how I feel. You heard these lot during workshops. You know, folks look at that’s a young black man or young black woman, were checking other, were not wanting to identify with race at all. I’m a man, woman, I’m human.

O’BRIEN: Many people actually also, I mean, on Twitter, who knows who many is. Listen, kumbaya real progress would be when we don’t have to talk about race it all. We’re just Americans.

MICHAELA ANGELA DAVIS, FORMER EDITOR, “ESSENCE MAGAZINE”: Acting like it doesn’t exist doesn’t heal and this incredibly emotional response as Yaba said. America as a family this is our taboo issue. This brings up so much — triggers a lot of black girl pain.

It triggers a lot of secrets and bias. It triggers emotional things in life. Any family — when we go into our history and say this horrible thing created this characteristics, people don’t like to look at it. This is the road to healing. The only way we’ll feel hole, we talk about where we’re fractured.

O’BRIEN: So John Berman is our token white man on the panel this morning, John Berman, in all seriousness.

BERMAN: I am white, all seriousness.

O’BRIEN: This conversation, was it one that you were ever aware of?

BERMAN: I was just thinking what makes this so interesting, the minute you put a question mark on it, you know, who is black in America or what is black in America, it makes everyone ask a question of themselves…

Read the entire article and watch the video clip here. Read the transcript here.

Edith and Winnifred Eaton: Chinatown Missions and Japanese Romances

University of Illinois Press
2002
240 pages
6 x 9 in.
14 black & white photographs, 7 line drawings
Cloth ISBN: 978-0-252-02721-5

Dominika Ferens, Professor of American Literature and Writing
University of Wrocław, Wrocław, Poland

Daughters of a British father and a Chinese mother, Edith and Winnifred Eaton pursued wildly different paths. While Edith wrote stories of downtrodden Chinese immigrants under the pen name Sui Sin Far, Winnifred presented herself as Japanese American and published Japanese romance novels in English under the name Onoto Watanna. In this invigorating reappraisal of the vision and accomplishments of the Eaton sisters, Dominika Ferens departs boldly from the dichotomy that has informed most commentary on them: Edith’s “authentic” representations of Chinese North Americans versus Winnifred’s “phony” portrayals of Japanese characters and settings.

Arguing that Edith as much as Winnifred constructed her persona along with her pen name, Ferens considers the fiction of both Eaton sisters as ethnography. Edith and Winnifred Eaton suggests that both authors wrote through the filter of contemporary ethnographic discourse on the Far East and also wrote for readers hungry for “authentic” insight into the morals, manners, and mentality of an exotic other.

Ferens traces two distinct discursive traditions–-missionary and travel writing–-that shaped the meanings of “China” and “Japan” in the nineteenth century. She shows how these traditions intersected with the unconventional literary careers of the Eaton sisters, informing the sober, moralistic tone of Edith’s stories as well as Winnifred’s exotic narrative style, plots, settings, and characterizations.

Bringing to the Eatons’ writings a contemporary understanding of the racial and textual politics of ethnographic writing, this important account shows how these two very different writers claimed ethnographic authority, how they used that authority to explore ideas of difference, race, class and gender, and how their depictions of nonwhites worked to disrupt the process of whites’ self-definition.

Finding Edith Eaton

Legacy: A Journal of American Women Writers
Volume 29, Number 2, 2012
pages 263-269
DOI: 10.1353/leg.2012.0017

Mary Chapman, Associate Professor of English
University of British Columbia

Since her critical recovery in the early 1980s, Edith Maude Eaton has been celebrated as the first Asian North American writer and as an early, authentic Eurasian voice countering “yellow peril” discourse through sympathetic literary representations of diasporic Chinese subjects. Eaton, a half-Chinese, half-English writer who wrote under variants of the pseudonym Sui Sin Far, is best known for Mrs. Spring Fragrance, her 1912 collection of Chinatown stories, and for the stories and uncollected journalism reissued in the 1995 collection Mrs. Spring Fragrance and Other Writings. Recent discoveries of unknown works by Eaton made by Martha J. Cutter, Dominika Ferens, and June Howard have begun to complicate our scholarly understanding of both her biography and her oeuvre.
 
Late one night in 2006, I typed Edith Eaton’s name and her best-known pseudonyms (“Sui Sin Far” and “Sui Seen Fah”) into the search bar of Google Books. Instantly, a link came up (one that is, alas, no longer there) to a story signed “Edith Eaton” that appeared in the April 1909 issue of Bohemian Magazine. “The Alaska Widow” is not mentioned in Ferens’s detailed bibliography, in Annette White-Parks’s biography, or in the collection White-Parks co-edited with Amy Ling. It is also uncharacteristic of Eaton’s works. Unlike the stories collected in Mrs. Spring Fragrance and Mrs. Spring Fragrance and Other Writings, many of which are set in North American Chinatowns and/or feature Eurasian children, this story takes up the cultural dynamic produced by the Alaska gold rush and the Spanish-American War, and it features a child born to a Native American mother abandoned by a Caucasian adventurer father who later dies in the Philippines. “The Alaska Widow” is also unlike most of the works Eaton published after 1898 in that it is signed “Edith Eaton” without any parenthetical reference to her pen name. Because “The Alaska Widow” is so different from other works by Eaton, it made me wonder: How many other unknown stories by Eaton exist, and how might they challenge scholars’ understanding of the author?
 
In the years Eaton actively published (1888-1914), US print culture changed profoundly. The number of newspapers and periodicals quadrupled. While nascent mass newspapers cultivated advertising dollars by becoming politically neutral and purportedly objective, many periodicals marketed themselves to niche audiences organized by class, age, gender, aesthetics, vocation, and other categories. Together Mrs. Spring Fragrance and Mrs. Spring Fragrance and Other Writings have made available to scholars only about fifty (mostly Chinatown-themed) publications by Eaton. My archival research, combined with contributions from other scholars, including Cutter, Ferens, and Howard, has uncovered nearly two hundred additional texts of diverse genres, themes, styles, and politics published in more than forty different Canadian, United States, and Jamaican periodicals between 1888 and 1914.
 
In her early career, between 1888 and 1896, Eaton placed signed poetry and fiction in small-circulation Montreal publications such as the Dominion Illustrated and Metropolitan Magazine. She also filed regular, unsigned journalistic contributions (primarily about Montreal’s Chinatown) and sent impassioned letters to the editor (signing herself E. E.) about racist policies toward the Chinese in Canada to two local newspapers: the Montreal Daily Witness and Montreal Daily Star. In addition, she filed stories about smallpox outbreaks, fires, and murders from northern Ontario, where she worked as a stenographer from 1892 to 1893. Between 1896 and 1897 she wrote daily society and women’s page news for Jamaica’s Gall’s Daily Newsletter. But Eaton recognized early on that it would be almost impossible to earn a living publishing fiction in Canada. In 1896, therefore, she began to submit Chinatown stories, signed “Sui Seen Far,” to periodicals in the United States—the fin de siècle little magazines Fly Leaf and Lotus, as well as the regional emigration magazine Land of Sunshine and popular magazine Short Stories. On the basis of her success placing these stories, Eaton moved to the United States, relocating to California (San Francisco and Los Angeles), probably…

The Life and Writings of Betsey Chamberlain: Native American Mill Worker (review)

Studies in American Indian Literatures
Volume 24, Number 3, Fall 2012
pages 138-141
DOI: 10.1353/ail.2012.0035

Margaret M. Bruchac

By reconstructing the life history of Betsey Guppy Chamberlain (1797–1866), historian and librarian Judith Ranta has done some fine detective work that illuminates an otherwise little-known aspect of women’s lives in nineteenth-century New England. This compilation will be useful for scholars of social history, yet there is one significant flaw. Ranta champions Chamberlain as a Native American author, and she has organized the collected works to emphasize this point.

We need not retroactively adjudicate degrees of Indian blood, but we must weigh real and fictive kin affiliation when discerning social identities. Betsey’s paternal grandmother, Sarah Loud Guppy, was said to have some Indian blood, but no specific tribal nation was ever recalled. Betsey’s parents, William and Comfort Guppy, who lived in Brookfield and Wolfboro, New Hampshire, near Lake Winnepesaukee, identified as white people. Given their locale, in Central Abenaki homeland, Ranta assumes that Betsey’s grandmother was Abenaki Indian. There is no evidence, however, to indicate that Loud, her son, or her granddaughter ever self-identified or were counted among members of any Abenaki (or other Native American) community.

Chamberlain’s publications began only after the death of her first husband, Josiah Chamberlain, when she left an intentional community (likely Shaker) in New Hampshire. She worked in the textile mills around Newmarket and Lowell, Massachusetts, and ran a boarding house, while publishing dozens of articles in the mill’s journal, the Lowell Offering. In 1843 she married Charles Boutwell and moved to Illinois, but she returned to Lowell to work two more years in the mills and publish more stories in the New England Offering before settling in Illinois.

Ranta convincingly demonstrates that Chamberlain had ready access to popular literature, so it is no surprise that her narratives reproduced prevalent social and ethnic stereotypes. Along with hundreds of her fellow female textile workers, she partook of Lowell’s public libraries, lectures, and events and attended “Improvement Circles” featuring amateur readings at local churches. Chamberlain was sensitive to anti-Indian prejudices, and her style resembles that of Lydia Maria Child, with its feminine sensitivities and calls to justice for the downtrodden. Yet, as Siobhan Senier has observed, Chamberlain’s melodramatic short fiction and vignettes of home life matched popular genres, and her “dream visions” resembled transcendentalist ramblings (Senier 673). None of this suggests tribal heritage.

Ranta claims that Chamberlain tapped Algonkian storytelling practices, but I see no trace of Indigenous oral traditions, cultural practices, or environmental knowledge in any of her writings. Curiously, Ranta censored the collection by omitting Chamberlain’s lurid stories of Indian attacks against white settlers, perhaps because these might undermine assertions of identity. Chamberlain’s anecdotes of Indian encounters on the colonial frontier employ sharp gender and racial divisions with satirical overtones and Christian messages; Native voice and agency are absent or marginalized. For example, “The Indian Pledge” recounts the rescue of a racist young white man by a “savage” Indian, in exchange for the gentle white wife’s earlier kindness to the poor Indian. “A Fire-Side Scene” features an old Yankee veteran recalling, with some pride, the mass burning of a Native village on the western Miami frontier (125–26). Chamberlain’s pseudonymous “Tabitha” (presented as the author of these tales) seems to be an alternate identity, rooted in ethnic masking or cultural appropriation.

Chamberlain’s creative work must be seen as a commercial transaction; whether paid or not, she trafficked in productions that elevated her own social position. She earned high wages in the mills, but she also found time to compose more than forty stories for the Lowell Offering and the New England Offering in a few years’ time. Exotic narratives containing Indians, scripted by a woman of mysterious ancestry, would have been an easy sell, but what was her inspiration? Was her favorite literary character, the “old maid,” based on some older woman who befriended the mill girls? Who…

Rosa Mahier’s Freedom: Identity and the Maintenance of Liberty in Antebellum Louisiana

127th Annual Meeting of the American Historical Association
New Orleans, Louisiana
2013-01-03 through 2013-01-06

Saturday, 2013-01-05: 14:50 CST (Local Time)
Chamber Ballroom I (Roosevelt New Orleans)
Paper in AHA Session 220: Manipulating Freedom: Liberty, Enslavement, and the Quest for Power in the Southwestern Borderlands (2013-01-05: 14:30-16:30 CST)

Johanna Lee Davis Smith
Tulane University

Rosa Mahier had lived her whole life in Mulatto Bend, a little community located a short distance from Baton Rouge.  Born a slave in 1813 and legally freed in 1827, Rosa was a familiar member of a network of free people of color which had lived and worked within and throughout the larger white population of the area since the 1780s.  Most of the inhabitants – black as well as white, Rosa included – were descended from local families of longue durée, and the free people of color in the community carefully cultivated their identity in order to perpetuate the security of their free status.  Rosa Mahier had been legally free for twenty years when Fergus Mahier, the white nephew of the man who once owned her, took legal action in an attempt to re-enslave her and her freeborn children.

Fergus Mahier did not ultimately prevail in his lawsuit, but his petition is as compelling for what he did not demand as for what he did.  Mahier did not attempt to re-enslave Rosa’s two brothers or her grandmother, all of whom had been manumitted at the same time and in the same way as Rosa, nor did he include Rosa’s mother Agnes, who also had been owned and freed by the Mahier family.  Therefore, the brief record of the case offers the opportunity to weigh the roles of identity, status, gender, wealth, and power as factors in the successful maintenance of liberty among free people of color in antebellum Louisiana.  Mahier’s motivation for the suit and the individual characteristics of the people involved present a trenchant illustration of the hair’s breadth that separated slavery and freedom, as well as the continuous efforts of aspiring slaveowners to breach that line.

Donas, Signares, and Free Women of Color: African and Eurafrican Women of the Atlantic World in an Age of Racial Slavery

127th Annual Meeting of the American Historical Association
New Orleans, Louisiana
2013-01-03 through 2013-01-06

AHA Session 153
Saturday, 2013-01-05: 09:00-11:00 CST (Local Time)
Chamber Ballroom II (Roosevelt New Orleans)

Chair: Hilary Jones, University of Maryland, College Park

Papers:

• “Reevaluating Saint Louis’ Infamous Signares, 1700–1850” / Lindsey Gish, Michigan State University
• “‘The Christened Mulatresses’: Interracial Marriage in a Slave Trading Town on the Gold Coast” / Pernille Ipsen, University of Wisconsin–Madison
• “Strategies of Power: Luso-African Donas of Nineteenth-Century Luanda” / Vanessa S. Oliveira, York University
• “Free African and Eurafrican Women and the Trading Companies of the French Atlantic” / Jessica Marie Johnson, Michigan State University

Comment: Lorelle D. Semley, College of the Holy Cross

In the age of the Atlantic Slave Trade, African and Eurafrican women emerged as intermediaries between foreign traders and local populations. Europeans’ lack of knowledge in African languages, trade networks, local culture, social structures and political institutions provided African and Eurafrican women a unique opportunity to become cultural and economic brokers.  Portuguese adventurers on the coast of West Africa first named these women “senhoras” in the 16th century. Although Portuguese men coined the term, they were not the only Europeans to name and have socio-economic relationships with African and Eurafrican women. Over time each European group made the original Portuguese term their own: in Crioulo it became “nhara”, in French “signare”, in English “senora”, and “dona” among the Portuguese of Central Africa.  These ‘middle-women” surfaced all along the coast of Africa from the Senegambia to Mozambique between the 15th and the 20th centuries, although the most famous of these women were found in the port cities of Bathurst, Benguela, Bissao, Cacheu, Goree, Joal, Luanda, Osu, Portudal, Rufisque and Saint Louis. These women formed a distinct group within African and Afro-Atlantic society during an age of racial slavery, but the duration and trajectory of their lives varied across time and place.

“Donas, Signares & Free Women of Color” gathers scholars working on female African and Eurafrican entrepreneurs, brokers, and partners who allied with Portuguese, Spanish, French and Danish men in one specific enclave of Africa or the Americas. Together these four papers will question what made these women unique, how different European powers perceived them, if and how partnering with one particular European power over another influenced these women, and how their actions were shaped by their local environments. Panelists’ papers will also explore the trans-regional and trans-Atlantic connections between women in each society, drawing on comparative frameworks to interrogate the similarities and differences between each group. By exploring the individual stories of African and Eurafrican “middle-women” across the Atlantic world, this panel will move the scholarship beyond exoticism and generalizations. The panel’s ultimate goal is to determine if these women can and should be discussed as a coherent collective group throughout the Atlantic World or if scholars should continue to examine each group separately.

Life Stories, Local Places, and the Networks of Free Women of Color in Early North America

127th Annual Meeting of the American Historical Association
New Orleans, Louisiana
2013-01-03 through 2013-01-06

AHA Session 72
Friday, 2013-01-04: 08:30-10:00 CST (Local Time)
Preservation Hall, Studio 7 (New Orleans Marriott)

Chair: Daina Ramey Berry, University of Texas, Austin

Papers:

• “Life Stories, Local Knowledge, and the Law in Eighteenth-Century North America” / Terri L. Snyder, California State University, Fullerton
• “‘Refugee from St. Domingue Living in This City’: The Geography of Social Networks in Testaments of Refugee Free Women of Color in New Orleans” / Elizabeth Neidenbach, College of William and Mary
• “The Power of Priscilla’s Upper Room: Gender and the African American Public Sphere in the 1830s” / Sharon E. Wood, University of Nebraska, Omaha

Comment: Anthony S. Parent, Wake Forest University

The three papers included in this panel share several themes significant to new directions in the history of women of color in North America and the Caribbean.

First, all three papers are concerned with the importance of networks, and the relationship between networks and localities.  In these papers, networks sustain women’s claims to freedom, and networks are closely associated with places.  Terri Snyder finds, for example, that Jane Webb and her daughter Elisha strengthened their positions in 18th century courtrooms–rarely hospitable to women of color–by drawing on local knowledge to support their claims to justice.  For Elisha, her mother’s networks in Virginia eventually intervened to secure her freedom in New Hampshire.  Elizabeth Neidenbach’s research in the wills of refugees from St. Domingue uncovers women’s networks expressed in the streets and neighborhoods of New Orleans–networks that reach back to the island home left behind.  Not only did these networks help refugee women survive, they played a significant role in shaping the culture of the city.  Finally, Sharon Wood’s research underscores the importance of African American-controlled space to the emergence of a black public sphere.  Property in Illinois owned by Priscilla, a former slave, became the meeting place when leading white men of St. Louis sought to suppress African American organizing by shutting off their access to space.  

Finally, all three papers are concerned with methodologies of doing history and biography at the intersections of race and gender in early North America. Focusing on relatively ordinary women of color, each paper aims to recover the lives of particular women and integrate them into history. Until very recently, it has been a truism that the life stories of unlettered, enslaved, and free women of color of the 17th, 18th, and early 19th centuries must remain unwritten because the sources to uncover their lives did not exist. Yet each of these papers, by imaginative use of primary sources and diligent linking of records across national, colonial, and state borders, challenges that claim, giving voice and flesh to women whose lives would otherwise remain fragmented among scattered documents.

This session addresses audiences interested in the histories of women, slavery and freedom, and geographical and biographical approaches to history.

Josephine Baker: A Chanteuse and a Fighter

The Journal of Transnational American Studies
Volume 2, Number 1 (2010)
18 pages

Konomi Ara
Tokyo University of Foreign Studies

This excerpt is from her newly-published biography of Josephine Baker, “A Fighting Diva.” It tells the intriguing story of Baker’s travels to Japan, her close friendship with the Japanese humanitarian Miki Sawada, and her adoption of a pair of Japanese orphans. Even after she achieved celebrity in France, Baker’s experience as a Black American led her to develop an antiracist philosophy at a worldwide level, and she combined political militancy in the public sphere with a personal commitment through the formation of an international multiracial household of children, the “Rainbow Tribe.”

Introduction: The Adoption of an Occupation Baby

Over half a century ago, in 1954, an African-American known as ‘The Amber Queen’ visited Japan. She was Josephine Baker (1906–1975), the dancer and singer who had
leaped to fame in Paris in the 1920s. The newspaper Asahi Shinbun described the feverish welcome she received on her first visit to the country:

“The amber-skinned singer Josephine Baker arrived from Paris on an Air France flight into Tokyo Haneda Airport at 9.40pm on the 13th. She has come to give fundraising performances for the abandoned mixed-race children of the Elizabeth Sanders Home in Oiso in Kanagawa Prefecture. The airport was thronged with many fans, including young women and black American soldiers, who had flocked in spite of the fine rain. Dressed in a black suit and a blue overcoat, Mrs Baker was greeted in the lobby by the director of the Sanders Home, Mrs Miki Sawada, the First Secretary of the French Embassy Monsieur Travis and the Daiei Studio actress Noboru Kiritachi among others. When two children from the Sanders Home, seven-year-olds Toshikazu Sato and Misao Kageyama, presented her with a bouquet, she gave the half-black boy and girl affectionate kisses on the cheeks. When she greeted all who had gathered, her voice was unexpectedly youthful for a 47 year old: ‘This is my first visit to Japan. Nothing could make me happier.’ She then headed for the Imperial Hotel with her pianist Milos Bartek and two others.” (14th April 1954)

As the article states, the purpose of Josephine’s visit to Japan was to give charity performances in support of abandoned mixed-race children. She had been invited by her friend Miki Sawada, the director of the Sanders Home, who was caring for the children known as ‘Occupation Babies’. The proceeds from Josephine’s performances around Japan would fund the construction of a boys’ dormitory at the Elizabeth Sanders Home, Baker Hall, and it still stands today although its use has changed. Josephine’s name and her words are carved at the bottom of a pillar on one of the corners of the building.

However, Josephine had a more important personal reason for her visit: she was going to adopt a child from the Home. Indeed, upon her arrival at the airport she asked Miki: “Where is my child?” and she was keen to meet the boy whom it was already agreed she would adopt. So Miki changed their plan, which was for Josephine to meet the child, Akio Yamamoto, three days later at the Elizabeth Sanders Home in Oiso, and instead took him to the Imperial Hotel the very next day. In the evening edition of Asahi Shinbun on the 14th, there is a photograph of a smiling Josephine holding Akio alongside an article headlined: “The First Meeting with Little Akio”.

Josephine subsequently visited the Elizabeth Sanders Home and adopted one more boy on the spur of the moment. Thus, the first two of Josephine’s 12 adopted children from different parts of the world and different cultural, religious and racial backgrounds, who would become known as The Rainbow Tribe, were from Japan. The youngsters would spend their childhoods at Josephine’s chateau, Les Milandes, in the Dordogne region of southwest France…

…This home for infants was founded in February 1948. The institution, which became well known as a home for mixed-race children, was a major project started by Miki Sawada. This eldest daughter of the Iwasaki family of the former Mitsubishi conglomerate, who had a privileged upbringing and who married the diplomat Renzo Sawada to become Miki Sawada, was moved by the problem of mixed‐race children in the wake of the War and decided to provide for such abandoned youngsters herself.

At its inception, Miki could not have imagined that the Home would turn into such a large-scale project with such longevity; but well over 1000 children subsequently arrived at and left this nest. Even today, the Home, a little altered, at any one time is home to almost 100 children whose birth parents have not been able to take care of them. Although the Home is no longer caring for ‘Occupation Babies’, the humanitarian spirit that forms the basis of its nurturing philosophy has not changed. One of the most powerful connections Miki formed was with the internationally famous African American performer Josephine Baker. Baker, who visited Japan for the first time in 1954, adopted two boys, Akio Yamamoto and Teruya Kimura, from among the mixed-race children known as ‘Occupation Babies’…

Read the entire article here.

Other Tongues: Mixed-Race Women Speak Out (review) [McKibbin]

University of Toronto Quarterly
Volume 81, Number 3, Summer 2012
pages 704-705
DOI: 10.1353/utq.2012.0140

Molly Littlewood McKibbin

Other Tongues: Mixed Race Women Speak Out by Adebe De Rango-Adem and Andrea Thompson, eds.(Inanna Publications, 2010)

DeRango-Adem and Thompson’s new collection of the artistic, autobiographical, and scholarly work of almost seventy women performs the important task of bridging the gap between late twentieth-century mixed-race writing and more contemporary work. Their text demonstrates the changes multiracial discourse has undergone and is undergoing. Other Tongues addresses the important concerns that dominated multiracial discourse in North America in the final decades of the twentieth century, which, as the contributions illustrate, are still quite relevant to the experiences of both older and younger multiracial women. Prominent recurring themes include belonging; racial inclusion and exclusion; identity formation; racism; physical appearance; the continuing prevalence of the ‘what are you/where are you from?’ question; the relationships between race, culture, and ethnicity; and the relationship of ‘colour’ to whiteness. Although some writers do not further these issues beyond what earlier collections have already done, others take them up in ways that renew older ideas with fresh perspectives. Many contributions touch on issues that are central to ongoing multiracial discourses, including gender, sexuality, class, migration, transracial adoption, single parenting, families consisting of multiracial parents, the rhetoric of ‘post-racialism,’ and the impact of Barack Obama as a public figure.

As Amber Jamilla Musser argues, race is ‘all about context,’ and this collection makes a concerted effort to include work arising out of many different contexts. Through contributors from a large variety of racial and ethnic backgrounds working in a range of genres – including autobiographical essays, narrative sketches, poetry, drama, scholarly essays, and visual art (unfortunately not printed in colour) – Other Tongues offers diverse voices that explore multiracial experience in North America (a necessarily limited geographical region, as the editors acknowledge). The exclusive engagement with women’s voices is, the editors explain, the result of a commitment to the goals of women’s studies. But while Carol Camper’s preface (itself rather troubling in its uncritical adoption of conventional notions of authenticity) signals DeRango-Adem and Thompson’s debt to her 1994 collection of women’s writing, Miscegenation Blues: Voices of Mixed Race Women, and while the desire to offer a forum in which women’s voices can be heard is clear, the absence of men’s experiences is at times a notable lack. Since multiracial discourse is in many ways a product of critical race theory and, consequently, is dependent on the ‘storytelling’ of racialized individuals as a way of approaching matters of race, the absence of male contributors seems limiting. While the editors’ choice is made explicit, the collection is presented in a way that suggests it is quite straightforwardly a text grappling with multiracialism that happens to include only women. Since contemporary North American multiracial theory, scholarship, and cultural production have never been dominated by men, there is no immediately apparent reason to focus on women to the exclusion of men.

However, the most significant feature of the volume is that it exhibits clearly the complicated set of variables that affect the experiences and identities of racialized figures, and several of the contributions are especially insightful. The blend of contributors of different ages and from different class, educational, regional, and cultural backgrounds aids the project of multiracial discourse, which is perhaps best defined by its heterogeneity. This collection is helpful since the importance of hearing a variety of voices is essential for resisting the homogenizing process of racialization in North American society. As Jackie Wang explains, ‘I write because I believe that it means something, because I have a story, although it is not the story,’ and, indeed, the multitude of ‘stories’ in Other Tongues demonstrates the differences within ‘mixed race’ even as it identifies similarities.

Although the content of the book does not really break new ground, the editors foster an unusual dialogue between their contributors that emphasizes the important links among ‘real life,’ art, politics, and the academy. A strength of the collection is that because it…

Han Suyin Dies; Wrote Sweeping Fiction

The New York Times
2012-11-05

Margalit Fox

Han Suyin, a physician and author known for writing the sweeping novel that became the Hollywood film “Love Is a Many-Splendored Thing” and for her outspoken championing of China under Mao Zedong, died on Friday at her home in Lausanne, Switzerland.

As with many aspects of Dr. Han’s life, the precise year of her birth is uncertain, but she was believed to have been 96. Her granddaughter, Karen Shepard, confirmed the death.

The daughter of a Chinese father and a Belgian mother, Dr. Han was born and reared in China but wrote primarily in English and French. In more than two dozen books, including novels, a multivolume memoir and laudatory biographies of Mao and Zhou Enlai, she had the singular task, during the 1950s and afterward, of simultaneously explaining China to the West and the West to China…

…Dr. Han was born on Sept. 12, most likely in 1916, her granddaughter said — not in 1917, as has been reported over the years. The city of her birth is uncertain: it may have been Xinyang, in the Henan Province. Her parents eventually settled in Beijing, where she grew up.

At birth, Dr. Han was given the Chinese name Kuang-Hu Chou; she was also known early on by a Western name believed to have been Rosalie Matilda Chou, though she preferred to call herself Elizabeth. (At the start of her writing career she took the pen name Han Suyin, which she liked to translate as “a common little voice.”)

Growing up as a mixed-race child, Dr. Han later said, she felt she had a foot in each of two words but a secure footing in neither. Her mother, she told The New York Times in 1985, caustically referred to her as “the yellowish object.”…

Read the entire obituary here.