Mixed Race Studies

ENGL 773 (or) ENGL 873: Topics in Minority Literature: (W)Rites of Passing: Narratives of Shifting African American Identities

Indiana University of Pennsylvania, Indiana, Pennsylvania
Fall 2012

Veronica Watson, Associate Professor of English

“Passing” is a term that has, until quite recently, been used to refer almost exclusively to a person classified by society as a member of one racial group choosing to live as a member of a different racial/ethnic group. In the U.S. it was borne out of an oppressive racial classification system that placed African American at the bottom of a hierarchy that denied them basic human, social, and political rights. Passing, as narrative content and form, has traditionally been understood as a response to those conditions, a critique of American social systems, and a revealing argument about the ambiguity of “race.” This almost sociological approach to reading the phenomenon of passing in literature accounts for the canonization of a fairly narrow list of titles within African American literature.
 
In this class we will engage a broader mix of 19th-21st century texts as passing narratives than is typically considered. We will also expand our understanding of the passing narrative by examining contemporary scholarship on the topic, like Mary Balkun’s The American Counterfeit: Authenticity and Identity in American Literature and Culture, Steven Belluscio’s To Be Suddenly White: Literary Realism and Racial Passing, Juda Bennett’s The Passing Figure: Racial Confusion in Modern American Literature, and Laura Browder’s Slippery Characters: Ethnic Impersonators and American Identities.

By the end of the class you are sure to have a new appreciation of the complexities and richness of these works and to have thought about new research trajectories that could lead to cutting-edge scholarship and publication opportunities.

The tentative literary reading list is as follows:
 
Charles Chesnutt: House Behind the Cedars
Willam and Ellen Craft: Running a Thousand Miles for Freedom
Grace Halsell, Soul Sister
Jessie Redmond Fauset: Plum Bun
Pauline Hopkins, Of One Blood
James Weldon Johnson: Autobiography of an Ex-Colored Man
Nella Larsen, Passing
Martha A. Sandweiss, Passing Strange: A Gilded Age Tale of Love and Deception Across the Color Line
George Schuyler, Black No More
Danzy Senna, Caucasia
Walter White, Flight

Why I Remain A Negro

The Saturday Review of Literature
1947-10-11
pages 13-

Walter White, National Secretary
National Association for the Advancement of Colored People

THE SCENE was a New York duplex apartment. The people were liberals, economically as well as intellectually well off. They were discussing the race question. I had been invited to speak. One of the women, listening, seemed agitated by something I had said. She scribbled on a piece of paper and handed it to another woman, a woman whose skin was reddish brown,, a woman who was probably colored. “Is Mr. White white or colored?” the message inquired. The other scribbled an answer and passed it back. “I am Mrs. White,” the reply said. The white woman, reading it, became excited. Hastily she penciled a comment: “What a wonderful talk! This is the first time I’ve had the opportunity to hear him.”

I am a Negro. My skin is white, my eyes are blue, my hair is blond. The traits of my race are nowhere visible upon me. Not long ago I stood one morning on a subway platform in Harlem. As the train came in I stepped back for safety. My heel came down upon the toe of the man behind me. I turned to apologize to him. He was a Negro, and his face as he stared at me was hard and full of the piled-up bitterness of a thousand lynchings and a million nights in shacks and tenements and “nigger towns.” “Why don’t you look where you’re going?” he said sullenly. “You white folks are always trampling on colored people.” Just then one of my friends came up and asked how the fight had gone in Washington—there was a filibuster against legislation for a permanent Fair Employment Practices Commission. The Negro on whose toes I had stepped listened, then spoke to me penitently.

“Are you Walter White of the NAACP? I’m sorry I spoke to you that way. I thought you were white.” I am not white. There is nothing within my mind and heart which tempts me to think I am. Yet I realize acutely that the only characteristic which matters to either the white or the colored race—the appearance of whiteness—is mine. White is the rejection of all color; black is the absorption of  every shade.  There is magic in a white skin; there is tragedy, loneliness, exile, in a black skin. Why then do I insist that I am a Negro, when nothing compels me to do so but myself?…

Read the entire article here.

Clare Kendry’s “True” Colors: Race and Class Conflict in Nella Larsen’s Passing

Callaloo
Volume 15, Number 4 (Autumn, 1992)
pages 1053-1065

Jennifer DeVere Brody, Professor of Drama
Stanford University

Interpretations of Nella Larsen’s Passing (1929) often have failed to explain the complex symbolism of the narrative. Indeed, dismissive or tendentious criticisms of the text have caused it to be eclipsed by Larsen’s “earlier and more intriguing” book, Quicksand (1928). This essay reexamines Passing as a work concerned with the simultaneous representation and construction of race and especially class, within a circumscribed community. As such, my paper contributes to debates within Black feminist criticism about the value of these aspects of identity in relation to the production of black female subjectivities. I contend that the novel’s main characters are neither purely “psychological” beings, as Claudia Tate asserts, nor are they essentially “sexual” creatures, as Deborah McDowell argues. Rather, I read Irene Redfield and Clare Kendry as representatives of different ideologies locked in struggle for dominance.

In her introduction to Passing Deborah McDowell one of the most astute critics of Larsen’s work, states that “many critics have been misled by the novel’s epigraph … [since] it invites the reader to place race at the center of any critical interpretation.” It would appear that McDowell herself has been misled by Passing’s obviously unreliable narrator. So too, McDowell seems to agree with Claudia Tate’s belief that, “Race is peripheral to Passing. It is more a device to sustain the suspense than a compelling social issue.” I disagree with these assertions because it seems to me that the text is “all about race” or rather, the mediation of race in relation to sexuality and class.

McDowell recognizes certain tropes employed by Larsen and, like many other critics, she maintains that Irene Redfield is the primary referent of the novel’s title. Ultimately, however, McDowell is unable to give a full explication of the texf s meaning since she tries to read/uce the text as a tale of latent sexual passion without discussing the key issues of race and class. Thus, while her discussion is certainly valuable, one might also say that it reifies sexuality at the risk of not exploring how sexuality is connected inextricably with other historically produced phenomena such as race and class. In order to sustain her ingenious reading of Passing as a tale that “passes for straight” and sublimates lesbian desire, McDowell misses the more intricate implications addressed by Larsen’s work. The iconography McDowell reads as sexual is simultaneously racial: it also expresses class positionality. For example, the objective correlative envelope used in the first paragraph of the novel signifies not only the “sexual” (McDowell reads it as a “metaphorical vagina”) but also the sender’s race (alien) and class (elite). Thus, my reading emends McDowell’s by insisting on the importance of race and class in Passing.

If race as well as class conflict must occupy a primary position in any discussion of…

In the Shadow of Her Ancestry: The New Tragic Mulatta

North Carolina State University, Raleigh
2004
60 pages

Vonda Marie Easterling

A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the Degree of Master of Arts

This thesis examines the plight of the infamous tragic mulatta. Because of the mulatta’s lack of black features and her close resemblance to the white race, she was labeled by white society as the privileged of the black race. She was also referred to as the most tragic of all beings and elevated by white society over the darker skinned blacks. Thus, the mulatta found herself in a peculiar position in a race oriented, black-white society. Isolated from the black community and rejected as a part of the white community, the mulatta’s existence was then considered tragic.

Over the years, social and emotional change has occurred within the mulatta community. No longer considered the taboo of transgression, the mulatta still suffers from many of the same injustices as her ancestral mulatta. This research examines the psychological and emotional effects depicted in the 1959 film of Fannie Hurst’s Imitation of Life with sections of Toni Morrison’s The Bluest Eye and events from actress Dorothy Dandridge’s life. The research also analyzes Passing, Nella Larsen’s complex novel of the 1920s, to interrogate the strategy that many unidentifiably mulatto people mastered in order to achieve social and financial mobility. Lastly, the research explores the experience of the contemporary mulatta through Rebecca Walker’s memoir, Black, White and Jewish: Autobiography of a Shifting Self, in order to explore the issues of the newly termed bi-racial person. The research explores the lineage between the historical mulatta figure and the new bi-racial persons to defuse the theory of the tragic mulatta as a mythical allusion.

Table of Contents

• Introduction
• Chapter One: Reel to Real: The Cinematic Mulatta
• Chapter Two: To ‘Pass’ or Not to ‘Pass’: The Multi-Layered Practice of ‘Passing’
• Chapter Three: As Time Goes By: The New Tragic Mulatta
• Conclusion
• Works Cited

Read the entire dissertation here.

Passing: Race, Identification and Desire

Criticism: A Quarterly for Literature and the Arts
Volume 45,  Number 4 (Fall 2003)
pages 435-52

Catherine Rottenberg, Assistant Professor
Department of Foreign Literatures and Linguistics and the Gender Studies Program
Ben-Gurion University, Beer-Sheva, Israel

IN THE SECOND HALF of the nineteenth century, African-American writers such as William Wells Brown and Frances Harper began invoking the phenomenon of passing in their texts as a way of investigating the complexities and contradictions of the category of race in the United States. The light-enough-to-pass Negro (but usually Negress) would play a central role in the imagination of African-American writers for the next fifty years. Charles Chesnutt’s The House behind the Cedars, Jessie Faucet’s Plum Bun, and James Weldon Johnson’s The Autobiography of an Ex-Coloured Man are perhaps the best-known examples. Nella Larsen’s 1929 novella, Passing, the text under discussion in this essay, can thus be seen as inheritor and perpetuator of a long tradition of such narratives. In recent years, Larsen’s text has become the most celebrated instance of a story about passing in African-American literature, eclipsing the tradition that preceded it. This is not coincidental, for Larsen is a master of ambiguity and intrigue, and the enigmatic finale of her novella has generated heated debates and countless interpretations.

Many analyses have attempted to determine whether or not Larsen’s use of passing can be seen as a subversive strategy, that is, whether the narrative serves to reinforce hegemonic norms of race or whether it ultimately posits passing as a viable survival strategy, which has the potential to disrupt “the enclosures of a unitary identity.” While this question still informs several critiques, in the past few years commentators have been concentrating more and more on how passing interrogates and problematizes the ontology of identity categories and their construction. Rather than trying to place passing in a subversive recuperative binary, these articles and books use passing as a point of entry into questions of identity and identity categories more generally.

In this essay I contend that Larsen’s text can assist critics in understanding the specific and, as I will argue, irreducible features of race performativity. That is, the novella can help us begin mapping out the differences between gender and race norms since it uncovers the way in which regulatory ideals of race produce a specific modality of performativity. Passing is especially conducive to interrogating the modality of race performativity because, unlike other passing narratives of the period, Larsen’s presents us with two protagonists who can pass for white; yet only Clare “passes over” into the white world. The depiction and juxtaposition of these two characters reveal the complexities and intricacies of the category of race. While Irene can be seen to represent the subject who appropriates and internalizes the hegemonic norms of race, Clare’s trajectory dramatizes how dominant norms can be misappropriated and how disidentification is always possible.

This essay commences with a theoretical discussion of race. Although much has been written on the constructed nature of the category of race, very few analyses have offered a convincing and rigorous account of how race might be conceived of as performative reiteration. The second section offers a reading of “passing” scenes from the novella in an attempt to unravel some of the distinctive mechanisms through which race norms operate. On the one hand, the novella suggests that race in the United States operates through an economy of optics, and the assumption of whiteness is one of the consequences of this economy. On the other hand, the novella reveals that skin color (i.e., optics) does not really constitute the “truth” of race.

Invoking Homi Bhabha’s notion of mimicry as a supplement to Butler’s concept of gender performativity in the third section, I interrogate and theorize the ways in which the definitional contradiction of race (“can be seen” versus “cannot be seen”) produces race as performative reiteration. While there are two idealized genders under regimes of compulsory heterosexuality, albeit with a very great power differential between them, there has historically been only one hegemonic and ideal race under racist regimes. This difference, I argue, has far-reaching implications, one of which is the need to rethink the desire/identification nexus, a nexus that operates differently in race and in gender. Understanding the particular relationship between desire and identification in the novella also helps us begin to gauge the critical question of disidentification.

At least one clarification is needed at this point, however. This essay focuses on the ways in which power—in the Foucauldian and Butlerian sense—operates on the hegemonic level and does not make a claim about the multiplicity of social practices per se. Hegemony, though, as we will see in the last section, is never complete, indicating that there are always counterdiscourses and alternative norms circulating within any given society…

Read the entire article here.

Identity Formation in Biracial Female Authors’ Narratives of Passing: Transgressing Racial and Sexual Boundaries in Nella Larsen’s Passing and Danzy Senna’s Caucasia

Aristotle University of Thessaloniki
September 2008
150 pages

Stamatia Koutsimani

A Dissertation submitted to the Department of American Literature and Culture, School of English, Faculty of Philosophy of Aristotle University of Thessaloniki, in partial fulfilment of the requirements for the degree of Master of Arts.

The complex presence of the mulatta figure in American cultural history is mostly reflected in twentieth-century narratives of passing where the light-skinned enough to pass Negress becomes a vehicle for challenging both the color line and the very notions of blackness and whiteness. Contrary to nineteenth-century whites’ stereotypical representations of the “tragic mulatta” as a victim of her divided racial heritage, the use of the passing mulatta by twentieth-century biracial female authors has served to criticize racial as well as gender essentialisms. In this respect, this thesis will focus on Nella Larsen’s Passing, published in 1929 and Danzy Senna’s Caucasia, published in 1998, trying to show how the changing representation of the passing mulatta characters reflects the gradual reversal of the tragic mulatta myth and reveals the interconnections among race, gender, class and sexuality in different sociopolitical contexts. By examining the authors’ use of the passing mulatta as a trope through which to question the dominant political and racial ideology of their time, the thesis will attempt to explain how the biracial female characters’ transgression of racial and gender boundaries contributes to the understanding of identity as constructed and performed. More specifically, the reading of Passing and Caucasia will be based on Judith Butler’s concept of gender performativity and Catherine Rottenberg’s theoretical discussion of race performativity. In addition, Kimberlé Crenshaw’s theory of intersectionality, which is central to Valerie Smith’s notion of black feminism, will play a major role in the analysis of the two works.

Based on a comparative analysis of the novels, the thesis will draw attention to the central mulatta characters’ search for racial and gender identities, with a view to tracing potential changes in the authors’ employment of the passing theme in the increasingly multicultural US racial context. Moreover, by highlighting the passing novels’ difference from stereotypical depictions of mulatta figures, the thesis aims at responding to questions regarding racial dualism and ongoing debates over mixed race identity. On the whole, it will reveal that the biracial female authors’ representations of the permeable borders between identity categories serve to challenge dominant cultural understandings of racial and gender differences which have long contributed to the mulatta figure’s liminal status in American society.

Read the entire thesis here.

The “Passing” Question

Phylon (1940-1956)
Volume 9, Number 4 (4th Quarter 1948)
pages 336-340

Wm. M. Kephart, Professor of Sociology
University of Pennsylvania, Philadelphia

How many Negroes are ‘passing‘ every year in the United  States?” “What percentage of the White population possesses some Negro blood?” “In time, will all the Negroes ‘pass’?” “What proportion of the present-day Negro population is pure Negro?” “Is it true that many of our so-called White marriages are producing Negro offspring?” “Are some of our top-flight radio and motion picture entertainers really Negroes?”

These questions, or questions of similar implication, have been asked sporadically for the past 200 years. Recently, however, they have broken out afresh. Sinclair Lewis’ best-seller, Kingsblood Royal, persistent rumors concerning some of our most popular entertainers, and finally estimates as to the number of Negroes who “pass” every year, have done much to revive the old questions (and superstitions) regarding the “mysteries” of skin color.

Some of the questions are scientifically answerable, some are unanswerable because of the nature of the data, and some of the questions have only hypothetical answers. Ignoring the answerable questions for a moment, let us examine those questions which either have no present answer, or at best whose answers are problematical.

I. The number of Negroes who annually “pass.”

Walter White, in his “Why I Remain A Negro” states that “Every year approximately 12,000 white-skinned Negroes disappear…” Roi Ottley, in his “Five Million White Negroes” puts the figure at between forty and fifty thousand annually, with a “total” of between five and eight million! Such a wide disparity in figures suggests the real answer, namely, nobody knows.

For obvious reasons, Negroes who do “pass” keep the matter a secret, at least to the Whites. Furthermore, many Negroes who do “pass” do so on a temporary basis; that is, many of them are discovered, move to a new cultural setting, and begin the “passing” procedure over again.

For obvious reasons, Negroes who do “pass” keep the matter a secret, at least to the Whites. Furthermore, many Negroes who do “pass” do so on a temporary basis; that is, many of them are discovered, move to a new cultural setting, and begin the “passing” procedure over again.

It is also true that a great many Negroes who could “pass” do not choose to do so—in some cases because of a genuine pride in their race, and in other cases because they derive more social and economic benefit from being an upper-class Negro than from being a lower-class white. Any attempt to arrive at an accurate figure from U. S. Census figures…

English R1A: Keeping it Real?: Racial & Queer Passing in American Literature

University of California, Berkeley
Fall 2010

Rosa Marti­nez

“I had a literature rather than a personality, a set of fictions about myself.”
—Kafka Was the Rage by Anatole Broyard

This course intends to explore the “art” of racial passing and masquerade in American literature and culture through a diverse sample of American novels and short stories, such as traditional narratives of black-to-white passing, which is historically prevalent particularly in African-American literature, and other modes of passing, for instance gender and ethnic ambiguity as well as posing and the “closeting” of one’s sexuality. What are the connections or disjunctions between “closeting,” posing, and crossing the gender or color line? By focusing on the trope of the passing figure, we will ask how people and imagined characters negotiate their identity in various and varying social spaces and also, how authors disclose the frailty of social order regarding sexuality, race and the body to make alliances in unimagined ways. Venturing out of the closet as another and as they please, these passing figures are, indeed, queer. Yet what are the personal costs in relinquishing a disfavored identity for a favored one?

This course intends to hone your reading and writing skills, and will focus on helping you make thoughtful questioning and “interesting use of the texts you read in the essays you write.” Through a gradual process of outlining, rewriting and revising, you will produce 32 pages of written work (including brief response papers and three 3-4 page argumentative essays).

Book List

Álvar Núñez Cabeza de Vaca, Naufragios (1542); William and Ellen Craft, Running a Thousand Miles for Freedom (1860); Joseph Harris, Rewriting (2006); Nella Larsen, Passing (1929); Mark Twain, Pudd’nhead Wilson (1894); a course reader containing critical readings.

Spinning on Margins: An Analysis of Passing as Communicative Phenomenon

Queen: a journal of rhetoric and power
Special Issue: Rehtorics of identity: Place, Race, Sex and the Person (January 2005)
From the conference held from 2005-01-20 through 2005-01-22 at the University of Redlands
21 pages

Marcia Alesan Dawkins, Visiting Scholar
Brown University

Acts of black-to-white racial passing in the United States represent a struggle between self-identity and the social structures into which one is born. From a historical perspective, passing is a strategy of representation through which light-skinned black Americans attempt(ed) to reconcile “two unreconciled ideals:” their limited opportunities as black people in a segregated society with their idealized life goals as full American citizens in the pre-civil rights era (DuBois, 1903; Gandy, 1998). In other words, passing is a strategy employed by many light-skinned black Americans to resolve being excluded from the general white world of social activity by “the vast veil;” the physical, legal, psychological, and social obstacles structurally embedded between blacks and whites (DuBois, 1903).

This individual paper employs Structuration Theory, legal precedent, literature and rhetorical analysis to respond to the following specific interrogations: (1) is it possible to develop a vocabulary about “passing,” which is an activity based on nonverbal communication and physicality and enshrouded in a code of silence? And, in a broader sense, (2) how do acts of passing themselves become communicative behaviors that express identity?

This three-pronged analysis of the passing phenomenon will work to call the ideological and epistemological foundations of race itself into question. First, Giddens’s Structuration Theory will explain that passers note a contextual diversity/dissonance at the macro level between the general white world of social activity and the general black world of social activity. Second, a rhetorical analysis of legal precedent will highlight America’s investment in race as the basis for defining and partaking in social and material privileges that become routine and critical aspects of day-to-day life. Court cases such as Plessy v. Ferguson, Brown v. Board of Education, and People v. Dean are pivotal points in tracing whiteness from “color to race to status to property” (Harris, 1993, p. 1714). Additionally, these cases address the debate of social versus legal whiteness as the grounds for constituting full participation in society. Third, available literature, including narratives written by enslaved Africans along with novels, diaries, and memoirs from the Harlem Renaissance, recounts tales of passing and the emotional and social tolls paid in the process (Harris, 1993; Johnson, 1912; Hughes, 1933; Williams, 1991; Ifekwunigwe, 1999). Rhetorical analysis of this literature will uncover the tropes of a vocabulary of passing and reveal race as a “fantasy theme” and social resource that individuals who are not in the mainstream of white America utilize to attain economic, political, and personal fulfillment.

Read the entire article here.

Passing and the Rise of the African American Novel

University of Illinois Press
2001
208 pages
6 x 9 in.
Paper ISBN: 978-0-252-07248-2

M. Giulia Fabi, Associate professor of American literature
University of Ferrara, Italy

Revealing the role of light-skinned black characters passing for white in African American literature

A CHOICE Outstanding Academic Title, 2003

Passing and the Rise of the African American Novel restores to its rightful place a body of American literature that has long been overlooked, dismissed, or misjudged. This insightful reconsideration of nineteenth-century African American fiction uncovers the literary artistry and ideological complexity of a body of work that laid the foundation for the Harlem Renaissance and changed the course of American letters.

Focusing on the trope of passing—black characters lightskinned enough to pass for white—M. Giulia Fabi shows how early African American authors such as William Wells Brown, Frank J. Webb, Charles W. Chesnutt, Sutton E. Griggs, Frances E. W. Harper, Edward A. Johnson, and James Weldon Johnson transformed traditional representations of blackness and moved beyond the tragic mulatto motif. Challenging the myths of racial purity and the color line, these authors used passing to celebrate a distinctive, African American history, culture, and worldview.

Fabi examines how early black writers adapted existing literary forms, including the sentimental romance, the domestic novel, and the utopian novel, to express their convictions and concerns about slavery, segregation, and racism. Chesnutt used passing as both a structural and a thematic element, while James Weldon Johnson innovated by parodying the earlier novels of passing and presenting the decision to pass as the result, rather than the cause, of cultural alienation. Fabi also gives a historical overview of the canon-making enterprises of African American critics from the 1850s to the 1990s and considers how their concerns about promoting the canonization of African American literature affected their perceptions of nineteenth-century black fiction.