Mixed Race Studies

Book Review: Go White, Young Man

Vanderbilt Law Review
Volume 65, En Banc 1 (2012-01-30)
10 pages

Alfred L. Brophy, Judge John J. Parker Distinguished Professor of Law
University of North Carolina School of Law

Daniel J. Sharfstein. The Invisible Line: Three American Families and the Secret Journey from Black to White. New York: Penguin Press, 2011. 415 pp. Hardcover ISBN: 9781594202827.

Sharfstein’s book follows three families whose members at some point crossed the color line separating black from white—or tried and failed to. These case studies tell us what it is to be American—how race is central to our identity, how we use race to take down opponents or to exclude—and how the line separating black and white is sometimes porous. However, is not the story of race and American legal history about the ways that race is defined by law and by norms? Race mattered because people policed the line separating blacks and whites. That many states classified people with a small percentage of African ancestry as white suggests that it was possible to move across the color line. Still, the cases where the color line was policed, rather than crossed, are significant.

Our nation’s struggle with race is now about one-third of a millennium long. So there is a lot for Daniel Sharfstein’s epic work of American history, The Invisible Line, to engage as it sweeps across centuries—from Virginia in the 1600s to Washington, DC, in the 1950s—and as it details generations of lives, from humble farmers in Appalachia to heirs of Gilded Age merchants. Where most other people who have looked at such issues focus on the chasm between white and black, Sharfstein looks at people on the line separating black and white. He is able in this way to get at key—and often overlooked—issues, such as how people have crossed the color line in America and what efforts to cross and police it tell us about our national struggle with race and with equality.

To detail the sine curve of attitudes towards race, Sharfstein offers three case studies of how racial categorization has functioned and how it kept (or attempted to keep) African-Americans in their place. The book follows three families whose members at some point crossed the line separating black from white—or tried and failed to. Sharfstein’s elegant prose illuminates how the color line functioned for people on both sides of it. For those who could do so, there were great incentives to claim to be white rather than black. In one era, race could define who might be a slave; in later eras, it was central to who could live in desirable locations, who could go to the most desirable schools, who could have access to the best government jobs. From statutes to social norms, African-Americans were told that they were inferior and had to maintain their place. Thus, those who might pass for white—those who had light enough skin color and perhaps the geographic mobility to mask their family history—often did so.

Some of the story of passing is well known. President Warren G. Harding is said to have remarked in response to an allegation that he had African ancestry, “How do I know? One of my ancestors may have jumped the fence.” Some of the best-known literature of the Jim Crow era was about crossing the color line, like Nella Larson’s Passing. And even antebellum literature often addressed the crossing of the line from black to white. Uncle Tom’s Cabin, for instance, has a vignette about a light-skinned former slave who passed for white. Yet, even though we know that families crossed the color line (or attempted to), one wonders if the most important lessons from Sharfstein’s book are the ways the line was successfully policed rather than the ways it was crossed…

…We learn a great deal about the policing of the color line in Sharfstein’s book. Attempts to prevent passing sometimes failed, as in the Regulator Movement and in the Spencers’ Appalachia. In both of those cases, opponents of families who had once been identified as African-American unsuccessfully claimed that they were still African-American. But Sharfstein illustrates numerous occasions when the line was successfully policed: in Washington, DC, after Reconstruction, when O.S.B. Wall helped lead a western exodus movement; in the early twentieth century, when disfranchisement of blacks led to loss of representation in Congress and loss of civil service jobs, such as Stephen Wall’s at the Government Printing Office; and when an heir to the Field fortune—who, as a member of the Gibson family, had some African ancestry—put on a display at the Field Museum about the races of mankind.

We learn that statutes helped police the color line. For instance, statutes defined the blood quantum that permitted one to be considered white. Yet even when statutes defined one as black, social norms often classified a person as white. Sharfstein makes a bold statement about the porous nature of the color line in regard to slavery: “The difference between black and white was less about ‘blood’ or biology or even genealogy than about how people were treated and whether they were allowed to participate fully in community life. Blacks were the people who were slaves, in fact or in all but name; the rest were white.” This argument shifts the basis for being considered black from blood quantum to status—though the two were often highly correlated…

Read the entire review here.

Charles W. Chesnutt: Stories, Novels, and Essays

The Library of America
2002
939 pages
8.1 x 5.3 x 1.3 inches
Hardcover ISBN-10: 1931082065; ISBN-13: 978-1931082068

Edited by

Werner Sollors, Henry B. and Anne M. Cabot Professor of English and African-American Studies
Harvard University

Before Langston Hughes and Zora Neale Hurston, before James Weldon Johnson and James Baldwin, Charles W. Chesnutt broke new ground in American literature with his innovative exploration of racial identity and his use of African American speech and folklore. Rejecting his era’s genteel hypocrisy about miscegenation, lynching, and “passing,” Chesnutt laid bare the deep contradictions at the heart of American attitudes toward race and history, and in the process created the modern African American novel. The Library of America presents the best of Chesnutt’s fiction and nonfiction in the largest and most comprehensive edition ever published, featuring a newly researched chronology of the writer’s life.

The Conjure Woman (1899) introduced Chesnutt to the public as a writer of “conjure” tales that explore black folklore and supernaturalism. In such stories as “The Goophered Grapevine” and “The Conjurer’s Revenge,” the storyteller Uncle Julius reveals a world of fantastic powers and occult influence. That same year, Chesnutt published The Wife of His Youth, and Other Stories of the Color Line, a collection set in his native North Carolina that examines the legacies of slavery and Reconstruction at the turn of the century.

His first novel, The House Behind the Cedars (1900) dramatizes the emotional turmoil and inevitable conflicts brought on racial passing. Through the agonizing fate of Rena Walden, a beautiful woman in search of her own identity, Chesnutt exposes the destructive consequences of the legal and social fictions surrounding race in the post-bellum South.

The Marrow of Tradition (1901), Chesnutt’s masterpiece, is a powerful and bitter novel about the harsh reassertion of white dominance in a Southern town. Based on the 1898 massacre in Wilmington, North Carolina, the book reveals the political underpinnings of the emerging segregationist status quo through the story of two secretly related families, one black, one white. Neglected in its own time, The Marrow of Tradition has been recognized increasingly as a unique and multilayered depiction of the hidden dynamics of a society giving way to violence.

Nine uncollected short stories, including all the Uncle Julius tales omitted from The Conjure Woman, round out the volume’s fiction. A selection of essays, mixing forceful legal argument and political passion, highlight Chesnutt’s prescient views on the paradoxes and future prospects of race relations in American and the definition of race itself. Also included is the revealing autobiographical essay written late in his life, “Post-Bellum—Pre-Harlem.”

Table of Contents

• The Conjure Woman [1899]
  • The Goophered Grapevine
  • Po’ Sandy
  • Mars Jeems’s Nightmare
  • The Conjurer’s Revenge
  • Sis’ Becky’s Pickaninny
  • The Gray Wolf’s Ha’nt
  • Hot-Foot Hannibal
• The Wife of His Youth and Other Stories of the Color Line [1899]
  • The Wife of His Youth
  • Her Virginia Mammy
  • The Sheriff’s Children
  • A Matter of Principle
  • Cicely’s Dream
  • The Passing of Grandison
  • Uncle Wellington’s Wives
  • The Bouquet
  • The Web of Circumstance
• The House Behind the Cedars [1900]
• The Marrow of Tradition [1901]
• Uncollected Stories
  • Dave’s Neckliss [1889]
  • A Deep Sleeper [1893]
  • Lonesome Ben [1900]
  • The Dumb Witness [ca. 1900]
  • The March of Progress [1901]
  • Baxter’s Procrustes [1904]
  • The Doll [1912]
  • White Weeds
  • The Kiss
• Selected Essays
  • What is a White Man [1889]
  • The Future American [1900]
  • Superstitions and Folk-Lore of the Modern South [1901]
  • Charles W. Chesnutt’s Own View of His New Story, The Marrow of Tradition [1901]
  • The Disfranchisement of the Negro [1903]
  • The Courts and the Negro [1908]
  • Post-Bellum-Pre-Harlem [1931]

Passing Fancies: Color, much more than race, dominated the fiction of the Harlem Renaissance

The Wall Street Journal
2011-09-03

James Campbell

Harlem Renaissance Novels, Edited by Rafia Zafar, Library of America, 1,715 pages

Harlem in the autumn of 1924 offered a “foretaste of paradise,” according to the novelist Arna Bontemps. He was recalling the dawn of the Harlem Renaissance and was perhaps a little dazzled in retrospect—Bontemps was writing in 1965—by his memories of “strings of fairy lights” illuminating the uptown “broad avenues” at dusk.

A gloomier perspective is found in the writings of James Baldwin, born in Harlem Hospital in August 1924. His novel “Go Tell It on the Mountain” (1953) and his memoir, “The Fire Next Time” (1963), both evoke a Harlem childhood dominated by poverty, fear, brutality, with the dim torch of salvation locked in a storefront church. Baldwin scarcely mentions the renaissance or its principals in all his writings—despite the remarkable coincidence of his having attended schools where two mainstays of any account of the Harlem Renaissance were teachers: the poet Countee Cullen and the novelist Jessie Redmon…

…Any rebirth is bound to be bloody, and perhaps the better for it. Grudge, guilt and prejudice notwithstanding, the Harlem Renaissance produced a lot of good writing, some of it worth reading eight decades later. Almost all the novels chosen by Rafia Zafar for the Library of America’s two-volume collection contain scenes of interest, even when the interest is mainly sociological. (The exception is George Schuyler’s 1931 “Black No More,” a far-fetched, burlesque yarn about passing for white that might have been omitted in favor of Van Vechten’s “Nigger Heaven.”) The predominant theme of the majority of novels here—to the point of obsession—is not so much prejudice as plain color. Bigoted white voices are heard, but light-skinned blacks expressing distaste for their darker neighbors speak louder. As the heroine of Nella Larsen’s “Quicksand” (1928) observes: “Negro society . . . was as complicated and as rigid in its ramifications as the highest strata of white society.”

The most arresting tale, in this respect, is “The Blacker the Berry” (1929) by Wallace Thurman, in which poor Emma Lou Morgan, daughter of a “quite fair” mother, realizes that her “luscious black complexion” is despised by those around her, many of whom can pass for white. Emma Lou’s “unwelcome black mask” has been inherited from her “no good” father, who had “never been in evidence.” Ill-treatment from white students and teachers at school is bad enough; but when Emma Lou gets to Harlem, the humiliation turns to cruelty. She tries to rent a room from a West Indian woman. “A little girl had come to the door, and, in answer to a voice in the back asking, ‘Who is it, Cora?’ had replied, ‘monkey chaser wants to see the room you got to rent.’ ” Emma Lou remains, for the time being, homeless. When she shows her admiration “boldly” for an “intelligent-looking, slender, light-brown-skinned” man on Seventh Avenue, he “looked at her, then over her, and passed on.” Far worse are a group of Harlem youths who notice Emma Lou powdering her nose near the same spot…

…It was the same sigh, rather than crude shame, that led Jean Toomer to describe himself on his marriage certificate of 1931 as “white.” His exquisite sequence of prose episodes and poems, “Cane” (1923), is the earliest of the books gathered here. It requires but a sampling of Toomer’s humid Georgia prose to induce in the reader a different quality of intoxication from that brought about by the rough beverages of McKay, Hughes and Schuyler: “Karintha, at twelve, was a wild flash that told the other folks just what it was to live. At sunset, when there was no wind, and the pine-smoke from over by the sawmill hugged the earth, and you couldn’t see more than a few feet in front, her sudden darting past you was a bit of vivid color, like a black bird that flashes in light. With the other children one could hear, some distance off, their feet flopping in the two-inch dust. Karintha’s running was a whir.”…

Read the entire review here.

‘Town Secret’: Race of Famous Carthaginian Embraced

The Pilot
Southern Pines, North Carolina
2012-02-11

John Chappell

Every year with its Buggy Festival, Carthage celebrates the achievements of a former slave, though until recently few knew it.

William T. Jones — born a slave, and the son of a slave and her owner — ran the famed Tyson & Jones Buggy Co., the biggest business around.

Though he was an African-American described in census records as “a mulatto gentleman” and a former slave, Jones nevertheless became a leading businessman and industrialist, recognized and honored, his color the best kept secret in Carthage history.

His elaborate 1880s Queen Anne Victorian mansion stands at the entrance to the town’s historic district. Now a bed-and-breakfast inn lovingly restored with wraparound porch and fanciful gingerbread trimmed in elegant Painted Lady fashion, the Jones house evokes the lavishness of a bygone era.

Few in Carthage today realize its builder and former owner was a black man of mixed race who lived openly with his white wife, operated one of the biggest factories in the South, taught Sunday School in the Methodist Church, served on national and local boards, and was admired and loved without any mention of race.

Today, the fact that Jones was an African-American is something the town history committee’s present Chairwoman Carol Steed thinks the town can take pride in — though for years nobody spoke of it…

Read the entire article here.

Impostors: EUST-235

Amherst College
Spring 2012

Ilan Stavans, Lewis-Sebring Professor in Latin American and Latino Culture

Deborah R. Dizard, Visiting Lecturer in European Studies

An interdisciplinary exploration of the causes behind the social, racial, artistic, and political act—and art—of posing, passing, or pretending to be someone else. Blacks passing for whites, Jews passing for gentiles, and women passing for men, and vice versa, are a central motif. Attention is given to biological and scientific patterns such as memory loss, mental illness, and plastic surgery, and to literary strategies like irony. As a supernatural occurrence, the discussion includes mystical experiences, ghost stories, and séance sessions. The course also covers instances pertaining to institutional religion, from prophesy from the Hebrew and Christian Bibles to the Koran and Mormonism. In technology and communications, analysis concentrates on the invention of the telegraph, the telephone, and the Internet. Entertainment, ventriloquism, puppet shows, voice-overs, children’s cartoon shows, subtitles, and dubbing in movies and TV are topics of analysis. Posers in Greek mythology, the Arabian Nights, Cervantes, Shakespeare, Lewis Carroll, Mark Twain, Sigmund Freud, Jorge Luis Borges, Philip Roth, Oliver Sacks, and Nella Larsen are examined. Conducted in English.

Passing: How posing as white became a choice for many black Americans

Pittsburgh Post-Gazette
Pittsburgh, Pennsylvania
2003-10-26

Monica L. Haynes, Post-Gazette Staff Writer

The young unkempt woman still in her pajamas shuffled into her 8 a.m. college psychology class and sat down next to Barbara Douglass.

“I’m sure glad there are no niggers in this class ’cause I can smell them a mile away,” the young woman declared.

But Douglass, who lives in Wilkinsburg, is a 53-year-old black woman. She could pass for white but she has never tried, she said.

“Growing up, I knew of people who did, and I was even instructed not to say, at that time, that they were colored. In order to get their jobs, they had to say they were white.”

The new film “The Human Stain,” based on a novel of the same name by Philip Roth, provides a glimpse into the world of blacks so fair they can live undetected among whites.

Thelma Marshall knows that routine.

During the 1950s and early ’60s, she did what her mother before her had done. What her grandmother and aunts had done.

She passed for white.

“One time I told a woman I was black, colored in those days,” Marshall recalled. “She said, ‘You won’t get the job unless you pass for white.’ ”

So that’s what Marshall did.

“I passed for white on lots of jobs,” she said. “I had to be white to get the jobs.” …

…”We are a child of God first. We are human beings first,” Douglass remembered her mother saying.

In fifth grade, she learned that the United States is a melting pot, and she declared to her mother that she would be a melting pot.

Her mother decided it was the perfect definition, seeing as how her ancestors were Cherokee, black, Dutch, German and Irish.

Maybe all blacks would have defined themselves that way given the chance. Since black people first came to the New World in 1619, they’ve mingled and mixed with every race and ethnic group here.

It is not just the fair-skinned blacks who can lay claim to that melting pot definition. Those blacks who have the mark of Africa in their features and skin tone also have multicultural ancestry. They just can’t pass.

Most blacks were never afforded the luxury of defining themselves. After the Civil War, Southern whites, not wanting this swirling of races to get out of hand and seeking to keep the white race as pure and powerful as possible, instituted a rule that anyone with “one drop” of black blood was black.

That spurred even more fair-skinned blacks to cross over and escape Jim Crow laws that kept blacks in the shackles of second-class citizenship…

Read the entire article here.

Don Lemon: Legacy of ‘one drop’ rule inspires search for family history

Cable News Network (CNN)
In America: You define America. What defines you?
2012-01-29

Don Lemon, Anchor
CNN Newsroom

This is  final installment of  a three-part series about the (1)ne Drop Project. Read Don Lemon’s column, “It only takes one drop,” and Yaba Blay’s column, “What does Blackness look like?“

You never know from where inspiration will come.
 
I am often envious of my friends who can recite stories about ancestors that have been handed down through generations. I can’t do that. As a descendant of slavery in America, that hasn’t felt possible for me. Truthfully, I didn’t think about it much until a few weeks ago, after I was asked by CNN’s In America team to write about the impact of a mixed racial background on my life, the idea that “one drop” of black blood makes you black.
 
In that article, I wrote about how my aunt and grandmother in Louisiana often were mistaken for white. I wrote about the extremes they went to in order to protect their husbands, who were black, from beatings by white men, or worse.
 
As I began to write the article, I sent a text message to my mother asking that she email photos of my aunt and grandmother. She sent me what she had, but asked why I wanted them. I told her I’d call to explain once I got home that evening.
 

When I finished the draft of the article, I zipped off a copy to her via email. A few minutes later, as I was driving home from work, my phone rang. When my mother began to tell me the stories of my aunt and grandmother, I had to pull over in a parking lot to take it all in. Some of it I knew. Much of it I didn’t…

Read the entire article here.

Color and Cultural Identity

BlogTalkRadio
Bruce Hurwitz Presents
2012-01-12, 18:00Z (13:00 EST, 10:00 PST)

Bruce Hurwitz, Host

Marcia Alesan Dawkins, Visiting Scholar
Brown University

Ph.D. Forum introduces listeners to doctoral and post-doctoral students and their cutting-edge research in the arts, sciences, or humanities.

As part of our Ph.D. Forum, I will be joined by Marcia Dawkins.  Marcia received her doctorate from the University of Southern California, Annenberg.  We will be discussing her dissertation which focused on racial passing—pretending to be a member of a race different from the one to which you actually belong—and multi-racial identity.

Listen to the episode here.

Passing

Third World Newsreel
1995
Black & White
9 minutes
United States

Kym Ragusa

The videomaker’s grandmother recounts the tale of a trip she and her lover took through the segregated South of the 1950s. As her story unfolds—revealing as much in silences and gaps as it does in its actual narrative—a blues and gospel soundtrack provides other tales of miscegenation and resistance. The story is full of tensions around race, class and color and the anxieties produced by the racial climate and violent history of the South.

Screenings

• Charlotte Film/Video Festival 1997
• Reel New York, WNET-TV

Awards

• Women in the Director’s Chair, Juror’s Prize

For more information, click here.

Documenting Race and Gender: Kym Ragusa Discusses “Passing” and “Fuori/Outside”

Women’s Studies Quarterly
Volume 30, Numbers 1/2, Looking Across the Lens: Women’s Studies and Film (Spring – Summer, 2002)
pages 213-220

Livia Tenzer, Managing Editor
Social Text

In her two award-winning short documentaries Passing (1996) and Fuori/Outside (1997), New York-based filmmaker Kym Ragusa explores the limits of the documentary genre in order to portray the centrality of race and ethnicity in U.S. women’s experience. Employing the narrative techniques of storytelling and the imagery of personal memory, Ragusa’s films relate a past that is broadly historical, yet anchored in the intimate relationships between a granddaughter and her grandmothers. Each film emerges from Ragusa’s research into the life of one of her grandmothers and reveals the social pressures and prejudices the older woman confronted. As her grandmothers’ lives connect to the present through the filmmaker, their stories provide crucial insight into how race and ethnicity continue to shape identity both inside and outside the family.

Passing records a story told to Ragusa by her African American grandmother about an incident that occurred in 1959 during a trip she took from New York City to Florida. Using still images, archival footage, and a soundtrack that mixes blues and gospel, Ragusa evokes the racial tensions of the time and creates a multilayered narrative around gender, class, and color. Traveling with an African American male friend (her then lover), the grandmother encounters the segregated and racially hostile South for the first time when her companion sends her into a diner in North Carolina to purchase food for a picnic. Inside, two white male customers repeatedly confront her with the question “What side of the tracks are you from?” When she realizes that they are asking her race, Ragusa’s light-skinned grandmother also realizes that her companion has presumed that she will be able to “pass.” Her courageous response to the people in the diner carries with it an aftermath of fear—will the two white men pursue them?—and unsettling questions about the supposed community among people categorized as racial outsiders by white social norms.

In Fuori/Outside Ragusa depicts the life of her Italian American grandmother, the person in her family who most resisted accepting…