Mixed Race Studies

Visually white, legally black: Miscegenation, the mulatto, and passing in American literature and culture, 1865–1933

Illinois State University
2004
193 pages
Publication Number: AAT 3128271

Karen A. Chachere

Many historians and literary scholars characterize the period between 1865-1933 as America’s preoccupation with the “Negro Question.” Admittedly, America was intrigued by the idea of the former slave as “citizen.” Seemingly, the more resounding question obscured behind the “Negro Question” was how whites would maintain their privilege. The answer to this question plagued America’s consciousness and manifested itself most obviously in American literature written from 1865-1933. Indeed, the novels, which emerged during this turbulent period, with their focus on miscegenation, the mulatto, and passing, accurately reflect the fear that whites felt at the thought of losing their legal, social, and economic advantages. White and black writers of the era capitalized on the nation’s fear of miscegenation and racial passing and voraciously used these themes to protest the venomous social, legal, and political conflicts that ensued over America’s desire to maintain its whiteness.

Diverse writers such as Mark Twain, Charles Waddell Chesnutt, and Jessie Redmon Fauset debated the color line in their works. “Visually White, Legally Black: Miscegenation and the Mulatto in American Literature and Culture, 1865-1933” examines the dialectical relationship that emerged between these diverse writers through American literature’s theme of miscegenation and passing narratives and exposes the underlying issue that was not blackness, but whiteness. And yet, the mulatto’s attempt at racial passing has often been misconstrued as an indictment against the black community rather than for what it really is–an indictment against claims of racial purity and white superiority. The first four chapters of this dissertation are grounded in biographical, historical, and legal evidence in order to expose the ways in which writers negotiated the nexus of race, class, and gender. Finally, chapter five illustrates how the passing genre may be used in the literature classroom to challenge and encourage dialogue concerning race, class, and gender superiority/inferiority.

Table of Contents

• DEDICATION
• ACKNOWLEDGEMENTS
• CONTENTS
• I. HISTORICAL, LEGAL, AND LITERARY OVERIVIEW OF RACE MIXING
  • Brief Historical Overview of Miscegenation
  • A Divided Sisterhood: The Beginning
  • Building a Case Against Race Mixing
  • Constructing Whiteness Through the Legal System
• II. PROTECTING THE UNMARKED CATEGORY: WHITENESS RECOVERED IN MARK TWAIN’S PUDD’NHEAD WILSON
• III. WHITE ACCOUNTABILITY IN CHARLES W. CHESNUTT’S “THE SHERIFF’S CHILDREN”
• IV. REPRESENTATIONS OF WHITENESS IN JESSIE REDMON FAUSET’S COMEDY: AMERICAN STYLE
• V. MISCEGENATION, THE MULATTO, AND PASSING: A TEACHING NARRATIVE
• WORKS CITED

Purchase the dissertation here.

The Invisible Line

Late Night Live
ABC (Australian Broadcasting Corporation) Radio National
2011-06-13

Phillip Adams, Presenter

Kris Short, Story Researcher and Producer

Daniel J. Sharfstein, Professor of Law (and author of The Invisible Line: Three American Families and the Secret Journey from Black to White)
Vanderbilt University

In America race has always been a potent issue—and it’s clear from some of the reactions to the Obama presidency that racial tension still simmers beneath the surface of the American body politic.

If you were to look at the legal history of race you would see an intricate process defining who is black and who is white in America, and you would assume that there is a strongly policed colour line, especially in the Southern States. But according to historian Daniel Sharfstein the boundaries of black and white are far more fluid than they seem at first glance. He says that racial ‘passing‘ is one of the great unspoken-of traditions in American history.

Listen to the interview here (00:28:01).

Life on the boundary: “Passing” and the limits of self-definition

Rutgers University, Camden
May 2011
46 pages

Raven Marlenia Moses

A thesis submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in English

With the advent of various state laws that classified as black any individual with at least “one-drop” of African blood and the legalization of racial segregation enacted by the Plessy vs. Ferguson Supreme Court decision, the American post-Reconstruction era was a period in which the line separating races became more and more distinct. However, as the legal definitions and hierarchical categorizations of racial difference became more discrete, the physical basis of racial distinction became increasingly destabilized. Nella Larsen’s Passing and James Weldon Johnson’s The Autobiography of an Ex-Coloured Man are novels from this period that depict the struggles of characters who suffer because of the social and legal distinction between “black” and “white.” Because of the social imperative that these characters be black even though they have visibly white skin, the distinction between “black” and “white” actually becomes an arbitrary distinction between “white” and “not-white.” The protagonists of both novels—Clare Kendry, Irene Redfield, and the unnamed Ex-Colored Man—all seek stable self-definitions that successfully integrate both their personal and social identities. However, because of their inability to resolve the paradox created by their visible “whiteness” and legal classification as “black,” none of the protagonists are able to successfully negotiate the threats posed by their racially and socioeconomically oppressive environment while keeping their personal identities continuously intact. Unable to form stable, coherent identities through the blending of mutually agreeable public and private “selves,” Clare, Irene, and the Ex-Colored Man remain in irresolvable positions with identities that are permanently indeterminate.

Read the entire dissertation here.

The Clamorgans: One Family’s History of Race in America [Review: Eubanks]

The Washington Independent Review of Books
2011-07-04

W. Ralph Eubanks, Director of Publishing at the Library of Congress
Author of Ever Is a Long Time and The House at the End of the Road

Julie Winch, The Clamorgans: One Family’s History of Race in America, New York: Hill and Wang, 2011. pp. 424.

In spite of the prominent role of race in our culture, American society has spent more than 200 years trying to find a way to downplay the role of it—whether through proclaiming our society color blind or a melting pot—with varying levels of success. Consequently, there are numerous stories of how race manifests itself as America’s original sin, many involving families that crossed and bridged racial lines, including my own family’s story. Few of these stories are as complicated and fascinating as the one Julie Winch tells in The Clamorgans: One Family’s History of Race in America.
 
Through the life and times of one American family, the Clamorgans of St. Louis, Missouri, Winch traces the evolving role race has played in family life, the law and broader American society, from slavery to abolition, to Reconstruction and beyond. Today’s millennial generation would label the Clamorgans as multiracial. But in the 18th and 19th centuries, and well into the 20th century, the one-drop rule marked them with a taint of African ancestry, in spite of appearances to the contrary. Still, the Clamorgans challenged traditional notions of race and identity and carefully negotiated a way through society’s complicated racial maze. To do this, they used the same confusing twists and turns used to define them as a means of furthering their own interests. As the author notes, the Clamorgans’ story is one of money, land, power and race. But at its core this is the story of a family with a scrappy survival instinct that transcends race, which is why the reader gets drawn into this saga quickly….

…Money was a means of whitening, since “a dark-skinned individual with money often made the transition from ‘black’ to ‘mulatto.’ The Clamorgans and other mixed-race people took the next step, moving from ‘mulatto’ to ‘white.’ ” Sometimes it was for a reason, other times it was because the census takers were confused by a person’s appearance or last name. In St. Louis, some names were exclusively “colored,” while others were exclusively white. Certain names existed in both communities, making the census taker’s job more complicated…

Read the entire review here.

The Clamorgans: One Family’s History of Race in America

Hill and Wang (an imprint of Macmillan)
May 2011
432 pages
6 x 9 inches, 8 Pages of Black-and-White Illustrations
ISBN: 978-0-8090-9517-9, ISBN10: 0-8090-9517-3

Julie Winch, Professor of History
University of Massachusetts, Boston

The historian Julie Winch uses her sweeping, multigenerational history of the unforgettable Clamorgans to chronicle how one family navigated race in America from the 1780s through the 1950s. What she discovers overturns decades of received academic wisdom. Far from an impermeable wall fixed by whites, race opened up a moral gray zone that enterprising blacks manipulated to whatever advantage they could obtain.

The Clamorgan clan traces to the family patriarch Jacques Clamorgan, a French adventurer of questionable ethics who bought up, or at least claimed to have bought up, huge tracts of land around St. Louis. On his death, he bequeathed his holdings to his mixedrace, illegitimate heirs, setting off nearly two centuries of litigation. The result is a window on a remarkable family that by the early twentieth century variously claimed to be black, Creole, French, Spanish, Brazilian, Jewish, and white. The Clamorgans is a remarkable counterpoint to the central claim of whiteness studies, namely that race as a social construct was manipulated by whites to justify discrimination. Winch finds in the Clamorgans generations upon generations of men and women who studiously negotiated the very fluid notion of race to further their own interests. Winch’s remarkable achievement is to capture in the vivid lives of this unforgettable family the degree to which race was open to manipulation by Americans on both sides of the racial divide.

Table of Contents

Introduction: “The Clamorgans Are Fighters”
1. Sieur Jacques
2. “Ester, a Free Woman of Color'”
3. Natural Children
4. “In Them Days Everything Was Free and Easy”
5. The Aristocracy of Color
6. A Settling of Scores
7. An Independent Man
8. Thickets of the Law
9. The Mathematics of Race
10. “Well Known in Negro Circles”
11. Defining Whiteness
12. On the Fringes
Epilogue: Clamorgan Alley
Notes
Bibliography
Acknowledgments
Index

Read Chapter 1 here.

Brown on the Inside: Multiracial Individuals and White Privilege

Oregon State University
2011-04-27
147 pages

Shannon D. Quihuiz

A Thesis submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Science

Biracial and Multiracial people are one of the fastest growing racial groups in the United States. Individuals with a mixed identity have the ability to choose endless racial/ethnic designations that best exemplify their racial/ethnic social identity. However, people who are racially/ethnically mixed may receive criticism if their proclaimed identity does not coincide with the societal perceptions of their racial/ethnic identity. People who identify with more than one race or ethnicity and have White ancestry can be perceived as White by society. Therefore, Biracial and Multiracial people have the ability to pass as White if they have White ancestry and appear White. This study explored racially/ethnically mixed peoples’ perceptions of passing as White. Qualitative surveys were conducted to find if Biracial and Multiracial people thought they could pass as White.

When Biracial and Multiracial people have the ability to pass as White, they are associated with the White group. Association with the White group equates to being afforded advantages and benefits. Thus, White privilege may be afforded to racially/ethnically mixed people who pass as White. Qualitative interviews were used to explore if Biracial and Multiracial people identified with having White privilege. The research also examined the connection between Multiracial/ethnic people who can pass as White and White privilege. Findings suggest racially/ethnically people who can pass as White identified with having White privilege. Moreover, participants and a research team evaluation identified factors that contribute to passing as White. The findings presented in this study are significant as it explores the intersection between Biracial and Multiracial identity, passing as White, and White privilege. The information presented in this study implies that the phenomenon of passing is an important concept toward social justice and racial equity.

TABLE OF CONTENTS

• CHAPTER 1: INTRODUCTION
  • Background of the Study
  • Statement of the Problem
  • Purpose of the Study
  • Significance of the Study
  • Overview of the Methodology
  • Definition of Terms
  • Summary
• CHAPTER 2: LITERATURE REVIEW
  • Multiracial Identity
    • Race and Ethnicity
    • Identity Development
  • Passing as White
    • Elements of Passing
    • Construction of Passing as White
  • White Privilege
    • Characteristics of Privilege
    • Becoming Aware of White Privilege
  • Summary
• CHAPTER 3: RESEARCH METHODOLOGY
  • Purpose of the Study
  • Research Design
    • Participants and Recruitment
    • Two-Phased Approach
  • Data Collection
  • Data Analysis
  • Human Participants Protection and Confidentiality
  • Perspective of the Researcher
  • Perspective of the Research Team
  • Limitations
  • Summary
• CHAPTER 4: FINDINGS, ANALYSIS, AND DISCUSSION
  • Participants
    • Anne
    • Chris
    • Daniel
    • Emma
    • Greg
    • Jill
    • Kayla
    • Laura
    • Lynn
    • Theresa
  • Categorizing the Data
    • Theme 1: White Privilege
    • Theme 2: Navigating Social Circles
    • Theme 3: Burden
  • Summary
• CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS
  • Summary of the Study
  • Conclusions
    • Research Question 1
    • Research Question 2
    • Research Question 3
  • Implications
  • Recommendations for Future Research
  • Concluding Thoughts
• REFERENCES
• APPENDICIES

LIST OF TABLES

• Table Page
• Table 1. Participant Demographic Information
• Table 2. Participant Racial/Ethnic Identity and Perceptions of Passing as White
• Table 3. Themes and Categories

LIST OF APPENDICES

• Appendix Page
• Appendix A: Recruitment E-Mail
• Appendix B: Recruitment Flyer
• Appendix C: Standard Response to E-Mail Inquiries
• Appendix D: Informed Consent Form
• Appendix E: Participants’ Intake Form
• Appendix F: Research Team’s Evaluation Form
• Appendix G: Interview Questions

Read the entire thesis here.

Long Lance

National Film Board of Canada
1986
Running Time: 00:55:00

Bernie Dichek, Director

Was he a black man, a white man, or an Indian chief? This documentary looks at legendary and fascinating impostor Chief Buffalo Child Long Lance. In the early 1900s, he garnered international acclaim as a soldier, journalist, writer, photographer, bon vivant and movie star. But despite his very public life, his origins remain a mystery. Based on a book by Donald Smith, this film outlines Long Lance’s almost unbelievable life story.

For more information, click here.

Pigmentocracy

Freedom’s Story: Teaching African American Literature and History
National Humanities Center
April 2010

Trudier Harris, J. Carlyle Sitterson Professor of English, Emerita
University of North Carolina, Chapel Hill

Definition and Background

In the past couple of decades, the word pigmentocracy has come into common usage to refer to the distinctions that people of African descent in America make in their various skin tones, which range from the darkest shades of black to paleness that approximates whiteness. More specifically, the “ocracy” in pigmentocracy carries with it notions of hierarchical value that viewers place on such skin tones. Lighter skin tones are therefore valued more than darker skin tones. Such preferences have social, economic, and political implications, as persons of lighter skin tones historically were frequently—and stereotypically—viewed as being more intelligent, talented, and socially graceful than their darker skinned black counterparts. Blacker blacks were viewed as unattractive, indeed ugly, and generally considered of lesser value. Europeans standards of beauty thus dominated an African people for most of their history in America.

Although the word pigmentocracy may have come into widespread usage fairly recently, the concept extends throughout the history of Africans on American soil. During slavery, black people who were fathered by their white masters often gained privileges based on their lighter coloring. Indeed, one reported pattern is that blacks of lighter skin were reputedly selected to work in the Big Houses of plantation masters while blacks of darker hues were routinely sent to the fields. Moreover, one of the origins of the Dozens, the ritual game of insult in African American culture, is reputed to have developed as a result of slurs darker skinned blacks who worked in the fields hurled at lighter skinned blacks because their mothers had given birth to children sired by white masters. Some masters who recognized their paternity publicly sometimes sent their partially colored offspring to the North to be educated. This practice explains in part the belief that blacks of lighter skin were more intelligent (they simply had more educational opportunities). It was convenient to the mythology of slavery to suggest this pattern as well, for even without formal admission, whites were aware that some blacks looked more like them than others. Since many theories of bestiality and dehumanization were aligned with darker skinned blacks, it was perhaps preferable to be more tolerant of the lighter skinned ones. Even this, however, was not a consistent pattern, for theories also developed about mongrelization, that is, the mixing of black and white blood, leading to extreme anti-social behavior in persons so endowed.

Value based on skin tones led to some interesting historical developments both within and outside African American communities. To prevent blacks fathered by white masters from making claims on their masters, children born to enslaved women were legally designated to take the status of those women. Blond-haired, blue-eyed enslaved persons, therefore, could not change their condition through any legal process. To ensure that this pattern could not be broken, anyone determined to have had black blood in one of their ancestors five generations removed was still designated “Negro.” Mulattoes, quadroons, octoroons, sextaroons [hexadecaroon?], and whatever word would define a person who had 1/32 black blood [dotriacontaroon??] were all designated to be fully black by laws of American society. “The mighty drop” of black blood, as some scholars refer to it, was powerful enough to control generations of persons legally classified as black who might otherwise have been classed as white or who might have passed for white…

Read the entire article here.

A New Branch of the United States’ Miscegenated Family Tree: Lynn Nottage’s “By the Way, Meet Vera Stark”

The Feminist Wire
2011-04-29

Soyica Colbert, Assistant Professor of English
Dartmouth College

Pulitzer Prize winner Lynn Nottage’s new play By the Way, Meet Vera Stark opened at the Second Stage Theatre on April 6, 2011 to guffaws and robust applause. The play puts a playful twist on what Daphne Brooks calls “America’s miscegenated history” in order to recuperate the story of a forgotten black actress. Fittingly a comedy, Nottage’s play calls to mind the ongoing melodrama that is race relations in the United States. From the saga that Thomas Jefferson’s relationship with Sally Hemings has become to the ongoing and offensive questions regarding President Barack Obama’s citizenship, the popular conversation about race seems to leap in the blink of an eye from the postracial world of the twenty-first century as Hortense Spillers describes in her provocative piece “Mama’s Baby, Papa’s Too” to the scientific racism of the nineteenth century epitomized in a racist email Tea Party activist Marilyn Davenport sent to her constituency, picturing Obama’s parents as chimpanzees.

Using the temporal confusion race triggers in the twenty-first century to her dramaturgical advantage, Nottage’s play, directed by Jo Bonney, shuttles the viewer seamlessly through different time periods in the twentieth century, from 1933 to 1973 to 2003. The play offers an uproarious insight into the life of Vera Stark (Sanaa Lathan), an African American woman striving to become a Hollywood actress while working as the maid of a famous purportedly white actress Gloria Mitchell (Stephanie J. Block). By the end of a play that focuses on how the choices we make determine who we will become, we learn that Gloria is Vera’s cousin and that Gloria is passing for white. Laugh out loud funny, innovative in its staging and powerful in its organization, Nottage’s new play, playfully reveals the way that U.S. racial mixtries— a term used in Langston Hughes’ Broadway play Mulatto (1935) that communicates mixtures that are mysteries—create lines of contentious affiliation among women…

Read the entire article here.

Crossing Over: Racial Passing and Racial Uplift in Nella Larsen’s Fiction

University of the South, Sewanee, Tennessee
2009
34 pages

Karly D. Beavers

Senior Honors Thesis in American Studies

Fundamental to the American myth is a juxtaposition of the “civilized” or “superior” majority with the “inferior” other. By classifying African Americans as inherently different from and inferior to whites, the white majority justified the enslavement and, later, the political and social oppression of black Americans. Our concept of race relies heavily on the visible differences between whites and African Americans. Interracial couples posed a threat to the socially constructed color line almost immediately, producing offspring who did not fit under the simple label of black or white. Although legally considered African American because of their “Negro blood,” some individuals found it possible to pass for white. Passing began long before emancipation, but it became a prevalent topic in African American fiction during the early twentieth century. Nella Larsen in particular explores the idea of passing in her two novels Quicksand and Passing. As her main female protagonists search for their true identity within a racist and patriarchal society, they struggle with DuBois’s idea of “double consciousness.” Within the African American community during the early twentieth century, middle class blacks sought to uplift the race through upholding and exemplifying white middle class values. Larsen’s characters are thus trapped in a complicated system that rails against social inequality while it espouses the oppressive structures of the dominant white culture. From various newspaper articles and book reviews, one sees a varied reaction to passing within the African American community. For men, racial passing rendered them more effeminate in the eyes of black Americans. Larsen focuses more on the experiences of black women, who found themselves forced into an oppressive domestic role in an effort to uplift the race and reaffirm the masculinity of black men.

An attractive young woman sits on a train destined for New York. Leaving behind the remnants of her oppressive past, she begins to make plans for the future—a bright future bursting with opportunity and adventure. Pain, isolation, shame—all fade into the distance. Surely New York will be the answer. Surely the happiness that has eluded her for so long awaits her there. She. Helga Crane, will no longer be the illegitimate daughter of a Danish runaway and an African American gambler. She will simply become another young woman trying to make a life for herself in the city. A remark from her new employer interrupts Helga’s pleasant thoughts. “How is it that a nice girl like you can rush off on a wild goose chase like this at a moment’s notice. I should think your people’d object, or’d make inquiries, or something.’ In an instant. Helga’s excitement gives way to embarrassment. After the young woman admits to a less than ideal parentage, her employer replies coldly. “I wouldn’t mention that my people are white, if I were you. Colored people won’t understand it. and after all it’s your own business.”

So begins Helga Crane’s journey to New York in Nella Larsen’s Quicksand. Published in 1928. Larsen’s debut novel tells the story of a mixed race woman searching for a stable identity within a racist and unstable society. The daughter of a white woman and a black man. Helga constantly reminds herself and others of the threat lurking beneath America’s strict racial code. When her employer discovers Helga’s heritage, Larsen writes. “The woman felt that the story, dealing as it did with race intermingling and possibly adultery, was beyond definite discussion. For among black people, as among white people, it is tacitly understood that these things are not mentioned—and therefore they do not exist.” Helga is thus robbed of her true identity. Because she threatens the strict “color line” that guides all of American life, the mixed race Helga—the real Helga—cannot exist. According to Martha J. Cutter. “Helga Crane attempts to use ‘passing’ as a way of finding a unitary sense of identity—a sense of identity structured around one role, a role that somehow corresponds to her ‘essential self.'” Although Helga’s dark skin prevents her from passing for white, she in a sense passes for black by denying, or at least omitting, her white ancestry. Instead, she finds solace in a number of different identities. In Cutter’s words, she passes as “an exotic Other, a committed teacher, an art object, a devout Christian, a proponent of racial uplift, [and] a dutiful mother.”…

Read the entire thesis here.