Mixed Race Studies

“You are an Anglo-Indian?” Eurasians and Hybridity and Cosmopolitanism in Salman Rushdie’s Midnight’s Children

The Journal of Commonwealth Literature
Volume 38, Number 2 (April 2003)
pages 125-145
DOI: 10.1177/00219894030382008

Loretta Mijares

The term “Anglo-Indian”, emerging as early as 1806, originally referred to the British in India. In India today, however, the term is universally understood to refer to the mixed-race descendants of British-Indian liaisons. In between these two historical markers lies a complex history of changing notions of racial mixture and affiliations with colonial power. At the same time, the “half-caste” has been a perennial figure in colonial fiction, and continues to appear regularly in contemporary Indian writing in English. Discussion of the literary figure of the half-caste, however, has taken place (if at all) by and large in the absence of any acknowledgement of the history of this community. A literary analysis of the “half-caste” attentive to this history offers valuable lessons about the usefulness and limitations of such theoretical notions as “hybridity” by calling attention to the shifting historical valences of literal experiences of hybridity. As a case-study in such an approach, this essay examines the role of racial mixture in Salman Rushdie’s Midnight’s Children, with due attention to the Anglo-Indian community in India. This reveals how racial mixture in the literary imagination often becomes a metaphor for something else, and in this process of metaphorization is alienated from the history from which it originates. This process has parallels in literary theory: theoretical abstractions such as hybridity have become rarefied and need to be reconnected to their geographical and historical contexts if they are to retain any efficacy in explaining the processes of identity construction they claim to describe.

In India, the mixed-race population was known as “Eurasian”, with “half-caste” as a derogatory term. By the late nineteenth century, however. “Eurasian” had likewise accumulated a pejorative connotation…

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Beyond Liverpool, 1957: Travel, diaspora, and migration in Jamal Mahjoub’s The Drift Latitudes

The Journal of Commonwealth Literature
Volume 46, Number 3 (September 2011)
pages 493-511
DOI: 10.1177/0021989411409813

Jopi Nyman, Professor
University of Eastern Finland, Finland

This essay discusses the novel The Drift Latitudes (2006) by the Anglo-Sudanese author Jamal Mahjoub. By telling the stories of the German refugee Ernst Frager and his two British families, I argue that Mahjoub’s novel utilizes the tropes of transnational travel and migration to present a critique of discourses of purity and nationalism. Through its uncovering of silenced family narratives, the novel hybridizes British and European identities and underlines the need to remember the stories of ordinary people omitted from official histories. As the novel’s supposedly British families appear to possess transnational links with Sudan, Germany, and the Caribbean, the novel reconstructs European identity as transnational and in need of historical reassessment. As a further contribution to the importance of hybrid identity, the story of black cultural identity and its construction in post-Second World War Liverpool is told in tandem with the importance of black music as a means of constructing black diasporic identity.

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The Language of Ham and the Language of Cain: “Dialect” and Linguistic Hybridity in the Work of Adam Small

The Journal of Commonwealth Literature
Volume 45, Number 3 (September 2010)
pages 389-408
DOI: 10.1177/0021989410377550

Nicole Devarenne, Lecturer in English
University of Dundee, Scotland, United Kingdom

The “coloured” South African writer Adam Small has made an important and largely unrecognized contribution to anti-apartheid literature in Afrikaans. His pioneering use of “Kaaps” (a linguistic variety spoken by “coloured” Afrikaners at the Cape) in his poetry and plays complicated the racial designation of Afrikaans as a “white” language and challenged the dominance of the “white” Afrikaans literary tradition. In a literature where the variety used by the white nationalist government was also that used by (albeit some of them dissident) Afrikaans writers, he created an appetite and appreciation for vernacular language as a medium of resistance against white supremacy. His work has helped to make possible a continuing investment by Afrikaans writers (white as well as “coloured”) in non-standard language as resistance to cultural imperialism and nationalism. During apartheid, however, he faced considerable criticism for his use of what was seen as a degraded and degrading “dialect”, and for his ostensible complicity in apartheid as a self-avowed “brown Afrikaner”. This article examines some of the difficulties which faced “coloured”Afrikaans writers during apartheid, taking Small as a specific example of a writer whose career displays the impact of the collision between “coloured” separatism and a politically pragmatic universalism, and proposes a reconsideration of his work as a subversive, ironic and ground-breaking intervention in South African literature.

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