Mixed Race Studies

Frederick Douglass, A Life in American History

Bloomsbury
2025-02-06
320 pages
235 x 156 mm
Hardback ISBN: 9798216170464
Ebook (PDF) ISBN: 9798216170471
Ebook (ePub & Mobi) ISBN: 9798216170488

Mark Christian, Professor, Urban Education, Africana Studies
Lehman College, City University of New York

Meet one of the most influential men in the United States’ history of emancipation and Black rights.

Chronicling Frederick Douglass’s life in an accessible way, this biography engages with history and wrestles with biases, falsehoods, and unknown facts in order to tell Douglass’s story as accurately as possible. Taking a comprehensive look at Douglass’s life from birth to death, the book delves into Douglass’s time as an enslaved African American, his escape, his experiences as a prominent orator and champion of Black rights, his writings and publications, and the influence he had on shaping society of the time. A detailed timeline allows students to quickly reference and recall major points in Douglass’s history, and the book is further augmented by the inclusion of primary documents, which include samples of Douglass’s own copious works, as well as words written about Douglass by his contemporaries. Readers will walk away with not only a better understanding of American history but an appreciation for Frederick Douglass’s impact in his own time and his lasting relevance for all those who continue to fight for a more equal society today.

Table of Contents

• Series Foreword
• Preface
• Acknowledgements
• 1. Historical Context
• 2. Born in Bondage with Dreams of Liberty
• 3. Finding Freedom and the Abolitionist Cause
• 4. No More Master and Mastering Self-Determination Abroad
• 5. A Man of Independence in Public and Private Life
• 6. The Erudite Douglass in Letters, Speech, and Prose
• 7. Why Frederick Douglass Matters
• Timeline
• Primary Documents
• Bibliography
• Index

Virtual Book Chat: Levan Book Chats—Rena Heinrich, Race and Role: The Mixed-Race Asian Experience in American Drama

Levan Institute of the Humanities
University of Southern California
Wednesday, 2024-02-14, 20:00Z, (12:00 PST, 15:00 EST)

A discussion of Rena Heinrich’s new book, Race and Role: The Mixed-Race Asian Experience in American Drama (Rutgers University Press, 2023). The author will be joined in conversation by SanSan Kwan (UC Berkeley) and Rebecca Chiyoko King-O’Riain (Maynooth University), moderated by Duncan Williams (USC). Coorganized by the USC School of Dramatic Arts and the USC East Asian Studies Center.

To register, click here.

About the Author: Rena Heinrich is an associate professor of theatre practice in critical studies at the USC School of Dramatic Arts and an affiliated professor of East Asian studies in the USC Dornsife College of Letters, Arts and Sciences. She is a contributor to Shape Shifters: Journeys across Terrains of Race and Identity (University of Nebraska Press, 2020) and The Beiging of America: Personal Narratives about Being Mixed Race in the 21st Century (2Leaf Press, 2017). Her next book (co-authored with Francisco Beltrán) examines American immigration mythology and its pervasive circulation through cultural artifacts within the United States.

Open to attendants outside of USC. An excerpt of the book will be made available to registered attendants. Registration before the event is required.

This event is part of the Levan Institute for the Humanities’ “Book Chats” series, conversations about new books published by USC scholars in the humanities and humanistic social sciences.

Race and Role: The Mixed-Race Asian Experience in American Drama

Rutgers University Press
2023-06-16
194 pages,
8 bw, 3 color
6.12 x 9.25
Paperback ISBN: 9781978835535
Cloth ISBN: 9781978835542
EPUB ISBN: 9781978835559
Kindle ISBN: 9781978835566
PDF ISBN: 9781978835573

Rena M. Heinrich, Assistant Professor of Theatre Practice
University of Southern California

Mixed-race Asian American plays are often overlooked for their failure to fit smoothly into static racial categories, rendering mixed-race drama inconsequential in conversations about race and performance. Since the nineteenth century, however, these plays have long advocated for the social significance of multiracial Asian people.

Race and Role: The Mixed-Race Experience in American Drama traces the shifting identities of multiracial Asian figures in theater from the late-nineteenth century to the present day and explores the ways that mixed-race Asian identity transforms our understanding of race. Mixed-Asian playwrights harness theater’s generative power to enact performances of “double liminality” and expose the absurd tenacity with which society clings to a tenuous racial scaffolding.

Table of Contents

• Chapter 1: Stages of Denial
• Chapter 2: Tragic Eurasians: Mixed-Asian Dramas in the Late-Nineteenth Century
• Chapter 3: Shape Shifting Performances in the Twentieth Century
• Chapter 4: Cosmopolitan Identity in Mixed Dramatic Forms
• Chapter 5: Multiraciality in the Post-racial Era
• Chapter 6: Beyond Monoracial Hierarchies: Recovering Lost Selves
• Acknowledgments
• Index

Thinking While Black: Translating the Politics and Popular Culture of a Rebel Generation

Rutgers University Press
2022-12-09
218 pages
7 b-w illustrations
6 x 9
Paperback ISBN: 9781978830875
Cloth ISBN: 9781978830882
EPUB ISBN: 9781978830899
PDF ISBN: 9781978830905

Daniel McNeil, Department of Gender Studies
Queen’s University in Kingston, Ontario

Thinking While Black brings together the work and ideas of the most notorious film critic in America, one of the most influential intellectuals in the United Kingdom, and a political and cultural generation that consumed images of rebellion and revolution around the world as young Black teenagers in the late 1960s. Drawing on hidden and little known archives of resistance and resilience, it sheds new light on the politics and poetics of young people who came together, often outside of conventional politics, to rock against racism in the 1970s and early ‘80s. It re-examines debates in the 1980s and ‘90s about artists who “spread out” to mount aggressive challenges to a straight, white, middle-class world, and entertainers who “sold out” to build their global brands with performances that attacked the Black poor, rejected public displays of introspection, and expressed unambiguous misogyny and homophobia. Finally, it thinks with and through the work of writers who have been celebrated and condemned as eminent intellectuals and curmudgeonly contrarians in the twenty-first century. In doing so, it delivers the smartest and most nuanced investigation into thinkers such as Paul Gilroy and Armond White as they have evolved from “young soul rebels” to “middle-aged mavericks” and “grumpy old men,” lamented the debasement and deskilling of Black film and music in a digital age, railed against the discourteous discourse and groupthink of screenies and Internet Hordes, and sought to stimulate some deeper and fresher thinking about racism, nationalism, multiculturalism, political correctness and social media.

Table of Contents

• Preface
• Chapter 1: Theories in Motion
• Chapter 2: Black and British
• Chapter 3: A Movie-Struck Kid from Detroit
• Chapter 4: Slave-Descendants, Diaspora Subjects, and World Citizens
• Chapter 5: Enlarging the American Cinema
• Chapter 6: Middle-Aged, Gifted, and Black
• Coda
• Notes
• Acknowledgments
• Index

The “Miscegenation” Troll

JSTOR Daily
2019-02-20

Mark Sussman, Adjunct Professor of English
Hunter College, City University of New York

The term “miscegenation” was coined in an 1864 pamphlet by an anonymous author.

In 1864, a pamphlet entitled “Miscegenation: The Theory of the Blending of the Races, Applied to the American White Man and Negro” began to circulate on the streets of New York. The title certainly would have given New Yorkers pause. No one had ever seen the word “miscegenation” before. In fact, the pamphlet’s anonymous author invented it, giving the reason that “amalgamation”—then the most common term used to describe “race mixing”—was a “poor word, since it properly refers to the union of metals with quicksilver.” The term “miscegenation”—from the Latin miscere (to mix) and genus (race)—had only one definition.

Besides introducing a new word into the English language, the pamphleteer was also responsible for what appeared to be one of the most fearless documents in the archive of nineteenth century abolitionist writing. Among many other claims and political recommendations, the pamphlet notes that, “the miscegenetic or mixed races are much superior, mentally, physically, and morally, to those pure or unmixed;” that “a continuance of progress can only be obtained through a judicious crossing of diverse elements;” that “the Caucasian, or white race… has never yet developed a religious faith on its own;” that “the true ideal man can only be reached by blending the type man and woman of all the races of the earth;” that “the most beautiful girl in form, feature, and every attribute of feminine loveliness [the pamphleteer] ever saw, was a mulatto.” Most provocatively, the writer claimed that “the Southern beauty… proclaims by every massive ornament in her shining hair, and by every yellow shade in the wavy folds of her dress, ‘I love the black man.’”…

Read the entire article here.

Doublings and Dissociation in Nella Larsen’s Passing and Helen Oyeyemi’s Boy, Snow, Bird

Angelaki: Journal of the Theoretical Humanities
Volume 27, 2022 – Issue 3-4: after modernism: women, gender, race. issue editor: pelagia goulimari
Pages 182-198
DOI: 10.1080/0969725X.2022.2093974

Jean Wyatt, Professor of English; Emerita
Occidental College, Los Angeles, California

In this paper I explore the representations of alter ego figures in a Black Modernist work, Passing, by Nella Larsen (1929) and in a contemporary black British novel by Helen Oyeyemi, Boy, Snow, Bird (2014). Oyeyemi claims Larsen’s novel as an influential forbear. When the protagonist of Larsen’s Passing, Irene, is in the presence of her friend Clare, she acts, speaks, and expresses her feelings in a far different mode from her usual rigid conformity to ladylike propriety. She seems, indeed, to be a different person. Although critics have long seen Clare as an alter ego for Irene, I argue instead that it is Clare’s presence that brings out in Irene an alter ego, a new personality structure. Using as a theoretical framework Philip Bromberg’s model of subjectivity as a series of alternating self-states – each distinct and discontinuous with the others – I argue that Larsen is giving the nineteenth-century alter ego of literary tradition a new depth by dramatizing the way a subject changes personality to a different self as a result of a close relationship with a particular other. Irene’s subjectivity is further complicated by her enactment of upper-class “lady” in her every gesture, tone, and word. The performed identity of (white) “lady” is at odds with the everyday reality of Irene’s social position as middle-class black wife and mother. Attention to the multiplicity of Irene’s competing self-states, and her growing loss of control over them, can help us to understand the ambiguous final scene in which Irene (apparently) pushes Clare out of a sixth-floor window to her death. In Boy, Snow, Bird alter egos proliferate. To manage the relentless physical and mental abuse that the character narrator Boy endures from her father, Boy finds escape in colloquies with her mirror image. The mirror image is separate from Boy (she does not recognize it as her own reflection) and has its own agenda, sometimes replacing Boy’s subjectivity with its own. Later in the novel, we learn that Frances, Boy’s mother, after suffering a violent rape, saw in her mirror a male figure and transformed herself into that male identity. [The novel seems to ask readers to think of both instances of wounded identity and the adoption of alter egos in relationship to each other.] This is not Bromberg’s “normal” dissociation as an alternation of self-states, but a lasting and severe dissociation as a last defense against trauma. Boy and Frances are using the mirror double as an escape from unbearable reality. When, to her surprise, Boy gives birth to an African American baby, the intense anxiety about her child’s future in the racist United States causes a different kind of splitting: she feels herself transforming into the wicked stepmother of the fairy tale “Snow White.” She indeed becomes cruel, unfeeling, and damaging to her innocent stepdaughter Snow. In both novels, the complex depiction of alter egos reflects the psychic complications of subjects trying to survive in the racist social order of the United States.

Read or purchase the article here.

I Now Pronounce You Man and White: Racial Passing and Gender in Charles Chesnutt’s Fiction

American Literary Realism
Volume 52, Issue 3, (Spring 2020)
pages 189-210
DOI: 10.5406/amerlitereal.52.3.0189

Martha J. Cutter, Professor of English
University of Connecticut

As a literary genre in the late-nineteenth and early-twentieth century, many African American-to-white racial passing fictions are built around a stable set of narrative conventions: the passer decides to pass, moves to a new location, takes on a new name and identity, and then either dies, returns to his or her “true” race, or moves out of the United States (usually to Europe). Of course, there are exceptions to these patterns, but many fictional texts well into the first three decades of the twentieth century continue to utilize them to a large degree.² This is not to deny, as some critics contend, that passing texts sometimes disrupt many of the binaries around which identity categories are established and maintained—such as black versus white or male versus female—as well as the visual “logic” of race itself.² Yet many early twentieth-century passing texts conclude by containing to some degree the challenging questions that the passing figure has raised about the durability of categories of race (or gender) through specific types of narrative closure.

Charles Chesnutt’s The House Behind the Cedars (1900) is unusual in that the male protagonist—John Walden/Warwick—ends up continuing to live in the United States while passing for white; therefore many questions that John’s passing presence has raised about the stability of racial identity are left open at the end of the text. Yet Rena Walden/Warwick, John’s sister, who also passes for white, is dead at the end. Does Chesnutt—who certainly saw race as a social construction,³ although perhaps not gender—ever depict women characters who can maintain a passing presence that keeps open questions about the meaning of whiteness and blackness? In fact there are several texts by Chesnutt in which women pass for white. However, their passing is often allowed, enforced, or enabled by a male (black or white) whom they might marry. In such texts both African American and white men have the ability not only to provide to women an identity as “wife” but also an identity as “white.” These female racial passers are therefore both literally and figuratively granted whiteness only through inscription as patriarchal property within the institution of marriage. Hence the title of this essay: for Chesnutt’s women, it is a male who can pronounce them not only wife, but also white.

A lawyer himself—he had passed the bar in Ohio in 1887—Chesnutt is often viewed as presenting a sophisticated critique of the law and as sometimes “theoriz[ing] imaginative ways that legal principles could be used to repair American race relations.”⁴ Yet is this the case in terms of gender relations—does Chesnutt’s fiction critique and repair gender inequities? Chesnutt’s fiction recognizes the intersectional nature of women’s oppression in the late-nineteenth and early-twentieth century, when women of any race possessed limited rights under the doctrine of coverture and in the face of the denial of women’s suffrage and other political and legal civil liberties; yet his works do not imagine a “repair” of gender relations.⁵ Robyn Wiegman argues that “modern citizenship functions as a disproportionate system in which the universalism ascribed to certain bodies (white, male, propertied) is protected and subtended by the infinite particularity assigned to others (black, female, unpropertied).”⁶ Men who pass into whiteness therefore may become modern citizens with full rights and a universal and unparticularized body. But women who pass into whiteness are still women with limited rights and non-property holders in most states in the U.S. well into the late-nineteenth century, and they are always defined in terms of their bodily particularity and peculiarity. Moreover, within the system of capitalism they are configured as property to be trafficked between men, gifts to be traded back and forth, and it is only specifically through an exchange between men that they can move from a natural realm (a realm outside society) to a social order in which their status (even as objects) can be…

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Chapter 8 – “Theresa” and the Early Transatlantic Mixed-Race Heroine

Chapter in: African American Literature in Transition, 1800–1830
Cambridge University Press
March 2021
DOI: 10.1017/9781108632003.014
pages 202-226

Brigitte Fielder, Associate Professor of U.S. Literature
University of Wisconsin, Madison

This chapter examines the publication of “Theresa” in Freedom’s Journal, a short story about women’s wartime heroism into the broader history of the Haitian Revolution. “Theresa” paints an image of mixed-race womanhood that was not insignificant for both this American venue and for a larger transatlantic context. Like the anonymously written British epistolary novel, The Woman of Colour, A Tale (1808), “Theresa” shows mixed-race women who are aligned with Black racial uplift rather than white assimilation. Moreover, both of these texts present images of mixed-race heroines who differ significantly from those of the “tragic mulatta” genre that would gain popularity during the antebellum period. Instead, “Theresa” frames its mixed-race heroines as models not only of racial solidarity but also of radical abolitionist action. In this, “Theresa” anticipates postbellum mixed-race heroines, through foregoing mixed-race women’s heterosexual union with Black men with their political action alongside them. The chapter offers an analysis of early nineteenth-century texts such as Laura Sansay’s Secret History; or, the Horrors of St. Domingo (1808) and Zelica the Creole (1820), which make the safety of white women the priority of their mixed-race characters.

Read or purchase the chapter here.

Striving to Sing Our Own Songs: Notes on the Left not Right in Africana Studies

The Discipline and African 2022 World Report
National Council for Black Studies
pages 186-192

Mark Christian, Ph.D., Professor of Africana Studies
City University of New York, New York, New York

By way of an introduction, the last year or more has witnessed an unprecedented upsurge in human insecurity across the globe. Perhaps it is the right time to put some historical context into what this means for peoples of African heritage globally—and more specifically, those located within the borders of the United States. This article will briefly consider the continued battle for Africana liberation, employing a Sankofa perspective—to go back and retrieve for present use. Moreover, there will be a critique of the so-called “Black Radical Left,” as it seems that scrutiny of such scholars rarely occurs. Indeed, many appear “untouchable” in terms of criticism from within Africana studies—yet the same cannot be stated in regard to African-centered scholars who, ironically, argue for largely similar forms of Black liberation. Therefore, while taking into account the developments of the last year for this NCBS annual report, it is necessary to consider some of the various schools of thought in the discipline and the imperative to develop a cross-fertilization of ideas in Africana studies.

In the last 18 months, I have traveled back in time to the 19th and 20th centuries in regard to my research output, completing two major studies (Christian, 2021a, 2021b). It has been palpably worthwhile because one finds that there is nothing particularly original in terms of the struggle for social justice. Of course, there have been major structural changes in the U.S. with the collapse of enslavement in 1865, followed by the ephemeral Reconstruction era, then de jure segregation, followed largely by de facto segregation. Women’s rights have also markedly improved since the 19th century, yet here we are, comfortably into the 2020s, in what could be deemed the “George Floyd era,” wherein the need for racialized justice across the spectrum of society remains ubiquitous. The seemingly insuperable reality of racism remains an ever-present social problem. Meanwhile, Africana scholars, in all their various schools of thought, continue to tackle an array of “isms” in their varied capacities throughout higher education…

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Approaches to Teaching the Novels of Nella Larsen

Modern Language Association
2016-09-01
2010 pages
6 x 0.7 x 9.1 inches
Hardcover ISBN: 9781603292191
Paperback ISBN: 9781603292207

Edited by:

Jacquelyn Y. McLendon, Professor Emerita of English & Africana Studies; Director Emerita of Black Studies
College of William & Mary, Williamsburg, Virginia

Nella Larsen’s novels Quicksand and Passing, published at the height of the Harlem Renaissance, fell out of print and were thus little known for many years. Now widely available and taught, Quicksand and Passing challenge conventional “tragic mulatta” and “passing” narratives. In part 1, “Materials,” of Approaches to Teaching the Novels of Nella Larsen, the editor surveys the canon of Larsen’s writing, evaluates editions of her works, recommends secondary readings, and compiles a list of useful multimedia resources for teaching.

The essays in part 2, “Approaches,” aim to help students better understand attitudes toward women and race during the Harlem Renaissance, the novels’ relations to other artistic movements, and legal debates over racial identities in the early twentieth century. In so doing, contributors demonstrate how new and seasoned instructors alike might use Larsen’s novels to explore a wide range of topics—including Larsen’s short stories and letters, the relation between her writings and her biography, and the novels’ discussion of gender and sexuality.

Contents

• Acknowledgments
• PART ONE: MATERIALS / Jacquelyn Y. McLendon
• PART TWO: APPROACHES
  • Introduction / Jacquelyn Y. McLendon
  • Historical and Cultural Contexts
    • Nella Larsen’s Passing and the Literary and Legal Context of the Passing Narrative / Martha J. Cutter
    • Nella Larsen’s Modernism / Caresse John
    • Helga Crane in West Egg: Reading Quicksand and The Great Gatsby as a Case Study in Canonicity / Shealeen Meaney
    • “A Whole World of Experience and Struggle”: Teaching Literature as Cultural and Intellectual Women’s History / Lyde Sizer
    • Nightlife and Racial Learning in Quicksand / Clark Barwick
  • Fiction and the Arts
    • Sounding and Being: A Resource for Teaching Musical References and Symbolism in Nella Larsen’s Quicksand / Gayle Murchison
    • Nella Larsen and the Racial Mountain: Teaching Black Musical Aesthetics in Passing and Quicksand / Lori Harrison-Kahan
    • Nella Larsen and the Civilization of Images: Teaching Primitivism and Expressionism in Quicksand / Cristina Giorcelli
  • Identity
    • “Anything Might Happen”: Freedom and American Identity in Nella Larsen’s Passing / Beryl Satter
    • Teaching Passing as a Lesbian Text / Suzanne Raitt
    • Approaching Gender in Quicksand / Beth Widmaier Capo
    • From “My Old Man” to Race Men in Quicksand / Riché Richardson
  • In the Classroom: Methods, Courses, Settings
    • The Matter of Beginnings: Teaching the Opening Paragraphs in Quicksand and Passing / Steven B. Shively
    • Versions of Passing / John K. Young
    • The Uses of Biography / George B. Hutchinson
    • “In Some . . . Determined Way a Little Flaunting”: Teaching with Nella Larsen’s Letters / M. Giulia Fabi and Jacquelyn Y. McLendon
    • Teaching Quicksand in Denmark / Martyn Bone
    • Teaching Nella Larsen’s Passing at an Urban Community College / Zivah Perel Katz
• Notes on Contributors
• Survey Participants
• Works Cited
• Index