Mixed Race Studies

The Life and Adventures of Joaquín Murieta: The Celebrated California Bandit

Penguin Classics
2017-07-10
208 pages
5-1/16 x 7-3/4
Paperback ISBN: 9780143132653
Ebook ISBN: 9780525504580

John Rollin Ridge (1827-1867)

Foreword by Diana Gabaldon
Introduction by Hsuan L. Hsu
Notes by Hsuan L. Hsu

The first novel to feature a Mexican American hero: an adventure tale about Mexicans rising up against U.S. rule in California, based on the real-life bandit who inspired the creation of Zorro, the Lone Ranger, and Batman

With a new foreword by Diana Gabaldon, the #1 New York Times bestselling author of the Outlander series

An action-packed blend of folk tale, romance, epic, and myth, The Life and Adventures of Joaquín Murieta tells the story of the Gold Rush-era Mexican immigrant Joaquín Murieta, whose efforts to find fortune and happiness are thwarted by white settlers who murder his family and drive him off his land. In retaliation, Murieta organizes a band of more than 2,000 outlaws–including the sadistic “Three-Fingered Jack”–who take revenge by murdering, stealing horses, and robbing miners, all with the ultimate goal of reconquering California.

The first novel written by a Native American and the first novel published in California, The Life and Adventures of Joaquín Murieta speaks to the ways in which ethical questions of national security and racialized police violence have long been a part of U.S. history. This edition features excerpts from popular rewritings of the novel, including Johnston McCulley’s first novel about Zorro, The Curse of Capistrano (also known as The Mark of Zorro).

Black Saint of the Americas: The Life and Afterlife of Martín de Porres

Cambridge University Press
2014-10-13
311 pages
16 b/w illus.
229 x 152 x 18 mm
Hardcover ISBN: 978-1107034372
Paperback ISBN: 9781108404174
Online ISBN: 9781139540599

Celia Cussen, Associate Professor of History
Universidad de Chile

In May 1962, as the struggle for civil rights heated up in the United States and leaders of the Catholic Church prepared to meet for Vatican Council II, Pope John XXIII named the first black saint of the Americas, the Peruvian Martín de Porres (1579–1639), and designated him the patron of racial justice. The son of a Spanish father and a former slavewoman from Panamá, Martín served a lifetime as the barber and nurse at the great Dominican monastery in Lima. This book draws on visual representations of Martín and the testimony of his contemporaries to produce the first biography of this pious and industrious black man from the cosmopolitan capital of the Viceroyalty of Peru. The book vividly chronicles the evolving interpretations of his legend and his miracles, and traces the centuries-long campaign to formally proclaim Martín de Porres a hero of universal Catholicism.

• The first full-length work dedicated to Martín de Porres from a scholarly viewpoint
• An analysis of witness testimonies and images that portrayed the virtues and miracles of Martín
• A readable discussion of how the cult of the first black saint of the Americas evolved along with the needs and attitudes of Catholics in Peru and elsewhere

Table of Contents

• Introduction
• Part I. The Life:
  • 1. Race and family
  • 2. The convent and the colonial world
  • 3. Healing and faith
  • 4. Death and the heavenly transit
• Part II. The Afterlife:
  • 5. Creating a Vida from a life
  • 6. The miracles
  • 7. Images in black and white
  • 8. Sainthood
• Conclusion
• Appendixes
• Bibliography
• Endnotes

Adrian Piper’s Show at MoMA is the Largest Ever for a Living Artist. Why Hasn’t She Seen It?

The New York Times Magazine
2018-06-27

Thomas Chatterton Williams

Illustration by Hsiao-Ron Cheng

The conceptual artist’s life and work push against the boundaries

Adrian Piper, the conceptual artist and analytic philosopher, is almost as well known for what she has stopped doing as for what she has done. By 1985, she had given up alcohol, meat and sex. In 2005, she took a leave of absence from her job at Wellesley, sold her home on Cape Cod and shipped all of her belongings to Germany. On a lecture tour in the United States the next year, she discovered a mark on her plane ticket that suggested, to her, that she’d been placed on a watch list; she has not set foot in America since. Then, in 2012, on her 64th birthday, she “retired from being black.” She did this by uploading a digitally altered self-portrait to her website, in which she had darkened her skin — normally café très-au-lait — to the color of elephant hide. It was accompanied by a news bulletin announcing her retirement. The pithy text superimposed at the bottom of the photo elaborated: “Henceforth, my new racial designation will be neither black nor white but rather 6.25% grey, honoring my 1/16th African heritage,” she wrote. “Please join me in celebrating this exciting new adventure in pointless administrative precision and futile institutional control!” (Through extensive genealogical work, she later determined that her African heritage is closer to one-eighth.)

The piece was, like much of Piper’s art and writing, absurdly comical in no small part because it was so brutally honest. It was inspired by Piper’s dawning realization that she was unable to fulfill other people’s expectations through the lens of race; since the early 2000s, she had stopped allowing any of her artwork to be exhibited in all-black shows, which she came to see as ghettoizing. In 2015, she announced that she would no longer talk to the press about her work.

Such inflexibility has done little to damage her standing in the art world. On a drizzly evening in March, a well-turned-out crowd of several hundred alighted upon the Museum of Modern Art to sip prosecco, schmooze and Instagram snippets of Piper’s immense body of work. The occasion was the opening of the enormous, and enormously demanding for the casual viewer, 50-year career retrospective, “Adrian Piper: A Synthesis of Intuitions, 1965-2016,” on display through July 22. The exhibition draws its title from Kant’s “Critique of Pure Reason,” a lifelong touchstone for Piper, and marks the first time in MoMA’s history that the work of any living artist has earned the entirety of its sprawling sixth-floor special-exhibitions gallery. Alongside a Golden Lion award at the Venice Biennale, which Piper won in 2015, this is among the very highest honors the art world can proffer…

‘‘Self-Portrait Exaggerating My Negroid Features’’ (1981) The Eileen Harris Norton Collection. Adrian Piper Research Archive Foundation Berlin.

I’d flown from Paris to see the opening of “Synthesis” after having struck up a polite but formal email correspondence with Piper. In the last message she had sent me, about three weeks earlier, she refused to speak to me on the record unless she or her archivist could independently fact-check the article before publication. “I decided a long time ago that I would prefer no representation to misrepresentation,” she wrote, and it seemed that, with this impossible condition, she would not grant an exemption from her indefinite moratorium. She suggested, as an alternative, that I consult her website and extensive body of published writing, an incalculable number of academic articles, essays and books. But I had already read many of those, and they had left me convinced that she has been quietly conducting, from that vexed and ever-expanding blot on the American fabric where white and black bleed into each other, one of the smartest, funniest and most profound interrogations of the racial madness that governs and stifles our national life that I had ever encountered…

Read the entire article here.

Carina Ray fuses scholarship and teaching with personal experience

Brandeis Now
Waltham, Massachusetts
2017-12-17

Jarret Bencks
Office of Communications

Carina Ray in the classroom

Almost 25 years ago, historian Carina Ray spent her junior year abroad as an undergraduate studying in Ghana. She planned to explore her Puerto Rican family’s African roots.

Most Ghanaians she met insisted she was white, despite her longwinded explanations about her multiracial background. Eventually, she realized it would be smarter to talk less and listen more.

“I was enthralled by what Ghanaians had to say about their own perceptions of blackness and how race works there,” says Ray, associate professor of African and Afro-American studies (AAAS). The seeds of Ray’s career were planted.

By the time she returned to the University of California, Santa Cruz, to finish her bachelor’s degree, Ray knew she wanted to study what it means to be black in West Africa — from an African perspective. The history of race in Africa was rarely written about from an African perspective, and it became the focus of her PhD in African history at Cornell University…

Read the entire article here.

Dream of the Water Children: Memory and Mourning in the Black Pacific

2Leaf Press
2018-06-08
470 pages
Paperback ISBN-13: 978-1-940939-28-5
ePub ISBN-13: 978-1-940939-29-2

Fredrick D. Kakinami Cloyd

Introduction by Gerald Horne
Foreword by Velina Hasu Houston
Edited by Karen Chau

Fredrick D. Kakinami Cloyd’s debut, Dream of the Water Children: Memory and Mourning in the Black Pacific, is a lyrical and compelling memoir about a son of an African American father and a Japanese mother who has spent a lifetime being looked upon with curiosity and suspicion by both sides of his ancestry and the rest of society. Cloyd begins his story in present-day San Francisco, reflecting back on a war-torn identity from Japan, U.S. military bases, and migration to the United States, uncovering links to hidden histories.

Dream of the Water Children tells two main stories: Cloyd’s mother and his own. It was not until the author began writing his memoir that his mother finally addressed her experiences with racism and sexism in Occupied Japan. This helped Cloyd make better sense of, and reckon with, his dislocated inheritances. Tautly written in spare, clear poetic prose, Dream of the Water Children delivers a compelling and surprising account of racial and gender interactions. It tackles larger social histories, helping to dispel some of the great narrative myths of race and culture embedded in various identities of the Pacific and its diaspora.

The making of Meghan Markle

The Washington Post
2018-05-16

Jessica Contrera, Features Writer

Portraits of Meghan Markle from eighth, ninth and 12th grades. From her childhood in Los Angeles to her acting career, Markle has said her “ethnically ambiguous” appearance shaped her identity. (John Dlugolecki/Contact Press Images)

What happens when a ‘confident mixed-race woman’ marries into the royal family

Meghan Markle was glaring at her love interest. She leaned forward, fury clear in her expression as she asked the question: Was it so hard to believe one of her parents was black?

“You think,” she spat, “this is just a year-round tan?”

He stammered. She grimaced. The opening credits began to roll.

It was just the scene of a television show, a few lines from the script of the law drama “Suits.” But Markle would later describe it as something more: the moment she was no longer playing the role of “ethnically ambiguous.” That was the description assigned to so many of the jobs for which she had auditioned. Others asked her to be white, like her father. Or black, like her mother…

Read the entire article here.

William Alexander Leidesdorff: Forgotten San Francisco Pioneer

San Francisco Travel
2014-08-22

Cindy Hu

Photo by vgm8383 / CC BY-NC

Financial district hotshots pass by tiny Leidesdorff Street, hardly more than an alley, and few can pronounce its name. Little do they know that the namesake of this charming hitching post-lined lane blazed the trail for them some 150 years ago. Fewer still realize he was the city’s first prominent businessman of black ancestry.

William Alexander Leidesdorff was born the son of Alexander Leidesdorff, a drifting Danish seaman, and a mulatto woman on St. Croix Island in the West Indies. The child was given Danish citizenship, though his father never shared in the raising of young William. However, an English plantation owner grew fond of the young boy and saw to his care and education.

When Leidesdorff grew into a strapping young man, the Englishman sent him to New Orleans to live with the planter’s brother and to become a cotton merchant. Leidesdorff and the mercantile industry were a perfect fit. He quickly learned the industry and built a reputation as a keen businessman. When the Englishman and his brother suddenly died, just months apart, Leidesdorff fell heir to their New Orleans estate.

When he was not managing the estate, the striking, young and wealthy Leidesdorff courted a southern belle named Hortense, whose prominent family claimed membership in New Orleans’ high society and whose lineage heralded back to Louis XIV of France. Keeping his mixed ancestry secret, Leidesdorff became engaged to the blonde, fair-skinned Hortense…

Read the entire article here.

A Girl Full of Smartness

The Paris Review
2017-06-02

Edward White

Mary Ellen Pleasant

As an entrepreneur, civil-rights activist, and benefactor, Mary Ellen Pleasant made a name and a fortune for herself in Gold Rush–era San Francisco, shattering racial taboos.

They did things differently in the Old West. On the morning of August 14, 1889, Stephen J. Field, a justice of the Supreme Court, was eating breakfast at a café in Lathrop, California, when David S. Terry, a former bench colleague, stopped by Field’s table and slapped him twice across the face.

This was not unprecedented behavior. Despite having risen to the rank of chief justice of the Supreme Court of California, Terry was described by one contemporary as an “evil genius” with an “irrepressible temper,” who once stabbed a man for being an abolitionist and killed a Congressman wedded to the Free Soil movement. His gripe with Stephen Field, however, had nothing to do with slavery. In 1883, Terry’s wife had filed a lawsuit (Sharon vs. Sharon) against the multimillionaire U.S. Senator William Sharon, claiming she had been married to him in secret some years ago and that, having been callously discarded by the womanizing senator, she was owed a divorce settlement. After five years the case ended up at a federal circuit court, where Field found in favor of William Sharon; there would be no divorce settlement. Terry was livid and promised to exact revenge.

It was only the latest twist in what had been a bizarre case. On the first day of the trial, William Sharon’s attorney asserted that his client was the victim of a plot involving an elderly black woman who had used voodoo to steal Sharon’s hard-earned fortune. That woman was known to the San Francisco public as “Mammy Pleasant,” around whom sinister rumors had swirled for years. Some accused her of being a murderess, a madam, and a practitioner of black magic who befriended white families only to curse them and bleed them dry; a nightmarish image of “the mammy gone wrong,” to quote one historian. But just as many—especially among the black community—knew her as Mary Ellen Pleasant: an ingenious entrepreneur, pioneering civil-rights activist, and beloved benefactor who broke racial taboos and played a singular role in the early years of San Francisco…

Even within her lifetime, there were several competing stories about Pleasant’s origins. One version has her born into slavery in Georgia; another says she was the daughter of a wealthy Virginian planter who had a fling with a voodoo priestess from the Caribbean. In her published reminiscences she claimed to have been born in Philadelphia in 1812, to a Hawaiian father and “a full-blooded Louisiana negress.” Racial mixing and ethnic ambiguity, themes that would repeat over and again throughout Pleasant’s life, appear to have been part of her identity from the start…

Read the entire article here.

The real history behind Mary Ellen Pleasant, San Francisco’s “voodoo queen”

KALW Local Public Radio, 91.7 FM
San Francisco, California
2015-09-09

Olivia Cueva & Liza Veale

Performer Susheel Bibbs poses in front of an image of Mary Ellen Pleasant. Photograph by Olivia Cueva

In the mid-1800s, boomtown San Francisco was a city of men — only about 15 percent women. While slavery was illegal in California, white men were the ones cashing out on the boom. Mostly.

Then there was Mary Ellen Pleasant. She was one of the richest and most powerful people in the state — and she was a black woman. In fact she was a freedom fighter; her nickname was “Black City Hall.”

Yet today, Pleasant is barely remembered. The story that does get told is a mythologized tale about San Francisco’s so-called “voodoo queen.”

Why did this extraordinary woman fall from the city’s graces, left to haunt its history as the voodoo queen? We start at the last stop on a city tour called the San Francisco Ghost Hunt.

The tour brings you to the corner of Octavia and Bush streets, where Mary Ellen Pleasant’s mansion once stood. Six huge eucalyptus trees tower above the spot. Pleasant planted them herself over a hundred years ago.

Jim Fassbinder guides the tour. He tells a tale that he admits is not quite fact, not quite fiction.

He says Pleasant had power over San Franciscans because she practiced “voodoo.” He says some claim she was responsible for the death of four people, including her longtime business partner. Rumor has it her servant “found Mary Ellen pulling apart the bones of his head and picking out bits of his brain,” says Fassbinder.

As the story goes, she’s haunted this corner ever since the day she died. But the story’s been mangled by history. What really happened?

“It still is a mystery,” says Susheel Bibbs, “Her life is still a mystery.”

Bibbs has been studying Pleasant for over 20 years. She says part of the reason it’s so hard to distinguish fact from fiction is because Pleasant herself never kept her story straight.

“It was ingrained from the very beginning that survival meant that you don’t tell. You just keep secrets,” Bibbs says.

By best accounts, Pleasant was born on a plantation in Georgia. Once she was freed as a young girl, she began falsifying her identity. Slavery was still alive and well, so she needed to protect herself from law enforcement.

“If they decided she was an escaped slave and she had no freedom papers, they could just wrest her off the streets and back into slavery,” Bibbs says.

Her skin was fair enough to pass, so when she docked in San Francisco in 1852, she arrived as a white woman…

Read entire story here. Listen to the story (00:08:37) here.

Richard Potter: America’s First Black Celebrity

University of Virginia Press
February 2018
352 pages
6.13 × 9.25 in
Cloth ISBN: 9780813941042
Ebook ISBN: 9780813941059

John A. Hodgson, Former Dean
Forbes College, Princeton University

Apart from a handful of exotic–and almost completely unreliable–tales surrounding his life, Richard Potter is almost unknown today. Two hundred years ago, however, he was the most popular entertainer in America–the first showman, in fact, to win truly nationwide fame. Working as a magician and ventriloquist, he personified for an entire generation what a popular performer was and made an invaluable contribution to establishing popular entertainment as a major part of American life. His story is all the more remarkable in that Richard Potter was also a black man.

This was an era when few African Americans became highly successful, much less famous. As the son of a slave, Potter was fortunate to have opportunities at all. At home in Boston, he was widely recognized as black, but elsewhere in America audiences entertained themselves with romantic speculations about his “Hindu” ancestry (a perception encouraged by his act and costumes).

Richard Potter’s performances were enjoyed by an enormous public, but his life off stage has always remained hidden and unknown. Now, for the first time, John A. Hodgson tells the remarkable, compelling–and ultimately heartbreaking–story of Potter’s life, a tale of professional success and celebrity counterbalanced by racial vulnerability in an increasingly hostile world. It is a story of race relations, too, and of remarkable, highly influential black gentlemanliness and respectability: as the unsung precursor of Frederick Douglass, Richard Potter demonstrated to an entire generation of Americans that a black man, no less than a white man, could exemplify the best qualities of humanity. The apparently trivial “popular entertainment” status of his work has long blinded historians to his significance and even to his presence. Now at last we can recognize him as a seminal figure in American history.