Mixed Race Studies

Notes On ‘Passing’

Essence
2021-10-27

Rebecca Carroll

The upcoming drama, based on the 1929 novel, looks at the cultural self-alienation a black woman experiences when she attempts to gain the privileges that come with assuming a white identity.

When my light-skinned Black and mixed-race teenage son was little, I worried aloud to my best girlfriend about whether people would recognize him as Black—or whether, God forbid, he himself would decide to identify as even partially white. My girlfriend, who is also Black, would counter with, “Why would he want to be on that team? Seriously, have you seen that team?” Yes, I would say, all too much, for far too long. And we’d laugh, because it was funny-ish.

I was adopted by a white family and raised in a primarily white rural New England town. I then spent my life, well into adulthood, seeking out Blackness and trying to arrive at a place where I could feel unambiguous in my identity as a Black woman. My son opting to identify as white would have been the opposite of my journey. But as he grew older, I actually stopped worrying that he’d be taken as white—and became more worried that he’d be profiled by the police as Black. The irony…

Read the entire review here.

For mixed-descent people on America’s frontier, acceptance and suspicion

The Washington Post
2022-03-11

H.W. Brands

In the late 19th century, Frederick Jackson Turner lit up the historical world with his frontier thesis of American history. He asserted that American democracy owed its distinctiveness to the existence of an advancing frontier, where American institutions reinvented themselves every generation. By no means did all historians accept Turner’s views, but his approach framed debate on the subject far into the 20th century.

More recently the concept of frontier has given way to the idea of borders and borderlands, where peoples and cultures have intermingled and interacted. In “Born of Lakes and Plains: Mixed-Descent Peoples and the Making of the American West,” Anne F. Hyde examines family life in the borderlands; her carefully wrought portrait of five families reveals the peculiar challenges faced by these quintessential people of the border…

Read the entire review here.

That Middle World: Race, Performance, and the Politics of Passing by Julia S. Charles (review)

Journal of Southern History
Volume 88, Number 1, February 2022
pages 164-165
DOI: 10.1353/soh.2022.0019

Tyler Sperrazza
University of New Haven, West Haven, Connecticut

That Middle World: Race, Performance, and the Politics of Passing. By Julia S. Charles. (Chapel Hill: University of North Carolina Press, 2020. Pp. xviii, 224. Paper, $29.95, ISBN 978-1-4696-5957-2; cloth, $95.00, ISBN 978-1-4696-5956-5.)

The past decade has seen a tremendous growth in scholarly inquiry around the subject of racial passing. The context of the current historical moment coupled with viral discussions of cultural appropriation and “blackfishing” brings a sense of urgency to understanding the long history of passing and its function in the U.S. context. Julia S. Charles’s That Middle World: Race, Performance, and the Politics of Passing offers a perspective on this phenomenon that places performance at the heart of the racial passing experience. Charles calls for a rejection of previous scholarly treatments of passing that foreground experiences of loss among those who pass and instead argues for a focus on the opportunities that performing race offered to certain mixed-race African American citizens. Charles presents a book of theory and philosophy on racial passing meant to inform the ways scholars of African American literature and media studies can make sense of mixed-race and passing characters throughout nineteenth- and twentieth-century literature.

The title of Charles’s book also serves as its main theoretical construction. “That Middle World” is a location that Charles defines as an interstitial and metaphysical space occupied by mixed-race characters that becomes the “location of culture and identity for so-called mulattoes in African American fiction” (p. 22). This space both creates and destroys boundaries between Black and white and offers a means of interpreting passing African Americans’ experiences as a constant process of both making and crossing borders in a liminal space free of the “inadequate Black-white racial binary” (p. 40). Throughout the central chapters of the book, Charles adroitly moves between the historical lives and contexts of African American authors and the worlds their characters inhabit. Many of her subjects—Charles W. Chesnutt being central—were themselves mixed-race and able to navigate the boundaries of That Middle World in their everyday lives. Charles’s interweaving of the historical and the literary is a welcome addition to this growing field of passing studies…

Read or purchase the review here.

White Lies: The Double Life of Walter F. White and America’s Darkest Secret

Mariner Books
2022-02-08
400 pages
Hardcover ISBN: 978-0358447757
Paperback ISBN: 978-0358581772
eBook ISBN: 9780358439660
Audiobook ISBN: 9780358581932

A. J. Baime

A riveting biography of Walter F. White, a little-known Black civil rights leader who passed for white in order to investigate racist murders, help put the NAACP on the map, and change the racial identity of America forever

Walter F. White led two lives: one as a leader of the Harlem Renaissance and the NAACP in the early twentieth century; the other as a white newspaperman who covered lynching crimes in the Deep South at the blazing height of racial violence. Born mixed race and with very fair skin and straight hair, White was able to “pass” for white. He leveraged this ambiguity as a reporter, bringing to light the darkest crimes in America and helping to plant the seeds of the civil rights movement. White’s risky career led him to lead a double life. He was simultaneously a second-class citizen subject to Jim Crow laws at home and a widely respected professional with full access to the white world at work. His life was fraught with internal and external conflict—much like the story of race in America. Starting out as an obscure activist, White ultimately became Black America’s most prominent leader. A character study of White’s life and career with all these complexities has never been rendered, until now.

By the award-winning, best-selling author of The Accidental President, Dewey Defeats Truman, and The Arsenal of Democracy, White Lies uncovers the life of a civil rights leader unlike any other.

And the 2022 Oscar Nominees Should Be…

The New York Times
2022-01-14

Illustrations by Ben Denzer

If our chief critics Manohla Dargis and A.O. Scott had their way, these are the films and the people who would be up for Academy Awards.

• Best Picture: Drive My Car, Passing, The Power of The Dog
• Best Director: Jane Campion, The Power of the Dog; Rebecca Hall, Passing
• Best Actress: Kristen Stewart, Spencer; Tessa Thompson, Passing
• Best Supporting Actress: Ariana DeBose, West Side Story; Aunjanue Ellis, King Richard; Kathryn Hunter, The Tragedy of Macbeth; Toko Miura, Drive My Car; Ruth Negga, Passing
• Best Adapted Screenplay: Drive My Car, Passing, The Power of The Dog…

Read the entire article here.

Who is Florence Price?

Schirmer Trade Books (an imprint of Wise Music Group)
2021-11-18
48 pages
5.75 x 0.4 x 8.25 inches
Hardback ISBN: 9781736533406

Written and Illustrated by Students of the Special Music School at the Kaufman Music Center, New York, New York.

Young musicians tell the story of a girl and her music

Florence [Price] loved her mother’s piano playing and wanted to be just like her. When she was just four years old she played her first piano concert and as she grew up she studied and wrote music hoping one day to hear her own music performed by an orchestra.

The story of a brilliant musician who prevailed against race and gender prejudices to become the first Black woman to be recognised as a symphonic composer and be performed by a major American orchestra in 1933.

Passing into Film: Rebecca Hall’s Adaptation of Nella Larsen

Modernism/modernity
Volume 6, Cycle 2 (2021-11-10)

Rafael Walker, Assistant Professor of English
Baruch College, City University of New York

Director Rebecca Hall’s recent adaptation of Nella Larsen’s exquisite second novel, Passing (1929), is visually stunning. I had the pleasure of seeing the film on the big screen, during its limited theatrical run and before its Netflix release. It was the ideal atmosphere for absorbing this cinematic rendering of Larsen’s eerie, anxiety-ridden plot: ensconced with a sparse audience (my companion and I comprising two of the four patrons for the 5:10pm showing) in a small independent theater in Manhattan, just a few miles from where the story is set, and with Halloween everywhere looming on this late-October evening.¹

These qualities of the novel were only enhanced by Hall’s decision to film it in black and white, a daring choice that she, a first-time filmmaker, had to fight for, as Alexandra Kleeman of the New York Times reports. On the one hand, this artistic decision conjures all the nervous palpitations that Hitchcock made synonymous with black-and-white mise-en-scène, maintaining the unshakable uneasiness one experiences while reading Larsen’s novel. On the other, it hurls the either-or terms of Jim Crow racial binarism into conflict with a predominating grayscale—an all-pervading sign of the fictionality of the dichotomizations structuring American culture. Nothing could be more in the spirit of Nella Larsen’s novel. I suspect, however, that Hall’s departures from the source text will attract the attention of modernists far more than her convergences…

Read the entire review here.

Passing Is a Film About Race from the Black Gaze

Harper’s Bazaar
2021-11-11

Imani Perry, Hughes-Rogers Professor of African American Studies
Princeton University, Princeton, New Jersey

Netflix

Rebecca Hall’s adaptation of Passing expertly uses the craft of cinema to explore race and colorism from a Black point of view, Imani Perry argues.

Nella Larsen’s 1929 novel, Passing, was part of a tradition. Writers, both Black and white, had been depicting the practice of extremely light-complexioned African Americans slipping into the white world for at least 70 years prior. Passing literature is the term critics have applied to it. In a racially segregated and stratified society, passing was powerful fodder for the literary imagination. Being discovered came with the risk of shame, violence, incarceration, and even death. In Black communities, passing itself was at once frowned upon and protected, as the secrets of passers were guarded.

Understandably, depicting passing today, when the rules of racial membership have shifted, is challenging. Members of Generation Z are skeptical of the historic “one-drop rule” of African-American membership. Initially, that rule was a way of marking Blackness as inferiority and even a sort of contagion. Over time, African Americans used it to develop an expansive idea of what it meant to belong to “the race.” But today, young people often wonder how much one can claim to belong to a group without carrying the weight of being seen as such.

Director Rebecca Hall, who adapted the 1929 novel for the screen nevertheless succeeds in making a film that brings contemporary viewers into the intimate realm of its Black women protagonists, both of whom “pass”; one completely, the other conditionally. Most impressively, Hall captures the tensions of passing in a manner that is effective in the 21st century. Whereas the novella is a masterpiece of sumptuous yet suggestive prose, the black-and-white film’s luxuriousness is found in texture, light, and gesture. Hall avoids a problem that all too often afflicts Black actors. When directors fail to shift light appropriately, bodies that are luminous too often are made muddy and shapeless. Hall’s effective light is not just visually satisfying; it is a narrative tool…

Read the entire review here.

“Passing,” Reviewed: Rebecca Hall’s Anguished Vision of Black Identity

The New Yorker
2021-11-08

Richard Brody

With a remarkable fusion of substance and style, Hall’s adaptation of Nella Larsen’s 1929 novel unfolds inner lives along with social crises.

Rebecca Hall’s directorial début, “Passing,” based on Nella Larsen’s 1929 novel of the same name, is one of the rare book adaptations that brings a literary style to the screen. The film’s sense of style is more than mere ornament; it embodies the confrontation with circumstances—practical, emotional, historical—at the heart of the story. “Passing” (coming to Netflix on Wednesday) is a period piece, set in Harlem during Prohibition, just before the Depression. The movie achieves an ample, resonant reconstruction of that era, but it doesn’t feature colossal sets or give the sense that entire neighborhoods were transformed for the purpose of shooting. Instead, Hall uses sharply defined locations imaginatively and conjures the time through her original way with light, texture, and gesture, all redolent of a storied yet troubled past. The result is an emotional immediacy that’s all the sharper for its subtlety, all the more intense for its contemplative refinement, and that, above all, gives apt expression to the film’s mighty and agonized subject.

The movie stars Tessa Thompson as Irene Redfield, a woman of about thirty who lives in a Harlem town house with her husband—Brian (André Holland), a doctor—and their two sons, one a child and the other on the cusp of puberty. She’s an activist who works as a volunteer for a (fictitious) charitable organization called the Negro League while also running the household. A light-skinned Black woman, she’s taken for white by white people in the course of her errands outside Harlem on a hot summer day. At a hotel café, Irene encounters Clare Bellew (Ruth Negga), a friend from high school whom she hasn’t seen in a dozen years. Clare, too, has light skin—but, unlike Irene, she intentionally passes for white. She’s married to a wealthy white banker named John (Alexander Skarsgård) and lives her entire life amid white society. Clare’s reunion with Irene (whom she calls Reenie) awakens a long-suppressed desire to exist among Black people, to affirm her own identity without shame or fear. Clare imposes herself on the Redfield household, befriends Brian and the boys, takes part in Negro League social events run by Irene—and, in doing so, knowingly confronts the grave risk that John will find out that she’s Black…

Read the entire review here.

New Film “Whole” Looks at Daily Struggles of Mixed-Race Japanese

Nippon.com: Your Doorway to Japan
2021-11-25

Matsumoto Takuya

As the population of mixed-race Japanese—popularly called hāfu—grows, entertainers and athletes with bicultural backgrounds are increasingly prominent. However, most of those considered hāfu in Japan live normal, private lives, struggling daily with curiosity, prejudice, and their own identity conflicts. Whole, a new short film, takes up the issues facing just such people through the story of two young men. We spoke with the director, writer, and leading actor about the film…

Read the entire interview here.