Mixed Race Studies

Making the Modern Family: Interracial Intimacy and the Social Production of Whiteness

Harvard Law Review
Volume 127, Issue 5 (2014-03-17)
pages 1341-1394

Camille Gear Rich, Associate Professor of Law
Gould School of Law
University of Southern California

According to Our Hearts: Rhinelander v. Rhinelander and the Law of the Multiracial Family. By Angela Onwuachi-Willig. New Haven, Conn.: Yale University Press. 2013. Pp. 325.

Angela Onwuachi-Willig’s provocative book According to Our Hearts: Rhinelander v. Rhinelander and the Law of the Multiracial Family seems tailor-made for the current cultural moment. The book arrives on the heels of the reelection of our first mixed-race President. It arrives in the midst of a media blitz that favorably presents mixedrace couples on a routine basis, making the multiracial family seem a normal, even pedestrian occurrence. Indeed, in 2012 the cultural embrace of the interracial family seemed complete when Modern Family was chosen as the top sitcom in the United States. The program centers on the Dunphy-Pritchetts, an interracial, gay-tolerant family, seemingly progressive in all dimensions. Onwuachi-Willig’s new book, however, boldly challenges the contemporary claim that interracial families are now an accepted and celebrated part of the American polity. The author instead painstakingly reveals that the world still subjects the interracial family to insult and inferior treatment that the law fails to address and, further, that the acceptance of interracial couples in contemporary popular culture is far more partial, conditional, and ambivalent than it might initially seem.

One need look no further than the program Modern Family itself to find evidence of America’s continuing anxiety about interracial unions. While fans of the program know the cast of characters well, the program’s viewers most likely have not fully apprehended the program’s cultural commitments and underlying political ambitions. The core characters of Modern Family are members of a white nuclear family, Claire and Phil Dunphy and their three children. This couple’s 1950s-style Dick and Jane union stands alongside the May-December romance of Claire’s white father, Jay Pritchett, who, having separated from Claire’s white mother, has married Gloria, a fiery Latina from Colombia. Jay has also functionally adopted Manny, Gloria’s Latino son. The family clan is complete when we are introduced to Claire’s brother, Mitchell Pritchett, a white gay man who has coupled with another white gay man, Cameron, and adopted Lily, a Vietnamese child. The not-so-silent political subtext that informs this current cultural favorite is that the era of interraciality has ended and the postracial future has arrived. Indeed, in the world of Modern Family, “interraciality,” the term Onwuachi-Willig uses to describe the discrimination aimed at mixed-race couples in American society, is a relic of the past. The program further reassures its viewers that the white nuclear family will not be threatened by this new post-racial future, a time when whites casually form intimate family relationships with people of color. For Modern Family is treacle-coated reassurance that in these new “modern families,” interracial parenting and interracial marriage will simply mimic the dynamics of the white nuclear family in its original form.

Close analysis of Modern Family further demonstrates that, despite the seeming cultural celebration of interracial families, the racial acceptance offered in the program is surprisingly partial. One major racial group is left out of the Dunphy-Pritchett clan’s seemingly capacious diversity circle — blacks. Indeed, in the Dunphy-Pritchett family, white parents eagerly reach out to care for Latino, Asian, and mixed-race children, but there are no black children in the family. Over the course of each season we occasionally see black friends, or black neighbors, but there is no sign that any black person has ever been invited into the Dunphy-Pritchett marital bed. One wonders, why did the producers’ willingness to represent interracial intimacy stop with blacks? According to Our Hearts provides an answer. Onwuachi-Willig explains that black-white romantic dyads and the mixed-race families they produce are particularly anxiety provoking in the United States and, as a consequence, are typically erased and rendered culturally invisible (p. 18). She further argues that this invisibility hides the fact that black-white families suffer under a unique form of hostility and disadvantage (p. 9). By charting these black-white couples’ experiences and using them in a “miner’s canary” analysis to assess race relations, she argues, we learn just how long racism and fear of interracial intimacy have endured (p. 122)…

…Indeed, history shows that the interracial family historically has been an institution that assimilated ethnic or racial differences to whiteness and therefore did not disturb the existing racial status hierarchy. Ethnic whites that immigrated to the United States in the early 1900s, including Germans and Northern Europeans, intermarried with “American” or British whites as a way of being absorbed into the larger category of privileged white persons. A second wave of immigrant intermarriage expanded the category of whiteness again in the 1950s and 1960s, when Italians and other Southern Europeans were added to the category of whiteness. Today we are experiencing a third wave in this expansion as sections of the Asian and Latino communities have gained sufficient social status that they are being accepted as suitable marriage partners by privileged whites today. In many cases, whites appear willing to treat Asian or Latino background, particularly for mixed-race persons, as a kind of “ethnic” rather than racial difference. Professor Charles Gallagher refers to this dynamic, in which racialized or subordinated ethnic groups are granted status equal to whiteness, as “racial redistricting.”

Given the subtle and sophisticated nature of Onwuachi-Willig’s account of the interracial family, it is surprising that she does not cover the potentially racially regressive role the interracial family can play in contemporary race relations. However, this oversight may be a consequence of methodological choices she makes in her study. First, Onwuachi-Willig opts to make the black-white multiracial family the paradigmatic case that guides her understanding of interraciality (p. 122), and an assimilation focus is not as common in black-white families. Sociologists have suggested that assimilation messages are not as common because phenotypic differences prevent many children in black-white mixed-race families from assimilating to whiteness easily. However, there is some evidence that even black-white interracial families use these unions as a path for their children into whiteness when possible. Second, sampling bias may account for the problem. Onwuachi-Willig uses an approach called convenience sampling in her account. Specifically, she collects stories from former volunteers and acquaintances made through friends (pp. 8–10); understandably these like-minded individuals were more likely to share her progressive vision. Those who were not like-minded, for obvious reasons, would likely opt not to participate in a study of interraciality-based discrimination. Members of interracial couples who could see their children easily transitioning to a white identity or a transcendent raceless identity would be less interested in exploring the unique forms of discrimination faced by interracial couples.

Despite these problems, in my view, Onwuachi-Willig’s account of the interracial family provides a much-needed starting point for persons interested in theorizing about the relationship between family formation and racial formation. However, some supplementation of her account is required in order to fully address the interracial family’s tutelary role or its role as a site of racial messaging. Part B further explores these roles, concentrating on families that appear to be committed to assimilating their members to whiteness and therefore are treated as reinforcing existing racial status hierarchy in the United States…

Read the entire review here.

Image Matters: Archive, Photography, and the Making of the African Diaspora in Europe by Tina M. Campt (review)

Callaloo
Volume 37, Number 1, Winter 2014
pages 169-171
DOI: 10.1353/cal.2014.0006

Nicosia Shakes
Brown University

Campt, Tina M., Image Matters: Archive, Photography, and the African Diaspora in Europe (Durham: Duke University Press, 2012)

In Image Matters, Tina Campt uses a remarkable archive of vernacular photography to analyze processes of black subjectivity in early-twentieth-century Europe. Defined by the author as a genre of “everyday image-making” (7), vernacular photography is considered an important archival resource for understanding how blacks have historically constructed self-images that affirm their worth in societies that devalue their humanity (see also Brian Wallis and Deborah Willis, African American Vernacular Photography 2006). Campt’s reading of the photographs centers on three main registers through which they interact with the viewer: the visual, the haptic, and the sonic. Blending her analysis of these registers with historical research and the findings from her fieldwork in Germany and England, Campt treats these images as more than historical objects. They are “statements that express how ordinary individuals envisioned their sense of self, their subjectivity, and their social status” (7).

Campt engages mainly with the field of Black/African Diaspora Studies in three ways. Firstly, she departs from the prevailing “roots versus routes” conceptualizations that tend to focus on dispersion from a homeland and transnational interactions. Instead, she emphasizes black people’s inscription of themselves into their adopted countries. Secondly, by focusing on Afro-Germans and Afro-Caribbean British immigrants—two very distinct groups—Campt underscores the importance of viewing the African Diaspora as diverse, rather than as a homogenous group. Thirdly, she engages with the question of how the construction of the archives affects the conceptualization of the Diaspora. Here, the work of Michel-Rolph Trouillot, who Campt references, is very relevant. In his influential text Silencing the Past: Power and the Production of History (1995), Trouillot discusses the omissions that occur in various stages of archive construction, which ultimately affect how history is written. Campt infers that the history of the African Diaspora has been affected by silences within the visual archives. As such, the existence of certain diasporic groups such as Afro-Germans appears as an interruption in the mainstream narrative.

The book is divided into two sections, with three chapters bridged by two “interstitial” essays. Part 1, “Family Matters: Sight, Sense, Touch,” focuses on the biracial offspring of African men and German women, and builds on the research in Campt’s previous book, Other Germans: Black Germans and the Politics of Race, Gender, and Memory in the Third Reich (2005). The first chapter, “Family Touches” focuses primarily on Hans Hauck and to a lesser extent, the brothers, Mandenga, Manga, and Ekwin Ngando. There are multiple photographs of Hauck posing with his white German family as a child, and many of him as a soldier in the German army. These are juxtaposed with similar images of the Ngando brothers. The military images are shocking considering the popular conceptualization of the Third Reich military as an Aryan space commensurate with the doctrine of Aryan superiority. The fact that non-Aryans participated in the army speaks volumes about the nuances in the German state’s performance of Aryan superiority, even while subjecting non-Aryans to violent repression (see also Bryan Mark Rigg, Hitler’s Jewish Soldiers 2002). Hauck was sterilized as a child along with many other non-Aryans in a secret campaign carried out by the Gestapo; yet, he was allowed to join the Hitler Youth as a boy and later, the army. Like the Ngandos, he was denied full citizenship rights even while being required to perform military responsibilities for the state. Campt highlights an important point regarding the tension between how the images register and divergent historical facts. For example, the fact that Hauck’s grandmother was the one who gave the Gestapo permission to sterilize him troubles our reading of the image depicting loving family embraces between the two. Also, though the experiences of the Ngando brothers were similar to Hauck’s, the specificities of their lives cautions against a general narrative of black penalization in Germany. For example, Manga had a child with a white woman, Hertha Pilisch, in 1943, and later married her after the fall of the Nazi regime. Thus, unlike Hauck, Manga was not sterilized, and violated one of the fundamental rules of Nazism without detection for several years.

Hans Hauck will probably stand…

The Strange History of the American Quadroon: Free Women of Color in the Revolutionary Atlantic World by Emily Clark (review) [Wright]

Early American Literature
Volume 49, Number 1, 2014
page 257-262
DOI: 10.1353/eal.2014.0015

Nazera Sadiq Wright, Assistant Professor of English
University of Kentucky

The Strange History of the American Quadroon: Free Women of Color in the Revolutionary Atlantic World unveils the historical genealogy of the American quadroon from its invention as a by-product of the Haitian Revolution and evolution as an alluring figure of sexual desire in New Orleans to its contemporary representation in film and media. Emily Clark tells a masterful story of the quadroon’s migration from the Caribbean to the United States, surfacing in Philadelphia, and settling in New Orleans. She begins with the revolution in the French colony of Saint-Domingue, a revolt that resulted in the establishment of Haiti in 1804. The American quadroon was a socially constructed formula created after the Haitian Revolution to reduce anxiety over race revolts in the Caribbean that threatened to reach American soil. The fictional quadroon, argues Clark, aided in the imaginative construction of New Orleans as a foreign city apart from the American polity. As with Sally Hemings, Thomas Jefferson’s black, female mistress kept hidden away like a secret, so too did Americans create “a complex symbolic strategy that kept the quadroon at an imaginative distance from the nation’s heart and heartland” (6). Clark insists that scholars consider New Orleans as a foundational scene of American history, arguing that “the presumption that the history of New Orleans and its quadroons is unique diverts the gaze of the rest of the nation away from its own unattractive Atlantic past, allowing it to remain firmly fixed on less-troubling founding scenes played out on the Mayflower and in Independence Hall” (9). The Strange History of the American Quadroon corrects this sanitization by examining the “intertwined stories” of the quadroon’s evolution as a cultural symbol, the actual people whom this racial classification represents, and the myth that New Orleans is the only home of the quadroon (10).

Using a dazzling array of materials carefully gleaned from archives and historical repositories, including collections at the Latin American Library at Tulane University, the Templeman Library at the University of Kent, and the Office of Archives and Records from the Archdiocese of New Orleans, Clark restores the quadroon to US cultural memory. The first chapter situates the quadroon in the American popular and political imagination through her appearance in the Philadelphia press in 1807. With Haitian refugees migrating to Philadelphia and other US cities after the Haitian Revolution, the image of the quadroon articulated white Philadelphians’ fear of a black republic as well as more generalized anxiety regarding the tenuous political landscape of a newly formed nation. The chapter begins with a detailed account of Haiti’s involvement in the quadroon’s migration to America and her embattled appearance in Philadelphia politics and print culture, arguing that the figure of the black woman “emerged as a charged rhetorical device” in the Philadelphia newspapers to represent the animosity between radical and conservative Democratic Republicans (35). This animosity resulted in the quadroon press war of 1807, which recounted Philadelphia’s unstable relationship with Saint Domingue as a conflict among political parties. The richness of this chapter rests in the way Clark synthesizes the history of the Haitian Revolution and its impact on Philadelphia commerce to demonstrate how this duality “conjured the quadroon as a political trope” (37). This chapter will be especially helpful to scholars invested in studying Haiti through the lens of early Philadelphian print culture.

In chapter 2, Clark reveals how American consciousness came to terms with the Haitian Revolution by displacing fear onto the body of the “menagere,” which Clark defines as a free black woman of color who engaged in sexual partnership with white men in New Orleans. This individual wielded significant economic influence, while being demonized as “an insatiable consumer who seduced white men, including American white men, tempting them away from their proper roles as faithful husbands and fathers” (53-54). In that the “menagere” was viewed as a dangerous, sexually irresistible figure who disrupted men’s natural attachments to white women, the free black woman of color threatened national consciousness as a “usurper of patriotic filiation” (54). Quadroon balls emerged in the context of this perceived threat. In these ballrooms, “men could take in the spectacle of quadroon…

The Journal of Critical Mixed Race Studies inaugural issue is now available

Journal of Critical Mixed Race Studies
Volume 1, Number 1 (2014-01-30)
ISSN: 2325-4521

Laura Kina, Associate Professor Art, Media and Design and Director Asian American Studies
DePaul University, Chicago, Illinois

G. Reginald Daniel, Professor of Sociology
University of California at Santa Barbaral

Saya Woolfalk, video still from “The Emphathics,” 2012.

The Journal of Critical Mixed Race Studies inaugural issue is now available. Volume 1, No. 1, 2014 “Emerging Paradigms in Critical Mixed Race Studies” It has been a long journey from the publication of Maria Root’s groundbreaking and award-winning anthology Mixed People in America (1992) to the inauguration of the Journal of Critical Mixed Race Studies. We would like to thank all of our contributors, volunteers, and editorial review board for their hard work and patience. We hope you enjoy this issue of the journal and find it an informative resource on the topic of mixed race identities and experiences.

G. Reginald Daniel, Editor in Chief

Laura Kina, Managing Editor

The Journal of Critical Mixed Race Studies (JCMRS) is a peer-reviewed online journal dedicated to Critical Mixed Race Studies (CMRS). Launched in 2011, it is the first academic journal explicitly focused on Critical Mixed Race Studies. Sponsored by UC Santa Barbara’s Sociology Department, JCMRS is hosted on the eScholarship Repository, which is part of the eScholarship initiative of the California Digital Library.

Table of Contents

• Front Matter
• Cover Art
• Table of Contents
• Editor’s Note / Daniel, G. Reginald
• Emerging Paradigms in Critical Mixed Race Studies / Daniel, G. Reginald; Kina, Laura; Dariotis, Wei Ming; Fojas, Camilla
• Appendix A: Publications from 1989 to 2004 / Riley, Steven F.
• Appendix B: Publications from 2005 to 2013 / Riley, Steven F.

Articles

• “Historical Origins of the One-Drop Racial Rule in the United States” / Jordan, Winthrop D. (Edited by Spickard, Paul)
• “Reconsidering the Relationship Between New Mestizaje and New Multiraciality as Mixed-Race Identity Models / Turner, Jessie D.
• “Critical Mixed Race Studies: New Directions in the Politics of Race and Representation / Jolivétte, Andrew J.
• “‘Only the News They Want to Print’: Mainstream Media and Critical Mixed-Race Studies” / Spencer, Rainier
• “The Current State of Multiracial Discourse” / McKibbin, Molly Littlewood
• “Slimy Subjects and Neoliberal Goods: Obama and the Children of Fanon” / McNeil, Daniel

Book Reviews

• Stephen Murphy-Shigematsu, When Half Is Whole: Multiethnic Asian Americans Identities / Crawford, Miki Ward
• Ralina Joseph, Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial / Elam, Michele
• Greg Carter, The United States of the United Races: A Utopian History of Racial Mixing / Mount, Guy Emerson
• Rudy P. Guevarra, Jr., Becoming Mexipino: Multiethnic Identities and Communities in San Diego / Schlund-Vials, Cathy J.

About the Contributors

• About the Contributors

The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880–1930; and Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans [Smithers Review]

The Journal of American History
Volume 100, Issue 4 (March 2014)
pages 1222-1224
DOI: 10.1093/jahist/jau065

Gregory D. Smithers, Associate Professor of History
Virginia Commonwealth University, Richmond, Virginia

Jolie A. Sheffer, The Romance of Race: Incest, Miscegenation, and Multiculturalism in the United States, 1880-1930. (New Brunswick: Rutgers University Press, 2013. xiv, 233 pp. Cloth, $72.00. Paper, $24.95.) Emily Epstein Landau, Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans. (Baton Rouge: Louisiana State University Press, 2013. xviii, 310 pp. $39.95.)

Since the global financial crisis in 2008 there has been a lot of discussion in newspapers and among historians about the resurgence of economic history. Major university presses have initiated book series devoted to the history of capitalism, while college classrooms across the country reportedly fill with students eager to learn about the past heroics and/or misdeeds of bankers, entrepreneurs, and Wall Street insiders. This turn in historical scholarship has productive potential, for while history is often written about the deceased, it is written for the living so they might better understand the world in which they live. At the same time, the renewed prominence that economic histories now enjoy also has the potential to sideline (and silence) the histories of racial and ethnic minorities, women, and the working classes.

In this context, Jolie A. Sheffer’s The Romance of Race and Emily Epstein Landau’s Spectacular Wickedness are welcome interventions in historical scholarship. Sheffer, whose focus is on the intersecting literary categories of incest and miscegenation, and Landau, who provides a detailed historical examination of the New Orleans vice district of Storyville, demonstrate how understanding the complex and interconnected histories of race, gender, and sexuality remains critical to comprehending the United States at the turn of the twentieth century. In an era dominated by corrupt politicians and…

Read or purchase the review of both books here.

White Lies

The New York Times
Sunday Book Review
2014-02-27

Porochista Khakpour

‘Boy, Snow, Bird,’ by Helen Oyeyemi

Strange times, crowed too many wise and unwise men over the millenniums. But as the art critic Jerry Saltz wrote in New York magazine last fall, maybe we’re finally at a point where the strangeness of the times is matched by an ability to accept it. In defending the perplexing Kanye West video “Bound 2,” Saltz heralded this as an age of the New Uncanny. The all-American banal-bizarre spectacle of the video (synthetic sunsets; slow-motion galloping stallions; the nippleless ingénue) is “a freakish act of creation and destruction by appropriation,” what Saltz deems “part of a collective cultural fracturing.” Saltz is riffing on Freud’s description of the uncanny as “nothing new or alien, but something familiar and old-established in the mind and which has become alienated from it only through the process of repression.” But maybe we’re not as alienated as we once were, something that occurred to me when beholding another unapologetic, all-encompassing contradiction-celebration: the story-allegory and real-surreal gyre of Helen Oyeyemi’s gloriously unsettling new novel, “Boy, Snow, Bird.”

Oyeyemi is from Strange Times. Raised in Britain by Nigerian parents, the 29-year-old five-time novelist isn’t even affiliated with a single home anymore: London, New York, Berlin, Barcelona, Budapest, Prague — who knows where she is doing her thing at any given moment? For years I saw her as something of a literary mystic, reading her with a mixture of awe, confusion and delight, but only now do I feel that we’re at a place where we can properly receive her, and she’s ready for us too. With “Boy, Snow, Bird,” a culmination of a young life spent culling dreamscapes, Oyeyemi’s confidence is palpable — it’s clear that this is the book she’s been waiting for…

…As usual, the Oyeyemi foundation is located in her fairy-tale comfort zone — in the case of “Boy, Snow, Bird,” the fairy tale is “Snow White.” She uses the “skin as white as snow” ideal as the departure point for a cautionary tale on post-race ideology, racial limbos and the politics of passing. It feels less Disney or German folklore and more Donald Barthelme’s 1967 novella “Snow White,” in which the political and the social poke through the bones of a pretty children’s tale, alarming us with its critical cultural import.

Set in the 1950s, Oyeyemi’s novel opens on the Lower East Side of New York City, with a young white woman named Boy Novak running away from her violent rat-catcher father. She soon meets a widower, a jewelry craftsman and former history professor named Arturo Whitman, in Flax Hill, Mass. She marries Whitman and becomes obsessed by her new stepdaughter, Snow. “What was it about Snow?” Boy asks herself. Oyeyemi paints Snow as half virtual, half corporeal: “She was poised and sympathetic, like a girl who’d just come from the future but didn’t want to brag about it.” All seems well until Arturo and Boy have a daughter of their own, Bird, who is born undeniably “colored.” Whitman’s family members are light-skinned African-Americans who have been passing as white, and the revelation becomes a turning point. The Snow White bits take over, with the Wicked Stepmother and the mirror motifs, and the fairy tale rewrites itself in startling ways…

Read the entire review here.

Becoming Yellow: A Short History of Racial Thinking by Michael Keevak (review)

China Review International
Volume 19, Number 1, 2012
pages 103-105
DOI: 10.1353/cri.2012.0023

Paul Spickard, Professor of History
University of California, Santa Barbara

Michael Keevak, Becoming Yellow: A Short History of Racial Thinking (Princeton: Princeton University Press, 2011). 248 pages.

Becoming Yellow is a smart, erudite, intriguing, quirky, delightful, and ultimately unsatisfying book. Michael Keevak sets out to trace how, from the sixteenth century to the nineteenth, the skin color of East Asians changed from white to yellow in the minds of Europeans and how all East Asians came to be viewed as members of a single Mongolian race. His larger purpose may be to comment on the broader history of European racial thinking and, perhaps, to displace whiteness and blackness from the core of that story, although he never quite articulates that intent.

Keevak traces the ideas of some familiar racial thinkers: Linneaus, Blumenbach, Buffon, Cuvier, Broca, Gobineau, and Davenport. He also gives us a taste of the ideas of a lot of writers whose racial ideas have remained hidden to all but the most diligent scholars—people such as Giovanni da Empoli, Duarte Barbosa, Juan González de Mendoza, Karl Gützlaff, François Bernier, Johann Christian Polykarp Erxleben, G. S. Mellin, James Cowles Prichard, Carl Gustav Carus, and dozens of others.

The main outlines of Keevak’s book are clear. Becoming Yellow begins with an introduction that gestures toward several topics that will be treated later in the book. There follows a chapter on how the skin and character of East Asians were perceived by European scholars and missionaries in the sixteenth and seventeenth centuries. These are followed by an account of how Linnaeus, Blumenbach, and their eighteenth-century contemporaries arrived at yellow as the color that would stand for East Asians, and how they decided that Mongolians were the core people in East Asia. Then follows a chapter on the rise of anthropometry in the nineteenth century and the measurement of so-called Mongolians’ skull shapes, skin color, and the like. The next chapter focuses on the fascination of nineteenth-century Western medicine with Asian bodies—the so-called Mongolian eyefold, the Mongolian spot, Mongolism, and so on. The final chapter is a hodge-podge that briefly describes the turn-of-the-century Western political movement fed by fear of invasion by a “yellow peril.” It outlines the very different responses of Chinese and Japanese writers to Western ideas about Asian skin color and attempts to sum them up.

Keevak has a curious manner of pursing an argument. Despite the fairly clear overall arc of the book, each chapter is quite muddled internally. Keevak tends, early in each chapter, to refer, without explanation or context, to key ideas that he has not introduced (but, it turns out, may develop later). This approach suggests that the reader and author had already discussed the issue, so he does not have to establish or articulate its significance. The narrative in each chapter whirls around its subject, feinting here and there, rather than proceeding in a linear fashion. Keevak offers lots of esoteric details, all dutifully footnoted. He presents them by way of illustrating points, rather than as proof that his points are true. Even so, his knowledge is impressive. Then, when he comes to the major assertions in each chapter’s argument, there are no notes at all, and everything proceeds at the level of naked assertion. It is as if Keevak is displaying all his minute and intricate learning early on, so that we will believe him later, when he makes, unsupported, the key parts of his argument.

Nonetheless, many of his ideas are arresting, even if unsupported. To take just one example, Keevak concludes that “yellow began as a way of emphasizing Chinese proximity to Europeans . . . but . . . over time it had become redeployed as a term of complexional distance” (p. 34). This assertion might be true, though Keevak does not really demonstrate it, much less prove it.

Despite the shortcomings of his approach, each chapter is, nonetheless, quite delightful if one can let go of the need for linear arguments undergirded by solid supporting evidence. Keevak is so learned about odd esoterica that the reader can sit back and just enjoy the details. In each chapter Keevak presents a lovely collection—a bit like John Soane’s house on Lincoln Inn’s Fields in London—of overstuffed rooms of ephemera, all jumbled together, each of interest individually…

A Breezy Chameleon, Blurring Social Borders

The New York Times
2014-02-16

Jennifer Schuessler, Staff Editor

When the literary scholar George Hutchinson was in the archives at Howard University one afternoon a decade ago, he thought he knew which story of a neglected African-American woman writer he was chasing.

He was at work on a biography of Nella Larsen, whose classic Harlem Renaissance novel “Passing” was rediscovered in the 1970s. But while poking around, Mr. Hutchinson noticed a listing for the papers of Anita Thompson Dickinson Reynolds, an obscure contemporary of Larsen’s, and decided to take a look.

There, amid a jumble of letters and cassette tapes, lay an unpublished memoir breezily recounting the Zelig-like adventures of a woman who had starred in some of the first black films made in Hollywood, mingled with the Harlem Renaissance elite, been drawn by Man Ray and Matisse in Paris and touched down in Spain during its Civil War, before packing up her Chanel dresses and heading home to a more conventional life as a psychologist.

It was a story of passing stranger than anything Larsen had imagined, recounted with uncommon sexual frankness and blithe disregard for racial barriers. “I was fascinated by the way she threaded together all these different worlds, with this total nonchalance,” Mr. Hutchinson said in a recent interview. “I had never read anything like it.”

Previously, Reynolds’s name had survived mainly in a few scattered footnotes. But now, Harvard University Press is publishing her memoir, as “American Cocktail: A ‘Colored Girl’ in the World.”…

Read the entire book review here.

‘Mixed’ [Watson Review]

Inside Higher Ed
2014-01-31

Andrea Watson

Garrod, Andrew, Christina Gómez, Robert Kilkenny, Mixed: Multiracial College Students Tell Their Life Stories (Ithaca: Cornell University Press, 2013). 208 pages.

Mixed (Cornell University Press) is a collection of 12 autobiographical essays written by college students who identify as multiracial. Unlike most books that focus on children with white and black parents, this one is by and about young adults with multiple racial backgrounds. Each chapter is written by a different author, who starts with family history and moves along from early years to college years. All of the contributors are Dartmouth students.

Thomas Lane is one of the authors. In his chapter, “The Development of a Happa,” he describes what it was like growing up with a Japanese mother and a white father. He discusses how he felt stuck between two worlds, but associated more with the white side until college. “Before college I knew I was ethnically Asian, but I refused to accept the Asian culture. Since coming to Dartmouth, however, I have learned to appreciate all aspects of being Japanese.”

“In My World 1+1=3,” by Yuki Kondo-Shah, is by a young woman who has a Japanese mother and a Bangladeshi father. She writes that she identified as Japanese when she lived in Japan, but when she moved to the United States, at 7, she had to figure out where she fit in. The author says growing up, she always felt stuck between her two identities and could never fully identify with one or the other. “While I spent most of my childhood being Japanese and my college years identifying as a mixed-race minority, I began my professional career as an Asian American.”

Ana Sofia De Brito wrote the “Good Hair” chapter. As a Cape Verdean, she says her father would always push her to date lighter-skinned men over dark-skinned men, because she would “destroy the race” if she married one. “Although I have never had a strong preference for any particular type and have dated boys from various backgrounds and races, at college my preference has focused on men with darker skin.” Within her family, De Brito is considered white because of her European features, but she writes that she identifies as black because society pressures her to choose; she can’t be “other.”…

Read the entire review and interview with editor Andrew Garrod here.

New Orleans After the Civil War: Race, Politics, and a New Birth of Freedom by Justin A. Nystrom (review)

Register of the Kentucky Historical Society
Volume 111, Number 4, Autumn 2013
pages 617-619
DOI: 10.1353/khs.2014.0023

Aaron Astor, Associate professor of History
Maryville College, Maryville, Tennessee

Nystrom, Justin A., New Orleans after the Civil War: Race, Politics, and a New Birth of Freedom (Baltimore: Johns Hopkins University Press, 2010).

The narrative arc between the birth of Radical Reconstruction and its final death in Jim Crow is bookended by two events in the city of New Orleans. The infamous “Riot of 1866” showcased for the nation the unwillingness of defeated Confederates to concede any political power to the black masses of the South emerging from slavery. The massacre of black Republicans at the Mechanics’ Institute would play a key role in undermining Johnsonian Reconstruction in the congressional elections of that year. Thirty years later, a mixed-race New Orleanian named Homer Plessy would challenge the Louisiana Separate Car Act, only to have the United States Supreme Court enshrine the “separate but equal” doctrine for the nation at large. But between these tragic moments of racial oppression and humiliation was a remarkably complex, multifaceted, and highly contingent struggle between myriad ethnoracial, class, regional, and partisan forces that complicated any teleological understanding of the rise and fall of Reconstruction.

Justin A. Nystrom’s lucid and colorful account of New Orleans after the Civil War explores this remarkable and ongoing battle for power and dignity among the various forces converging on the streets and in the local and state legislative halls. Nystrom’s portrait of nineteenth-century New Orleans reveals the webs of kinship that seamlessly crossed the color line and lent the city caste system a distinctive three-class character—whites, black slaves, and mixed-race Afro-Creoles. The delicate balance of New Orleans society, further complicated by sizable white ethnic immigrant populations pouring into the city in the 1850s, would explode as early as April 1862 when the Union navy captured the city with hardly a fight.

Nystrom’s study follows the interconnected lives of southern white elites like Ezekiel John Ellis and Frederick Nash Ogden, Afro-Creoles like Charles St. Albin Sauvinet and Louise Drouet, white Creoles like Arthur Toledano and Aristee Louis Tissot, white and black “carpetbaggers” like Algernon Sydney Badger, Henry Clay Warmoth, and Pinckney Benton Stewart Pinchback, and ex-slaves like Peter Joseph. The intersection of these colorfully named characters produced an entropic political culture with self-serving factions vying for power in the city, the state, and the region. Nystrom expends considerable effort detailing epic street clashes like the “Battle of Liberty Place” in 1874, when a new Democratic White League movement briefly wrested control of the city from its Republican Customs House–based leadership. Added to the paramilitary violence were competing Mardi Gras floats with explicitly political messages that inscribed new and competing racial discourses that undermined the legitimacy of the mixed-race political order. Nystrom’s analysis reveals a tumultuous era of intraparty factionalism that simultaneously complicated revisionist accounts of postwar Republicanism, while also showcasing the difficulty that “Redeemer” factions faced in shaping a white supremacist order long after 1877.

This is an important book for understanding postwar urban politics in the largest city in the South. It is deeply researched, splendidly written, and well contextualized within the larger historiography of Reconstruction. There are some limitations to the personality and kin-based methodology, however. The two infamous bookending moments—the 1866 riot and the Plessy case—ironically receive only cursory treatment in this book. Nystrom’s central characters were mostly bystanders to these events, which meant that they appeared only in the narrative shadows despite their national significance. Another problem, of course, is the exceptionalism of New Orleans itself. For several obvious reasons, New Orleans was (and is) simply atypical as a southern locale. As such, a study of the city is going to have limited implications for understanding the national drama of Reconstruction. Still, Nystrom manages to extrapolate from the complex and contingent history of New Orleans to make the convincing case that the racial politics of the post–Civil War South was much more unpredictable and contested than even post–Foner historians have appreciated…