Mixed Race Studies

In the Shadow of Her Ancestry: The New Tragic Mulatta

North Carolina State University, Raleigh
2004
60 pages

Vonda Marie Easterling

A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the Degree of Master of Arts

This thesis examines the plight of the infamous tragic mulatta. Because of the mulatta’s lack of black features and her close resemblance to the white race, she was labeled by white society as the privileged of the black race. She was also referred to as the most tragic of all beings and elevated by white society over the darker skinned blacks. Thus, the mulatta found herself in a peculiar position in a race oriented, black-white society. Isolated from the black community and rejected as a part of the white community, the mulatta’s existence was then considered tragic.

Over the years, social and emotional change has occurred within the mulatta community. No longer considered the taboo of transgression, the mulatta still suffers from many of the same injustices as her ancestral mulatta. This research examines the psychological and emotional effects depicted in the 1959 film of Fannie Hurst’s Imitation of Life with sections of Toni Morrison’s The Bluest Eye and events from actress Dorothy Dandridge’s life. The research also analyzes Passing, Nella Larsen’s complex novel of the 1920s, to interrogate the strategy that many unidentifiably mulatto people mastered in order to achieve social and financial mobility. Lastly, the research explores the experience of the contemporary mulatta through Rebecca Walker’s memoir, Black, White and Jewish: Autobiography of a Shifting Self, in order to explore the issues of the newly termed bi-racial person. The research explores the lineage between the historical mulatta figure and the new bi-racial persons to defuse the theory of the tragic mulatta as a mythical allusion.

Table of Contents

• Introduction
• Chapter One: Reel to Real: The Cinematic Mulatta
• Chapter Two: To ‘Pass’ or Not to ‘Pass’: The Multi-Layered Practice of ‘Passing’
• Chapter Three: As Time Goes By: The New Tragic Mulatta
• Conclusion
• Works Cited

Read the entire dissertation here.

Passing: Race, Identification and Desire

Criticism: A Quarterly for Literature and the Arts
Volume 45,  Number 4 (Fall 2003)
pages 435-52

Catherine Rottenberg, Assistant Professor
Department of Foreign Literatures and Linguistics and the Gender Studies Program
Ben-Gurion University, Beer-Sheva, Israel

IN THE SECOND HALF of the nineteenth century, African-American writers such as William Wells Brown and Frances Harper began invoking the phenomenon of passing in their texts as a way of investigating the complexities and contradictions of the category of race in the United States. The light-enough-to-pass Negro (but usually Negress) would play a central role in the imagination of African-American writers for the next fifty years. Charles Chesnutt’s The House behind the Cedars, Jessie Faucet’s Plum Bun, and James Weldon Johnson’s The Autobiography of an Ex-Coloured Man are perhaps the best-known examples. Nella Larsen’s 1929 novella, Passing, the text under discussion in this essay, can thus be seen as inheritor and perpetuator of a long tradition of such narratives. In recent years, Larsen’s text has become the most celebrated instance of a story about passing in African-American literature, eclipsing the tradition that preceded it. This is not coincidental, for Larsen is a master of ambiguity and intrigue, and the enigmatic finale of her novella has generated heated debates and countless interpretations.

Many analyses have attempted to determine whether or not Larsen’s use of passing can be seen as a subversive strategy, that is, whether the narrative serves to reinforce hegemonic norms of race or whether it ultimately posits passing as a viable survival strategy, which has the potential to disrupt “the enclosures of a unitary identity.” While this question still informs several critiques, in the past few years commentators have been concentrating more and more on how passing interrogates and problematizes the ontology of identity categories and their construction. Rather than trying to place passing in a subversive recuperative binary, these articles and books use passing as a point of entry into questions of identity and identity categories more generally.

In this essay I contend that Larsen’s text can assist critics in understanding the specific and, as I will argue, irreducible features of race performativity. That is, the novella can help us begin mapping out the differences between gender and race norms since it uncovers the way in which regulatory ideals of race produce a specific modality of performativity. Passing is especially conducive to interrogating the modality of race performativity because, unlike other passing narratives of the period, Larsen’s presents us with two protagonists who can pass for white; yet only Clare “passes over” into the white world. The depiction and juxtaposition of these two characters reveal the complexities and intricacies of the category of race. While Irene can be seen to represent the subject who appropriates and internalizes the hegemonic norms of race, Clare’s trajectory dramatizes how dominant norms can be misappropriated and how disidentification is always possible.

This essay commences with a theoretical discussion of race. Although much has been written on the constructed nature of the category of race, very few analyses have offered a convincing and rigorous account of how race might be conceived of as performative reiteration. The second section offers a reading of “passing” scenes from the novella in an attempt to unravel some of the distinctive mechanisms through which race norms operate. On the one hand, the novella suggests that race in the United States operates through an economy of optics, and the assumption of whiteness is one of the consequences of this economy. On the other hand, the novella reveals that skin color (i.e., optics) does not really constitute the “truth” of race.

Invoking Homi Bhabha’s notion of mimicry as a supplement to Butler’s concept of gender performativity in the third section, I interrogate and theorize the ways in which the definitional contradiction of race (“can be seen” versus “cannot be seen”) produces race as performative reiteration. While there are two idealized genders under regimes of compulsory heterosexuality, albeit with a very great power differential between them, there has historically been only one hegemonic and ideal race under racist regimes. This difference, I argue, has far-reaching implications, one of which is the need to rethink the desire/identification nexus, a nexus that operates differently in race and in gender. Understanding the particular relationship between desire and identification in the novella also helps us begin to gauge the critical question of disidentification.

At least one clarification is needed at this point, however. This essay focuses on the ways in which power—in the Foucauldian and Butlerian sense—operates on the hegemonic level and does not make a claim about the multiplicity of social practices per se. Hegemony, though, as we will see in the last section, is never complete, indicating that there are always counterdiscourses and alternative norms circulating within any given society…

Read the entire article here.

Identity Formation in Biracial Female Authors’ Narratives of Passing: Transgressing Racial and Sexual Boundaries in Nella Larsen’s Passing and Danzy Senna’s Caucasia

Aristotle University of Thessaloniki
September 2008
150 pages

Stamatia Koutsimani

A Dissertation submitted to the Department of American Literature and Culture, School of English, Faculty of Philosophy of Aristotle University of Thessaloniki, in partial fulfilment of the requirements for the degree of Master of Arts.

The complex presence of the mulatta figure in American cultural history is mostly reflected in twentieth-century narratives of passing where the light-skinned enough to pass Negress becomes a vehicle for challenging both the color line and the very notions of blackness and whiteness. Contrary to nineteenth-century whites’ stereotypical representations of the “tragic mulatta” as a victim of her divided racial heritage, the use of the passing mulatta by twentieth-century biracial female authors has served to criticize racial as well as gender essentialisms. In this respect, this thesis will focus on Nella Larsen’s Passing, published in 1929 and Danzy Senna’s Caucasia, published in 1998, trying to show how the changing representation of the passing mulatta characters reflects the gradual reversal of the tragic mulatta myth and reveals the interconnections among race, gender, class and sexuality in different sociopolitical contexts. By examining the authors’ use of the passing mulatta as a trope through which to question the dominant political and racial ideology of their time, the thesis will attempt to explain how the biracial female characters’ transgression of racial and gender boundaries contributes to the understanding of identity as constructed and performed. More specifically, the reading of Passing and Caucasia will be based on Judith Butler’s concept of gender performativity and Catherine Rottenberg’s theoretical discussion of race performativity. In addition, Kimberlé Crenshaw’s theory of intersectionality, which is central to Valerie Smith’s notion of black feminism, will play a major role in the analysis of the two works.

Based on a comparative analysis of the novels, the thesis will draw attention to the central mulatta characters’ search for racial and gender identities, with a view to tracing potential changes in the authors’ employment of the passing theme in the increasingly multicultural US racial context. Moreover, by highlighting the passing novels’ difference from stereotypical depictions of mulatta figures, the thesis aims at responding to questions regarding racial dualism and ongoing debates over mixed race identity. On the whole, it will reveal that the biracial female authors’ representations of the permeable borders between identity categories serve to challenge dominant cultural understandings of racial and gender differences which have long contributed to the mulatta figure’s liminal status in American society.

Read the entire thesis here.

The “Passing” Question

Phylon (1940-1956)
Volume 9, Number 4 (4th Quarter 1948)
pages 336-340

Wm. M. Kephart, Professor of Sociology
University of Pennsylvania, Philadelphia

How many Negroes are ‘passing‘ every year in the United  States?” “What percentage of the White population possesses some Negro blood?” “In time, will all the Negroes ‘pass’?” “What proportion of the present-day Negro population is pure Negro?” “Is it true that many of our so-called White marriages are producing Negro offspring?” “Are some of our top-flight radio and motion picture entertainers really Negroes?”

These questions, or questions of similar implication, have been asked sporadically for the past 200 years. Recently, however, they have broken out afresh. Sinclair Lewis’ best-seller, Kingsblood Royal, persistent rumors concerning some of our most popular entertainers, and finally estimates as to the number of Negroes who “pass” every year, have done much to revive the old questions (and superstitions) regarding the “mysteries” of skin color.

Some of the questions are scientifically answerable, some are unanswerable because of the nature of the data, and some of the questions have only hypothetical answers. Ignoring the answerable questions for a moment, let us examine those questions which either have no present answer, or at best whose answers are problematical.

I. The number of Negroes who annually “pass.”

Walter White, in his “Why I Remain A Negro” states that “Every year approximately 12,000 white-skinned Negroes disappear…” Roi Ottley, in his “Five Million White Negroes” puts the figure at between forty and fifty thousand annually, with a “total” of between five and eight million! Such a wide disparity in figures suggests the real answer, namely, nobody knows.

For obvious reasons, Negroes who do “pass” keep the matter a secret, at least to the Whites. Furthermore, many Negroes who do “pass” do so on a temporary basis; that is, many of them are discovered, move to a new cultural setting, and begin the “passing” procedure over again.

For obvious reasons, Negroes who do “pass” keep the matter a secret, at least to the Whites. Furthermore, many Negroes who do “pass” do so on a temporary basis; that is, many of them are discovered, move to a new cultural setting, and begin the “passing” procedure over again.

It is also true that a great many Negroes who could “pass” do not choose to do so—in some cases because of a genuine pride in their race, and in other cases because they derive more social and economic benefit from being an upper-class Negro than from being a lower-class white. Any attempt to arrive at an accurate figure from U. S. Census figures…

English R1A: Keeping it Real?: Racial & Queer Passing in American Literature

University of California, Berkeley
Fall 2010

Rosa Marti­nez

“I had a literature rather than a personality, a set of fictions about myself.”
—Kafka Was the Rage by Anatole Broyard

This course intends to explore the “art” of racial passing and masquerade in American literature and culture through a diverse sample of American novels and short stories, such as traditional narratives of black-to-white passing, which is historically prevalent particularly in African-American literature, and other modes of passing, for instance gender and ethnic ambiguity as well as posing and the “closeting” of one’s sexuality. What are the connections or disjunctions between “closeting,” posing, and crossing the gender or color line? By focusing on the trope of the passing figure, we will ask how people and imagined characters negotiate their identity in various and varying social spaces and also, how authors disclose the frailty of social order regarding sexuality, race and the body to make alliances in unimagined ways. Venturing out of the closet as another and as they please, these passing figures are, indeed, queer. Yet what are the personal costs in relinquishing a disfavored identity for a favored one?

This course intends to hone your reading and writing skills, and will focus on helping you make thoughtful questioning and “interesting use of the texts you read in the essays you write.” Through a gradual process of outlining, rewriting and revising, you will produce 32 pages of written work (including brief response papers and three 3-4 page argumentative essays).

Book List

Álvar Núñez Cabeza de Vaca, Naufragios (1542); William and Ellen Craft, Running a Thousand Miles for Freedom (1860); Joseph Harris, Rewriting (2006); Nella Larsen, Passing (1929); Mark Twain, Pudd’nhead Wilson (1894); a course reader containing critical readings.

Spinning on Margins: An Analysis of Passing as Communicative Phenomenon

Queen: a journal of rhetoric and power
Special Issue: Rehtorics of identity: Place, Race, Sex and the Person (January 2005)
From the conference held from 2005-01-20 through 2005-01-22 at the University of Redlands
21 pages

Marcia Alesan Dawkins, Visiting Scholar
Brown University

Acts of black-to-white racial passing in the United States represent a struggle between self-identity and the social structures into which one is born. From a historical perspective, passing is a strategy of representation through which light-skinned black Americans attempt(ed) to reconcile “two unreconciled ideals:” their limited opportunities as black people in a segregated society with their idealized life goals as full American citizens in the pre-civil rights era (DuBois, 1903; Gandy, 1998). In other words, passing is a strategy employed by many light-skinned black Americans to resolve being excluded from the general white world of social activity by “the vast veil;” the physical, legal, psychological, and social obstacles structurally embedded between blacks and whites (DuBois, 1903).

This individual paper employs Structuration Theory, legal precedent, literature and rhetorical analysis to respond to the following specific interrogations: (1) is it possible to develop a vocabulary about “passing,” which is an activity based on nonverbal communication and physicality and enshrouded in a code of silence? And, in a broader sense, (2) how do acts of passing themselves become communicative behaviors that express identity?

This three-pronged analysis of the passing phenomenon will work to call the ideological and epistemological foundations of race itself into question. First, Giddens’s Structuration Theory will explain that passers note a contextual diversity/dissonance at the macro level between the general white world of social activity and the general black world of social activity. Second, a rhetorical analysis of legal precedent will highlight America’s investment in race as the basis for defining and partaking in social and material privileges that become routine and critical aspects of day-to-day life. Court cases such as Plessy v. Ferguson, Brown v. Board of Education, and People v. Dean are pivotal points in tracing whiteness from “color to race to status to property” (Harris, 1993, p. 1714). Additionally, these cases address the debate of social versus legal whiteness as the grounds for constituting full participation in society. Third, available literature, including narratives written by enslaved Africans along with novels, diaries, and memoirs from the Harlem Renaissance, recounts tales of passing and the emotional and social tolls paid in the process (Harris, 1993; Johnson, 1912; Hughes, 1933; Williams, 1991; Ifekwunigwe, 1999). Rhetorical analysis of this literature will uncover the tropes of a vocabulary of passing and reveal race as a “fantasy theme” and social resource that individuals who are not in the mainstream of white America utilize to attain economic, political, and personal fulfillment.

Read the entire article here.

Passing and the Rise of the African American Novel

University of Illinois Press
2001
208 pages
6 x 9 in.
Paper ISBN: 978-0-252-07248-2

M. Giulia Fabi, Associate professor of American literature
University of Ferrara, Italy

Revealing the role of light-skinned black characters passing for white in African American literature

A CHOICE Outstanding Academic Title, 2003

Passing and the Rise of the African American Novel restores to its rightful place a body of American literature that has long been overlooked, dismissed, or misjudged. This insightful reconsideration of nineteenth-century African American fiction uncovers the literary artistry and ideological complexity of a body of work that laid the foundation for the Harlem Renaissance and changed the course of American letters.

Focusing on the trope of passing—black characters lightskinned enough to pass for white—M. Giulia Fabi shows how early African American authors such as William Wells Brown, Frank J. Webb, Charles W. Chesnutt, Sutton E. Griggs, Frances E. W. Harper, Edward A. Johnson, and James Weldon Johnson transformed traditional representations of blackness and moved beyond the tragic mulatto motif. Challenging the myths of racial purity and the color line, these authors used passing to celebrate a distinctive, African American history, culture, and worldview.

Fabi examines how early black writers adapted existing literary forms, including the sentimental romance, the domestic novel, and the utopian novel, to express their convictions and concerns about slavery, segregation, and racism. Chesnutt used passing as both a structural and a thematic element, while James Weldon Johnson innovated by parodying the earlier novels of passing and presenting the decision to pass as the result, rather than the cause, of cultural alienation. Fabi also gives a historical overview of the canon-making enterprises of African American critics from the 1850s to the 1990s and considers how their concerns about promoting the canonization of African American literature affected their perceptions of nineteenth-century black fiction.

‘Brother Mine’ highlights unique relationships

The Oakland Post: Oakland University’s Independent Newspaper
Rochester, Michigan
2011-02-08

Ryan Hegedus

Reading other peoples’ mail can land you in serious trouble with the government.
 
Or, in the case of Dr. Kathleen Pfeiffer, it can land you a book deal.
 
Pfeiffer, an associate professor of English at Oakland University, is the author of “Brother Mine: The Correspondence of Jean Toomer and Waldo Frank, a back-and-forth account of over 120 letters between the two in the 1920s.”
 
Toomer, a young black author, began writing to Frank, an established white writer in New York, and the book details the unique friendship between the two.
 
“Dr. Pfeiffer’s work provides an important tool for understanding the dynamics of the relationship between Jean Toomer and Waldo Frank,” said associate history professor and chair of the history department, Karen Miller. “Both Toomer and Frank were participants in the conflict over the construction of racial identity. Their correspondence helps us to understand how the debates over race worked themselves into friendships.”
 
In the summer of 1993, Pfeiffer was deciding on the topic of her dissertation at Yale University, and ended up at the university’s Beinecke Rare Book and Manuscript Library, one of the country’s best resources for African-American literature. The opportunity gave her the chance to do research in the primary archives.
 
It was at Beinecke that she decided on the topic of race passing.
 
Race passing was a “hot topic” in American literature at the turn of the century, Pfeiffer explained, where people who were legally defined as black because of previous generations, were actually light enough to pass for a white person.
 
“These people would take on a new identity and pass for white,” Pfeiffer said. “They would have this better opportunity as a white person than they would have as a black person, but then there would be all of this guilt and sense of loss because they’d have to leave their families. That’s really what my dissertation was about — about stories of characters who ‘pass.’”…

Read the entire article here.

The Beginning and End of Nella Larsen’s Passing

The Common Room: The Knox College Online Journal of Literary Criticism
Volume 8, Number 1 (Spring 2005)

Sarah Magin

Nella Larsen’s novel Passing is centered on the character Clare Kendry, a light-skinned, biracial woman living as a white woman.  She has married a white man who knows nothing of her race and enjoys all the social comforts of being white.  In this way, this novel breaks down the thematic binary of black and white with its depiction of racial passing.  In addition to the reconstructed as fluid binary of black and white, Larsen’s novel simultaneously explores the thematic binary of homosexuality and heterosexuality.  Deborah McDowell observes of the racial issues of Passing that  “underneath the safety of that surface is the more dangerous story–though not named explicitly–of Irene’s awakening sexual desire for Clare” (xxvi). Corinne Blackmer notes that the encounter between Irene and Clare “instigates a potent desire in her, described in an effusive letter intertwining romantic and racial longings for Irene” (52).  Thus, not only does Passing make fluid the binary of black and white, but also that of heterosexual and homosexual.  Further, the novel also renders fluid the apparently solid barrier of class.  Biman Basu observes that “Clare Kendry’s passing. . . is predicated on a crossing over into otherwise barricaded economic zones” (384).  Neil Sullivan summarizes, usefully, that “For Larsen”  “‘race’ is inextricable from the collateral issues including class, gender and sexuality, and rivalry-that bear upon the formation of identity” (373).  This introduces the concept that these fluid binary oppositions of race, sexuality and class are themselves interlinked under the larger rubric of identity formation…

Read the entire article here.

Nella Larsen’s ‘Passing’ and the Fading Subject

African American Review
Volume 32, Issue 3 (Fall 1998)
pages 373-386

Neil Sullivan

. . . Irene Redfield wished, for the first time in her life, that she had not been born a Negro. For the first time she suffered and rebelled because she was unable to disregard the burden of race. It was, she cried silently, enough to suffer as a woman, an individual, on one’s own account, without having to suffer for the race as well. It was a brutality, and undeserved. Surely, no other people were so cursed as Ham’s dark children. (Passing 225)

Although many critics have accused Nella Larsen of using race as a pretext for examining other issues, Passing (1929), her second novel, is profoundly concerned with racial identity. In “Toward a Black Feminist Criticism,” Barbara Smith cautions critics about the danger of ignoring “that the politics of sex as well as the politics of race and class are crucially interlocking factors in the works of Black women writers” (170). For Larsen, too, “race” is inextricable from the collateral issues – including class, gender, sexuality, and rivalry-that bear upon the formation of identity. “Passing,” of course, alludes to the crossing of the color line that was once so familiar in American narratives of “race,” but in Larsen’s novel the word also carries its colloquial meaning – death. Thus Passing’s title, like the title of Larsen’s earlier Quicksand, hints at the subject’s disappearance in the narrative, or the possibility of aphanisis, which Jacques Lacan defines in The Four Fundamental Concepts of Psycho-Analysis as the disappearance of the subject behind the signifier. For Irene Westover Red field and Clare Kendry Bellew, the “twin” protagonists of Passing, the obliterating signifier is nigger, a word that comes to encapsulate their struggle with the conflicts of American racism and assimilation. The narrative representation of these conflicts also suggests at a symbolic level Larsen’s repetition and working through of her own anxieties about the rejection she experienced as a result of her racial identity.

Her hazy origins and almost traceless “disappearance” differentiate Larsen from the other authors of the Harlem Renaissance, but not from the characters of her own novels. Until the publication of the 1994 biography by Thadious Davis, Nella Larsen’s life was shrouded in silence; not even the year of her birth was certain. Davis’s project was “to remove the aura of mystery” from Larsen’s life (xix), an aura that often resulted in critics’ presentation of Larsen as inscrutable Other. But with the details unearthed in her extensive research, Davis reveals that Nella Larsen was deeply scarred by the reality of racism; her seeking of celebrity as a writer was in fact a symptom of the need for recognition and validation, something which she never received as a child and only tenuously as a young adult (Davis 10). As the daughter of the Danish immigrant Marie Hansen and the African American Peter Walker, Larsen was already doubly marginalized in American society, but when her mother remarried a white man (also a Danish immigrant), Larsen found herself so excluded from the family that her mother did not even report her existence to census takers in 1910 (Davis 27). The Larsens orchestrated their dark daughter’s absence from their Chicago home by sending her to the Fisk Normal School in Nashville when she was only fifteen, and when the money ran out a year later, Marie Larsen apparently asked the sixteen-year-old Nella (then Nellie) to make her own way in the world. Larsen vanished temporarily, resurfacing three years later at the Lincoln Training Hospital in New York City as a student nurse, where, according to Davis, she began her ascent into the black middle class all alone (66, 70-72).

Larsen’s childhood rejection was seemingly reiterated in her 1919 marriage to Elmer S. Imes, which ended in a much-publicized divorce in 1933. As Ann Allen Shockley explains, the deterioration of the marriage was accelerated by the overt antipathy felt by Larsen’s light-skinned mother-in-law and, significantly, by Imes’s indiscreet affair with Ethel Gilbert, a white staff member at Fisk University, where Imes taught physics (438). “He liked white women,” several of Imes’s friends remarked to Thadious Davis in explanation of his betrayal of Nella Larsen (362). It is hardly incidental in Larsen’s construction and subsequent dissolution of identity that the rivals for her husband’s affection were both “white” women, and that she could therefore attribute the second major rejection in her emotional life to her inability to be sufficiently white. Although there were many problems in the Larsen-Imes union, the divorce contains the hint of another command to “turn white or disappear,” the imperative that Frantz Fanon suggests is implicit in all interracial dialogue (100). In effect, the rejections by her family and by her husband, exacerbated by the “problem of authorship” stemming from charges of plagiarism in the “Sanctuary” affair (Dearborn 56), destroyed the identity Larsen consciously cultivated during the 1920s, and provoked her disappearance from public life.

Perhaps because Larsen discovered Imes’s affair with Ethel Gilbert during the composition of Passing (Davis 324), her desire for recognition and fear of rejection surface in the characters Clare Kendry and Irene Red field. In Passing, Irene and Clare are tyrannized by the Other’s desire, and though their relationship is complicated by issues of gender and sexuality, the dynamics of white racism and the demands of assimilation dictate the lives of the two women. White racism ultimately defines their lives in the word nigger, and that definition determines the limits of their lives; in other words, it over-determines their ends—narratively and otherwise…

Read the entire article here.