Mixed Race Studies

‘Town Secret’: Race of Famous Carthaginian Embraced

The Pilot
Southern Pines, North Carolina
2012-02-11

John Chappell

Every year with its Buggy Festival, Carthage celebrates the achievements of a former slave, though until recently few knew it.

William T. Jones — born a slave, and the son of a slave and her owner — ran the famed Tyson & Jones Buggy Co., the biggest business around.

Though he was an African-American described in census records as “a mulatto gentleman” and a former slave, Jones nevertheless became a leading businessman and industrialist, recognized and honored, his color the best kept secret in Carthage history.

His elaborate 1880s Queen Anne Victorian mansion stands at the entrance to the town’s historic district. Now a bed-and-breakfast inn lovingly restored with wraparound porch and fanciful gingerbread trimmed in elegant Painted Lady fashion, the Jones house evokes the lavishness of a bygone era.

Few in Carthage today realize its builder and former owner was a black man of mixed race who lived openly with his white wife, operated one of the biggest factories in the South, taught Sunday School in the Methodist Church, served on national and local boards, and was admired and loved without any mention of race.

Today, the fact that Jones was an African-American is something the town history committee’s present Chairwoman Carol Steed thinks the town can take pride in — though for years nobody spoke of it…

Read the entire article here.

Impostors: EUST-235

Amherst College
Spring 2012

Ilan Stavans, Lewis-Sebring Professor in Latin American and Latino Culture

Deborah R. Dizard, Visiting Lecturer in European Studies

An interdisciplinary exploration of the causes behind the social, racial, artistic, and political act—and art—of posing, passing, or pretending to be someone else. Blacks passing for whites, Jews passing for gentiles, and women passing for men, and vice versa, are a central motif. Attention is given to biological and scientific patterns such as memory loss, mental illness, and plastic surgery, and to literary strategies like irony. As a supernatural occurrence, the discussion includes mystical experiences, ghost stories, and séance sessions. The course also covers instances pertaining to institutional religion, from prophesy from the Hebrew and Christian Bibles to the Koran and Mormonism. In technology and communications, analysis concentrates on the invention of the telegraph, the telephone, and the Internet. Entertainment, ventriloquism, puppet shows, voice-overs, children’s cartoon shows, subtitles, and dubbing in movies and TV are topics of analysis. Posers in Greek mythology, the Arabian Nights, Cervantes, Shakespeare, Lewis Carroll, Mark Twain, Sigmund Freud, Jorge Luis Borges, Philip Roth, Oliver Sacks, and Nella Larsen are examined. Conducted in English.

Passing: How posing as white became a choice for many black Americans

Pittsburgh Post-Gazette
Pittsburgh, Pennsylvania
2003-10-26

Monica L. Haynes, Post-Gazette Staff Writer

The young unkempt woman still in her pajamas shuffled into her 8 a.m. college psychology class and sat down next to Barbara Douglass.

“I’m sure glad there are no niggers in this class ’cause I can smell them a mile away,” the young woman declared.

But Douglass, who lives in Wilkinsburg, is a 53-year-old black woman. She could pass for white but she has never tried, she said.

“Growing up, I knew of people who did, and I was even instructed not to say, at that time, that they were colored. In order to get their jobs, they had to say they were white.”

The new film “The Human Stain,” based on a novel of the same name by Philip Roth, provides a glimpse into the world of blacks so fair they can live undetected among whites.

Thelma Marshall knows that routine.

During the 1950s and early ’60s, she did what her mother before her had done. What her grandmother and aunts had done.

She passed for white.

“One time I told a woman I was black, colored in those days,” Marshall recalled. “She said, ‘You won’t get the job unless you pass for white.’ ”

So that’s what Marshall did.

“I passed for white on lots of jobs,” she said. “I had to be white to get the jobs.” …

…”We are a child of God first. We are human beings first,” Douglass remembered her mother saying.

In fifth grade, she learned that the United States is a melting pot, and she declared to her mother that she would be a melting pot.

Her mother decided it was the perfect definition, seeing as how her ancestors were Cherokee, black, Dutch, German and Irish.

Maybe all blacks would have defined themselves that way given the chance. Since black people first came to the New World in 1619, they’ve mingled and mixed with every race and ethnic group here.

It is not just the fair-skinned blacks who can lay claim to that melting pot definition. Those blacks who have the mark of Africa in their features and skin tone also have multicultural ancestry. They just can’t pass.

Most blacks were never afforded the luxury of defining themselves. After the Civil War, Southern whites, not wanting this swirling of races to get out of hand and seeking to keep the white race as pure and powerful as possible, instituted a rule that anyone with “one drop” of black blood was black.

That spurred even more fair-skinned blacks to cross over and escape Jim Crow laws that kept blacks in the shackles of second-class citizenship…

Read the entire article here.

Don Lemon: Legacy of ‘one drop’ rule inspires search for family history

Cable News Network (CNN)
In America: You define America. What defines you?
2012-01-29

Don Lemon, Anchor
CNN Newsroom

This is  final installment of  a three-part series about the (1)ne Drop Project. Read Don Lemon’s column, “It only takes one drop,” and Yaba Blay’s column, “What does Blackness look like?“

You never know from where inspiration will come.
 
I am often envious of my friends who can recite stories about ancestors that have been handed down through generations. I can’t do that. As a descendant of slavery in America, that hasn’t felt possible for me. Truthfully, I didn’t think about it much until a few weeks ago, after I was asked by CNN’s In America team to write about the impact of a mixed racial background on my life, the idea that “one drop” of black blood makes you black.
 
In that article, I wrote about how my aunt and grandmother in Louisiana often were mistaken for white. I wrote about the extremes they went to in order to protect their husbands, who were black, from beatings by white men, or worse.
 
As I began to write the article, I sent a text message to my mother asking that she email photos of my aunt and grandmother. She sent me what she had, but asked why I wanted them. I told her I’d call to explain once I got home that evening.
 

When I finished the draft of the article, I zipped off a copy to her via email. A few minutes later, as I was driving home from work, my phone rang. When my mother began to tell me the stories of my aunt and grandmother, I had to pull over in a parking lot to take it all in. Some of it I knew. Much of it I didn’t…

Read the entire article here.

Color and Cultural Identity

BlogTalkRadio
Bruce Hurwitz Presents
2012-01-12, 18:00Z (13:00 EST, 10:00 PST)

Bruce Hurwitz, Host

Marcia Alesan Dawkins, Visiting Scholar
Brown University

Ph.D. Forum introduces listeners to doctoral and post-doctoral students and their cutting-edge research in the arts, sciences, or humanities.

As part of our Ph.D. Forum, I will be joined by Marcia Dawkins.  Marcia received her doctorate from the University of Southern California, Annenberg.  We will be discussing her dissertation which focused on racial passing—pretending to be a member of a race different from the one to which you actually belong—and multi-racial identity.

Listen to the episode here.

Passing

Third World Newsreel
1995
Black & White
9 minutes
United States

Kym Ragusa

The videomaker’s grandmother recounts the tale of a trip she and her lover took through the segregated South of the 1950s. As her story unfolds—revealing as much in silences and gaps as it does in its actual narrative—a blues and gospel soundtrack provides other tales of miscegenation and resistance. The story is full of tensions around race, class and color and the anxieties produced by the racial climate and violent history of the South.

Screenings

• Charlotte Film/Video Festival 1997
• Reel New York, WNET-TV

Awards

• Women in the Director’s Chair, Juror’s Prize

For more information, click here.

Documenting Race and Gender: Kym Ragusa Discusses “Passing” and “Fuori/Outside”

Women’s Studies Quarterly
Volume 30, Numbers 1/2, Looking Across the Lens: Women’s Studies and Film (Spring – Summer, 2002)
pages 213-220

Livia Tenzer, Managing Editor
Social Text

In her two award-winning short documentaries Passing (1996) and Fuori/Outside (1997), New York-based filmmaker Kym Ragusa explores the limits of the documentary genre in order to portray the centrality of race and ethnicity in U.S. women’s experience. Employing the narrative techniques of storytelling and the imagery of personal memory, Ragusa’s films relate a past that is broadly historical, yet anchored in the intimate relationships between a granddaughter and her grandmothers. Each film emerges from Ragusa’s research into the life of one of her grandmothers and reveals the social pressures and prejudices the older woman confronted. As her grandmothers’ lives connect to the present through the filmmaker, their stories provide crucial insight into how race and ethnicity continue to shape identity both inside and outside the family.

Passing records a story told to Ragusa by her African American grandmother about an incident that occurred in 1959 during a trip she took from New York City to Florida. Using still images, archival footage, and a soundtrack that mixes blues and gospel, Ragusa evokes the racial tensions of the time and creates a multilayered narrative around gender, class, and color. Traveling with an African American male friend (her then lover), the grandmother encounters the segregated and racially hostile South for the first time when her companion sends her into a diner in North Carolina to purchase food for a picnic. Inside, two white male customers repeatedly confront her with the question “What side of the tracks are you from?” When she realizes that they are asking her race, Ragusa’s light-skinned grandmother also realizes that her companion has presumed that she will be able to “pass.” Her courageous response to the people in the diner carries with it an aftermath of fear—will the two white men pursue them?—and unsettling questions about the supposed community among people categorized as racial outsiders by white social norms.

In Fuori/Outside Ragusa depicts the life of her Italian American grandmother, the person in her family who most resisted accepting…

Crossing the Color Line: Narratives of Passing in American Literature

St. Mary’s College of Maryland
English 400.01
Fall 2008

Christine Wooley, Assistant Professor of English
     
This course will consider representations of passing (and thus also miscegenation) in nineteenth- and twentieth-century U.S. culture. While passing has often been depicted-and dismissed-as an act of racial betrayal, more recent criticism has suggested that we view these depictions of racial transgression and deception in more complicated ways. In this class, we will analyze various narratives centered around passing and miscegenation as sites through which we can better examine-and understand-the construction of racial identities in particular historical and political contexts. We will ask whether or not narratives about passing and miscegenation challenge the stability of racial categories. Likewise, we will pay close attention to how such narratives also engage issues of class, ethnicity, and gender. Syllabus may include works by authors such as Harriet Wilson, William Wells Brown, Lydia Maria Child, Frances Harper, William Dean Howells, Pauline Hopkins, Mark Twain, Charles Chesnutt, Kate Chopin, James Weldon Johnson, Nella Larsen, George Schuyler, Toni Morrison, and Philip Roth. In addition, this class will also draw on a selection of historical and legal documents, current critical works on race, and films such as The Jazz Singer and Imitation of Life.

Crossing the Color Line: Racial Passing in American Literature

Wesleyan University
AMST 322 / ENGL 319
Fall 2015

Amy Cynthia Tang, Assistant Professor of English

Narratives of racial passing having long captivated readers and critics alike for the way in which they provocatively raise questions about the construction, reinforcement, and subversion of racial categories. This course will consider several examples of the “literature of passing” as it has been established as a category within African American literature alongside more ambiguously classified 20th-century narratives of ethnic masquerade and cultural assimilation as a way of exploring how literary and film texts invoke, interrogate, and otherwise explore categories of race, gender, class, and sexual identity.

Key texts will include James Weldon Johnson’s The Autobiography of an Ex-Colored Man, Nella Larsen’s Passing, Douglas Sirk’s film Imitation of Life, Richard Rodriguez’s memoir Hunger of Memory, Chang-Rae Lee’s novel A Gesture Life, and Philip Roth’s novel The Human Stain.

Trans-American Modernisms: Racial Passing, Travel Writing, and Cultural Fantasies of Latin America

University of Southern California
August 2009
311 pages

Ruth Blandón

Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ENGLISH)

In my historical examination of the literary works of Nella Larsen, William Carlos Williams, Langston Hughes, James Weldon Johnson, Jessie Redmon Fauset, and Carl Van Vechten, I investigate U.S. modernists’ interest in Latin America and their attempts to establish trans-American connections. As they engage with and write about countries such as Brazil, Puerto Rico, the Dominican Republic, Cuba, Costa Rica, and Venezuela as utopian spaces, these writers often tend to relegate Latin America to the status of a useful trope, one that allows them to negotiate a variety of identitarian and sexual anxieties.

The domestic political landscape that informs the desire for migration to the Latin Americas—whether real or fantastical—in the early twentieth century leads to Johnson’s depiction of the savvy and ambitious titular character in his first and only novel, Autobiography of an Ex-Coloured Man, to Van Vechten’s, Larsen’s, and Fauset’s fantastical Brazil in their respective Nigger Heaven, Passing, and Plum Bun. Hughes’s translation of Cuban poet Nicolás Guillén’s poetry illustrates his straddling of national and color lines through the translation of language. These writers react to Jim Crow laws, one-drop rules, and color lines in their connections to and fantasies of the Latin Americas. What then of writers who make similar trans-American connections and constructions, but who write from a space of relative privilege, however resistant they are to that privilege? Consider William Carlos Williams, who negotiates the pressures of assimilation in the United States as he attempts to assert his Afro Puerto Rican and Anglo Dominican heritages. Although Williams is commonly recalled as an “all-American” poet, his works betray his constant attempts to harness three perpetually shifting and overlapping identities: that of a son of immigrants, of a first generation “American,” and of a son of the Americas.

The trans-American connections I reveal span the fantastical to the truly cross-cultural. In placing United States modernism and the Harlem Renaissance within a larger hemispheric context, I shift our sense of U.S. modernism in general, but also of the Harlem Renaissance’s place within U.S. modernism in particular.

Table of Contents

• Dedication
• Acknowledgments
• List of Figures
• Abstract
• Introduction
• Chapter One:
  • Reading, Misreading, and Language Passing in James Weldon Johnson’s The Autobiography of an Ex-Coloured Man and Along This Way
  • Blackness under the law
  • James Weldon Johnson’s Along This Way
  • The Autobiography of an Ex-Coloured Man
  • Conclusion
• Chapter Two:
  • Brazilian Schemes and Utopian Dreams in Nella Larsen’s Passing, Jessie Redmon Fauset’s Plum Bun, and Carl Van Vechten’s Nigger Heaven
  • Historical Context
  • From Liberia to Brazil—A Change of Venue
  • Carl Van Vechten’s Nigger Heaven
  • Jessie Fauset’s Plum Bun, “Home,” and Brazil
  • Larsen’s Passing and Brazil as Utopia/Dystopia
  • Conclusion: Utopia vs. Brazilian Reality
• Chapter Three:
  • All-American Me: William Carlos Williams’s Construction and Deconstruction of the Self
  • Cultural Context—Casta and Passing
  • Blurring Cultural Boundaries: “Only the whites of my eyes were affected.”
  • The Specter of Blackness: “I had visions of being lynched…”
  • In The American Grain: “I am—the brutal thing itself.”
  • Translation: “El que no a vista Sevilla, […] no a vista maravilla!”
  • Conclusion: “I’ll keep my way in spite of all.”
• Chapter Four:
  • “Look Homeward Angel Now”: Travel, Translation, and Langston Hughes’s Quest for Home
  • Langston Hughes in Mexico and Cuba—1907-1948: Mexico
  • Cuba
  • Langston Hughes and Nicolás Guillén in Spain
  • Translation, Analogy, and the “I”
  • Of Poetry, Jazz, Son, and Rumba
  • The Translations
  • Conclusion: Translating, Travel, and “Home”
• Bibliography

List of Figures

• Figure 1: James Weldon Johnson, photographed by Carl Van Vechten in 1932.
• Figure 2: “Les Demoiselles d’Avignon.” Pablo Picasso, 1907.
• Figure 3: “Noire et Blanche.” Man Ray, 1926.
• Figure 4: “Blues.” Archibald Motley, 1929.
• Figure 5: “An Idyll of the Deep South.” Aaron Douglas, 1934.
• Figure 6: Bessie Smith, photographed by Carl Van Vechten, 1936.
• Figure 7: Billie Holiday, photographed by Carl Van Vechten, 1949.
• Figure 8: The Williams Family
• Figure 9: “De Español y Mulata; Morisca.” [“From Spaniard and Mulatto, Morisca.”] Miguel Cabrera, 1763.
• Figure 10: “De Mestizo y d India; Coyote.”[“From Mestizo and Indian, Coyote.”] Miguel Cabrera, 1763.
• Figure 11: William Carlos Williams, circa 1903.
• Figure 12: Elena Hoheb Williams
• Figure 13: Langston Hughes
• Figure 14: Diego Rivera with Frida Kahlo, photographed by Carl Van Vechten, 1932.
• Figure 15: Nicolás Guillén

Read the entire dissertation here.