Mixed Race Studies

Races: Passing

TIME Magazine
1947-10-20

Greying, blue-eyed Walter White, for 16 years executive secretary of the National Association for the Advancement of Colored People, has a skin so light that he frequently has to explain that he is, in deed, a Negro. Last week, in the Saturday Review of Literature, Propagandist White talked openly about a subject many Negroes are careful to avoid: the Negro who lives secretly as a white man.  Wrote he : “Every year approximately 12,000 white-skinned Negroes disappear — people whose absence cannot be explained by death or emigration. Nearly every one of the 14 million discernible Negroes in the United States knows at least one member of his race who is ‘passing‘ — the magic word which means that some Negroes can get by as whites…  Often these emigrants achieve success in business, the professions, the arts and sciences. Many of them have married white people…  Sometimes they tell their husbands or wives of their Negro blood, sometimes not…”

Read the entire article here.

A Southern Family in White and Black: The Cuneys of Texas

Texas A&M University Press
2002-12-06
192 pages
6.125 x 9.25
4 b&w photos.
ISBN 13: 978-1-58544-200-3

Douglas Hales, Professor of History
Temple College, Temple, Texas

The complex issues of race and politics in nineteenth-century Texas may be nowhere more dramatically embodied than in three generations of the family of Norris Wright Cuney, mulatto labor and political leader. Douglas Hales explores the birthright Cuney received from his white plantation-owner father, Philip Cuney, and the way his heritage played out in the life of his daughter Maud Cuney-Hare. This intergenerational study casts light on the experience of race in the South before Emancipation, after Reconstruction, and in the diaspora that eventually led cultural leaders of African American heritage into the cities of the North.

Most Texas history books name Norris Wright Cuney as one of the most influential African American politicians in nineteenth-century Texas, but they tell little about him beyond his elected positions. In The Cuneys, Douglas Hales not only fills in the details of Cuney’s life and contributions but places him in the context of his family’s generations.

A politically active plantation owner and slaveholder in Austin County, Philip Cuney participated in the annexation of Texas to the United States and supported the role of slavery and cotton in the developing economy of the new state. Wealthy and powerful, he fathered eight slave children whom he later freed and saw educated. Hales explores how and why Cuney differed from other planters of his time and place.

He then turns to the better-known Norris Wright Cuney to study how the black elite worked for political and economic opportunity in the reactionary period that followed Reconstruction in the South. Cuney led the Texas Republican Party in those turbulent years and, through his position as collection of customs at Galveston, distributed federal patronage to both white and black Texans. As the most powerful African American in Texas, and arguably in the entire South, Cuney became the focal point of white hostility, from both Democrats and members of the “Lily White” faction of his own party. His effective leadership won not only continued office for him but also a position of power within the Republican Party for Texas blacks at a time when the party of Lincoln repudiated African Americans in many other Southern states. From his position on the Galveston City Council, Cuney worked tirelessly for African American education and challenged the domination of white labor within the growing unions.

Norris Wright Cuney’s daughter, Maud, who was graced with a prestigious education, pursued a successful career in the arts as a concert pianist, musicologist, and playwright. A friend of W. E. B. Du Bois, she became actively involved in the racial uplift movement of the early twentieth century. Hales illuminates her role in the intellectual and political “awakening” of black America that culminated in the Harlem Renaissance of the 1920s. He adroitly explores her decision against “passing” as white and her commitment to uplift.

Through these three members of a single mixed-race family, Douglas Hales gives insight into the issues, challenges, and strengths of individuals. His work adds an important chapter to the history of Texas and of African Americans more broadly.

An Illuminated Life: Bella da Costa Greene’s Journey from Prejudice to Privilege

W. W. Norton & Company
June 2007
592 pages
6.6 × 9.6 in
Hardcover ISBN: 978-0-393-05104-9

Heidi Ardizzone, Assistant Professor of American Studies
University of Notre Dame

Named a New York Times Editor’s Choice.

The secret life of the sensational woman behind the Morgan masterpieces, who lit up New York society.

What would you give up to achieve your dream? When J. P. Morgan hired Belle da Costa Greene in 1905 to organize his rare book and manuscript collection, she had only her personality and a few years of experience to recommend her. Ten years later, she had shaped the famous Pierpont Morgan Library collection and was a proto-celebrity in New York and the art world, renowned for her self-made expertise, her acerbic wit, and her flirtatious relationships. Born to a family of free people of color, Greene changed her name and invented a Portuguese grandmother to enter white society. In her new world, she dined both at the tables of the highest society and with bohemian artists and activists. She also engaged in a decades-long affair with art critic Bernard Berenson. Greene is pure fascination—the buyer of illuminated manuscripts who attracted others to her like moths to a flame.

Racial Passing

Ohio State Law Journal
Ohio State University Michael E. Moritz College of Law
Vol. 62: 1145 (2001)
Frank R. Strong Law Forum Lecture

Randall Kennedy, Michael R. Klein Professor of Law
Harvard Law School

I. Passing: A Definition

Passing is a deception that enables a person to adopt certain roles or identities from which he would be barred by prevailing social standards in the absence of his misleading conduct. The classic racial passer in the United States has been the “white Negro”: the individual whose physical appearance allows him to present himself as “white” but whose “black” lineage (typically only a very partial black lineage) makes him a Negro according to dominant racial rules. A passer is distinguishable from the person who is merely mistaken—the person who, having been told that he is white, thinks of himself as white, and holds himself out to be white (though he and everyone else in the locale would deem him to be “black” were the facts of his ancestry known). Gregory Howard Williams was, for a period, such a person. The child of a white mother and a light-skinned Negro man who pretended to be white, Williams assumed that he, too, was white. Not until he was ten years old, when his parents divorced, did Williams and his brother learn that they were “black” according to the custom by which any known Negro ancestry makes a person a Negro. Williams recalls vividly the moment at which he was told of his “new” racial identity:

I never had heard anything crazier in my life! How could Dad tell us such a mean lie? I glanced across the aisle to where he sat grim-faced and erect, staring straight ahead. I saw my father as I had never seen him before. The veil dropped from his face and features. Before my eyes he was transformed from a swarthy Italian to his true self—a high-yellow mulatto. My father was a Negro! We were colored! After ten years in Virginia on the white side of the color line, I knew what that meant. When he held himself out as white before learning of his father’s secret, Williams was simply mistaken. When he occasionally held himself out as white after learning the “true” racial identity of his father, Williams was passing. In other words, as I define the term, passing requires that a person be self-consciously engaged in concealment. Such a person knows about his African American lineage—his black “blood”—and either stays quiet about it, hoping that silence along with his appearance will lead observers to perceive him as white, or expressly asserts that he is white (knowing all the while that he is “black” according to ascendant social understandings).

Estimates regarding the incidence of passing have varied greatly. Walter White claimed that annually “approximately 12,000 white-skinned Negroes disappear” into white society. Roi Ottley asserted that there were five million “white Negroes” in the United States and that forty to fifty thousand passed annually. Professor John H. Burma’s estimates were considerably lower. He posited that some 110,000 blacks lived on the white side of the color line and that between 2,500 and 2,750 passed annually. Given its secretive nature, no one knows for sure the incidence of passing. It is clear, however, that at the middle of the twentieth century, large numbers of African Americans claimed to know people engaged in passing…

Read the entire article/lecture here.

Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture

Duke University Press
July 2000
272 pages
12 b&w photographs
Cloth ISBN: 0-8223-2479-2, ISBN13: 978-0-8223-2479-9
Paperback ISBN: 0-8223-2515-2, ISBN13: 978-0-8223-2515-4

Gayle Wald, Professor of English
George Washington University

As W. E. B. DuBois famously prophesied in The Souls of Black Folk, the fiction of the color line has been of urgent concern in defining a certain twentieth-century U.S. racial “order.” Yet the very arbitrariness of this line also gives rise to opportunities for racial “passing,” a practice through which subjects appropriate the terms of racial discourse. To erode race’s authority, Gayle Wald argues, we must understand how race defines and yet fails to represent identity. She thus uses cultural narratives of passing to illuminate both the contradictions of race and the deployment of such contradictions for a variety of needs, interests, and desires.

Wald begins her reading of twentieth-century passing narratives by analyzing works by African American writers James Weldon Johnson, Jessie Fauset, and Nella Larsen, showing how they use the “passing plot” to explore the negotiation of identity, agency, and freedom within the context of their protagonists’ restricted choices. She then examines the 1946 autobiography Really the Blues, which details the transformation of Milton Mesirow, middle-class son of Russian-Jewish immigrants, into Mezz Mezzrow, jazz musician and self-described “voluntary Negro.” Turning to the 1949 films Pinky and Lost Boundaries, which imagine African American citizenship within class-specific protocols of race and gender, she interrogates the complicated representation of racial passing in a visual medium. Her investigation of “post-passing” testimonials in postwar African American magazines, which strove to foster black consumerism while constructing “positive” images of black achievement and affluence in the postwar years, focuses on neglected texts within the archives of black popular culture. Finally, after a look at liberal contradictions of John Howard Griffin’s 1961 auto-ethnography Black Like Me, Wald concludes with an epilogue that considers the idea of passing in the context of the recent discourse of “color blindness.”

Wald’s analysis of the moral, political, and theoretical dimensions of racial passing makes Crossing the Line important reading as we approach the twenty-first century. Her engaging and dynamic book will be of particular interest to scholars of American studies, African American studies, cultural studies, and literary criticism.

Table of Contents

• Preface
• Acknowledgments
• Introduction: Race, Passing, and Cultural Representation
• 1. Home Again: Racial Negotiations in Modernist African American Passing Narratives
• 2. Mezz Mezzrow and the Voluntary Negro Blues
• 3. Boundaries Lost and Found: Racial Passing and Cinematic Representation, circa 1949
• 4. “I’m Through with Passing”: Postpassing Narratives in Black Popular Literary Culture
• 5. “A Most Disagreeable Mirror”: Reflections on White Identity in Black Like Me
• Epilogue: Passing, “Color Blindness,” and Contemporary Discourses of Race and Identity
• Notes
• Bibliography
• Index

Property Rites: The Rhinelander Trial, Passing, and the Protection of Whiteness

University of North Carolina Press
April 2009
408 pages
6.125 x 9.25, 10 illus., notes, bibl., index
Cloth ISBN  978-0-8078-3268-4
Paper ISBN  978-0-8078-5939-1

Elizabeth M. Smith-Pryor, Assistant Professor of History
Kent State University

In 1925 Leonard [Kip] Rhinelander, the youngest son of a wealthy New York society family, sued to end his marriage to Alice [Beatrice] Jones, a former domestic servant and the daughter of a “colored” cabman. After being married only one month, Rhinelander pressed for the dissolution of his marriage on the grounds that his wife had lied to him about her racial background. The subsequent marital annulment trial became a massive public spectacle, not only in New York but across the nation—despite the fact that the state had never outlawed interracial marriage.

Elizabeth Smith-Pryor makes extensive use of trial transcripts, in addition to contemporary newspaper coverage and archival sources, to explore why Leonard Rhinelander was allowed his day in court. She moves fluidly between legal history, a day-by-day narrative of the trial itself, and analyses of the trials place in the culture of the 1920s North to show how notions of race, property, and the law were—and are—inextricably intertwined.

A Beautiful Lie: Exploring Rhinelander v. Rhinelander as a Formative Lesson on Race, Marriage, Identity, and Family

California Law Review
Volume 95, Issue 6 (2007)
pages 2393-2458

Angela Onwuachi-Willig, Professor of Law and Charles M. and Marion J. Kierscht Scholar
University of Iowa College of Law

During the mid-1920s, the story of the courtship, marriage, and separation of Alice Beatrice Jones and Leonard Kip Rhinelander astounded the American public, especially the citizens of New York and black Americans across the country.  Alice, a chambermaid and the racially mixed daughter of English immigrants who had worked as servants on a large estate in Bradford, England, had committed the social faux pas of falling in love with and marrying Leonard Kip Rhinelander, the son of a white multi-millionaire who descended from the French Huguenots.  Or rather, as certain arguments from Leonard’s trial attorney Isaac Mills and later the jury’s verdict would together suggest, Leonard had committed a social offense by “knowingly” loving and marrying Alice, a colored woman.

Scandal arose about the marriage of Alice and Leonard when a story with the title “Rhinelanders’ Son Marries Daughter of a Colored Man” ran in the Standard Star of New Rochelle on November 13, 1924.  Two weeks later, on November 26, 1924, Leonard filed for an annulment of his marriage to Alice. In his Complaint, Leonard alleged that Alice had misrepresented her race to him by improperly leading him to believe that she was white, “not colored,” before their nuptials. New York law did not ban interracial marriages between Blacks and Whites at the time; thus, Alice and Leonard’s marriage was not automatically void.  In the state of New York, the law did not identify interracial marriages as so odious to public policy that they were legally impossible; however, fraud as to a spouse’s race before marriage signaled that there had been no meeting of the minds between husband and wife. Given the importance of racial classifications and their corresponding status in society, New York courts readily accepted knowledge about a spouse’s race to be a factor so crucial to the understanding of the marital contract that fraud about it rendered the marriage voidable and thus eligible to be annulled from its start.  In other words, the primary basis for recognizing knowledge of a spouse’s race as a material fact that went to the essence of marriage, a requirement for annulling voidable marriages based on fraud after consummation, was racial prejudice and social opprobrium of intermixing. Additionally, although New York had not followed many southern states in adopting the “one drop rule,” many Whites in New York agreed that any taint of colored blood removed a person from the class of white citizens. In essence, because of long-held beliefs about racial genetics and community expectations about social barriers of race in 1920s New York, knowledge of a spouse’s race was considered to be as central to marriage as the ability to consummate it.  Thus, no question was ever raised about whether Leonard’s alleged basis for annulment, racial fraud, could legitimately serve as a reason for legally declaring his marriage to Alice to be void…

Read the entire article here.

Running a Thousand Miles for Freedom or The Escape of William and Ellen Craft from Slavery

Louisiana State University Press
Originally Published: 1860
Published by LSU Press: 1999
120 pages
Trim: 6 x 9
Illustrations: 5 halftones
ISBN-13: 978-0-8071-2320-1 Paper

William Craft

With a Foreword and Biographical Essay by

Richard J. M. Blackett,  Andrew Jackson Professor of History
Vanderbilt University

Husband and wife William and Ellen Craft’s [her mother was a slave and her father was her mother’s owner.] break from slavery in 1848 was perhaps the most extraordinary in American history. Numerous newspaper reports in the United States and abroad told of how the two—fair-skinned Ellen disguised as a white slave master and William posing as her servant—negotiated heart-pounding brushes with discovery while fleeing Macon, Georgia, for Philadelphia and eventually Boston. No account, though, conveyed the ingenuity, daring, good fortune, and love that characterized their flight for freedom better than the couple’s own version, published in 1860, a remarkable authorial accomplishment only twelve years beyond illiteracy. Now their stirring first-person narrative and Richard Blackett’s excellent interpretive pieces are brought together in one volume to tell the complete story of the Crafts.

Ellen Craft

Summary by Monique Pierce of Documenting The South:

Published in 1860, shortly before the start of the Civil War, Running a Thousand Miles for Freedom is the narrative of William and Ellen Craft‘s escape from slavery. Both were born and grew up in Georgia, and they lived in Macon prior to their escape. In December 1848 they devised a plan in which Ellen Craft, who was very light- skinned, would dress as a man and pretend to be a rheumatic seeking better treatment in Philadelphia. William was to accompany her and act as her slave. Relying exclusively on means of public transportation, including trains and steamers, they made their way to Savannah, then to Charleston, Wilmington, North Carolina, Washington, D.C., Baltimore, and Philadelphia, where they arrived on Christmas Day. They then relocated to Boston and sailed for England after the Fugitive Slave Law enabled slave hunters to pursue them even in free states. At the time this work was published, they were living in England with their sons. The narrative includes many anecdotes about slavery and freedom for Blacks and discusses how they were treated in both the South and the North.

Read the entire book in HTML format here.  You may also obtain it here.

“The Ineffaceable Curse of Cain”: Racial Marking and Embodiment in Pinky

Camera Obscura
43 (Volume 15, Number 1),
2000
pp. 94-121

Elspeth Kydd

Look at my fingers, are not the nails of a bluish tinge . . . that is the ineffaceable curse of Cain . . .
Dion Boucicault, The Octoroon, or Life in Louisiana

The 1949 film Pinky presents a central mulatto character as a method for focusing attention on issues of race and racism.  As one of a series of liberal films released shortly after the Second World War, Pinky approaches issues of race and racism as “social problems.” Yet this film, as do others of this movement, demonstrates more ambiguities around racial categorizations than it offers solutions for dealing with postwar racial tensions.  Made during the Hays Code‘s ban on the representation of miscegenation, Pinky confronts the issue of interracial relations more overtly than many other films of its time by focusing its narrative on the difficulties experienced by a mixed-race woman. The character of Pinky faces crises over passing, as she is torn between her “birthright” and the “mess of pottage”  that she would gain by identifying as white.

Pinky uses the mulatto character to gain audience sympathies, exploring the effects of Southern racism by subjecting the almost-white main character to racially motivated degradations.  Significantly, the film embodies the mulatto through a white actress, producing an ambiguous interplay of audience identifications.  The film engages multiple deployments of the mulatto character: Through the actress, through the social context of the Hays Code, through the visual conventions it deploys, and through its narrative, which draws on…

Read or purchase the entire article here.

Who’s Your Mama? “White” Mulatta Genealogies, Early Photography, and Anti-Passing Narratives of Slavery and Freedom

American Literary History
Volume 14, Number 3 (Fall 2002)
DOI: 10.1093/alh/14.3.505
pages 505-359

P. Gabrielle Foreman, Professor of English and American Studies
Occidental College

Partus sequitur ventrem.
The child follows the condition of the mother.
US slave law and custom

If we shift from a politics of substance to a politics of optics, identity itself no longer possesses the reassuring signs of ontological distinction that we are accustomed to reading.
Amy Robinson

The right to see and be seen, in one’s own way and under one’s own terms, has been the point of contention.
Laura Wexler

1. Passing For or Passing Through?

“Passing” for white, and the representational strategies some phenotypically indeterminate African-American women used to claim privileges granted to whites, name phenomena as different as night and day. Examination of the assumptions about racial aspirations that occupy the space between the two illuminates how paradigms that trump expressed and expressive black female will and agency circulate both in the nineteenth century and in current literary criticism. Mulatto/a-ness as a representational trope often designates a discursive mobility and simultaneity that can raise questions of racial epistemology, while it also functions as a juridical term that constrains citizenship by ante- and postbellum law and force. The women I examine in this essay use their own bodies to challenge such constraints by expressing a desire, not for whiteness, but for familial and juridical relations in which partus sequitur ventrem produces freedom rather than enslavement for African Americans, light and dark.

Many contemporary scholars, however, deploy “white mulatto/a genealogies,” a term I use not to describe the lighter shades of a politically determined African-American racial classification but to highlight an overemphasis on patrilineal descent and an identification with and projection of white desire that continually revisits the paternal and the patriarchal, the phallic and juridical Law of the (white) Father. Russ Castronovo exemplifies such configurations in Fathering the Nation: American Genealogies of Slavery and Freedom (1995) when he asserts “texts by ex-slaves prohibit the restoration of any genealogical line, suggesting that only in the discontinuity and disorder of bastard histories does remembering properly construct freedom” (193); he goes on to assert that “the slave’s genealogy–both as personal history and as national critique—. . . recontextualizes freedom from plenitude and promise to a narrative of lack and deferral” (200). Others, like Lauren Berlant, offer considerations of undifferentiated “mulatta genealogies” that examine racial mixtures in unspecified and unsituated ways. Eric Sundquist’s important To Wake the Nations: Race in the Making of American Literature (1993) enacts a more explicit erasure of black female agency by offering a (masculinist) nationalist paradigm that enacts and encourages readings of race in the nineteenth century as if women did not have a voice…

Read the entire article and view the illustrations here.