Mixed Race Studies

“Entirely Black Verse from Him Would Succeed”: Minstrel Realism and William Dean Howells

Nineteenth-Century Literature
Volume 59, Number 4 (March 2005)
pages 494-525
DOI: 10.1525/ncl.2005.59.4.494

Gene Jarrett, Associate Professor of English
Boston University

In the early months of 1896, James A. Herne returned to his hotel in Toledo, Ohio, the city where he was directing and performing in his most popular play to date, Shore Acres. The hotel clerk informed the preeminent actor and playwright that one Paul Laurence Dunbar had left him a gift. Indeed, after attending and enjoying Shore Acres, Dunbar decided to leave Herne a complimentary copy of his second and latest book, Majors and Minors (1896). Fortunately for the African American poet, Herne was well acquainted with the most authoritative literary reviewer, cultural critic, editor, and publisher at the time, the so-called Dean of American Letters, William Howells. Howells was already a household name for mentoring and helping to publish the works of such well-known writers as George Washington Cable, Henry James, Sarah Orne Jewett, Joel Chandler Harris, and Mark Twain. Readers of Harper’s Weekly in particular had come to know and appreciate Howells’s columns, which for a decade had epitomized the magazine’s long-standing identification and review of instructive and entertaining literature. When Dunbar dropped off the book at Herne’s hotel, the thought that Herne would hand Majors and Minors to Howells, who would then review the book for Harper’s Weekly and thereby launch Dunbar’s literary career, was far-fetched, to say the least.

Remarkably, these events occurred in this exact way. Herne did not respond to Dunbar while Shore Acres was playing in Toledo, but he did later in Detroit, where the play relocated and from which he sent the poet a letter: “While at Toledo a copy of your poems was left at my hotel by a Mr. Childs,” Herne wrote; “I tried very hard to find Mr. Childs to learn more of you. Your poems are wonderful. I shall acquaint William Dean Howells and other literary people with them. They are new to me and may be to them.” Herne passed Majors and Minors on to Howells, who decided to review the book in the 27 June 1896 issue of Harper’s Weekly.

Majors and Minors was “new” to both Herne and Howells not because of its two main genres, British Romantic and American local-color poetry: Herne was well read in American literature, while Howells specialized in classic and contemporaneous Western literature. Actually, the frontispiece of Majors and Minors, an image of Dunbar at age eighteen, made the poems “new” (see Figure 1). Howells found the image so compelling that, for the benefit of his readers, he decided to describe Dunbar’s phenotype and physiognomy, those biological traits that affirmed the poet as a “pure African type.” So captivated was Howells by the frontispiece and its implications that, reportedly, he wrote a substantial portion of the review—the sections regarding the idea of someone like Dunbar—without yet reading all of the poems in the book. For Howells the frontispiece verified Dunbar’s identity as an African descendant born in the postbellum New World. The image influenced Howells’s encounter with Majors and Minors in much the same way that a “paratext” influences a reader’s encounter with a text, although Dunbar’s book lacks a comprehensive paratextual frame. Aside from the printer’s information (“Hadley & Hadley, Toledo, Ohio”) and the dedication to Dunbar’s mother, Majors and Minors, as Howells puts it in the review, was “dateless, placeless, without a publisher.” Initially unable to “place” the work, Howells focused on the discernibly Africanphysiognomy and dark phenotype in the frontispiece in order to “place” Dunbar and his work…

The frontispiece created certain expectations for Howells about the kind of writing that should exist in Majors and Minors Whenever Dunbar’s book defied these expectations, skepticism tempered Howells’s enthusiasm. In his review Howells suggests that, in order to assure both critical acclaim and commercial success, the poet should dedicate himself to writing verses only in “Black” dialect, similar to those filling the second and smaller section of Majors and Minors. For Dunbar is “most himself,” Howells insists, when he writes in such informal or colloquial English. Accordingly, he maintains that Dunbar should refrain from writing poems in formal or “literary” English, such as those filling the first and larger section of the book. Howells subtly reiterates this assessment one month later in a letter to Ripley Hitchcock, then serving as literary editor and adviser at D. Appleton and Company. Dated 29 July 1896, the letter belongs to a long-running conversation between Howells and Hitchcock about promising American writers, most notably Stephen Crane. After informing  Hitchcock of his laudatory review of Crane’s two books, Maggie: A Girl of the Streets (1893) and The Red Badge of Courage (1895), in the previous Sunday’s World, Howells closes the letter with a couple of sentences about Dunbar: “Major Pond is going to platform young Dunbar next winter, and I believe a book of entirely black verse from him would succeed. My notice raised such interest.”‘

These words are remarkable for three reasons. First, Howells is referring to Major James A. Pond, a prestigious literary agent who had previously directed the lecture tours of Twain and Cable, among other popular American writers. Dunbar had secured Major Pond as an agent by the time he decided to travel to England in February 1897 to lecture and recite his poems.  Second, the reason that Dunbar interested Major Pond in the first place had much to do with that “notice”—Howells’s term for his review of Majors and Minors in Harper’s Weekly. Third, and most important, Howells’s assertion that “a book of entirely black verse from [Dunbar] would succeed” values the racial authenticity of African American literature, particularly the orthography of dialect that came from the pen of a “pure African type.” This appreciation, I argue, belongs to a larger critical and commercial demand for what I call “minstrel realism” in postbellum nineteenth-century American culture.

Although “minstrel realism” sounds oxymoronic, it makes sense when placed within the proper context of how certain ideologies of race (racialism) and realism interacted in the nineteenth century. In this essay I intend to show that the racialism of blackface minstrelsy, performed by individuals darkened usually by burnt cork, created a cultural precondition in which postbellum audiences regarded Black minstrelsy (that is, minstrelsy performed by Blacks) as realistic. This reaction resulted from the commercialization of Black minstrelsy in American culture as an avant-garde cultural performance of racial authenticity. An analogous reaction occurred upon the publication of Majors and Minors in 1896. Howells and other reviewers, editors, and publishers appreciated the particular section “Humor and Dialect” for what happened to be the protocols of minstrel realism: the humor and dialect of African American culture. My argument has several implications. Minstrel realism united realism with what George M. Fredrickson calls “romantic racialism,”” a relationship that flies in the face of the historical conflict between these genres in American culture. While characterizing Anglo-American literary realism as the eschewal of romance and sentiment, Howells in particular defined African American literary realism in these very terms. This apparent inconsistency points to the racialism that helped to perpetuate this definition in the dramatic and literary cultures of minstrelsy.

In this essay I urge another re-categorization of American literary realism. Elizabeth Ammons has already recommended an expansion of this genre to include a variety of realisms, to move beyond the “white, middle-class ideas” of Howells, Henry James, Stephen Crane, and Edith Wharton, among others, and accommodate the diverse approaches of African American, Native American, and Chinese American authors. But Howells’s notion of literary realism included Dunbar as well as other “ethnic minority” writers, such as Charles Chesnutt and Abraham Cahan. In order to explain, then, the fact that Howells cites both Crane and Dunbar in the same letter to Hitchcock as the avant-garde of American literary realism, I suggest that, for Howells and his contemporaries, racial authenticity determined the aesthetic value of literary realism. The contrasting racial identities of Crane and Dunbar, for example, created different sets of expectations for the kinds of realism that they could and should have produced…

…Of all these writers, only Douglass, Chesnutt, Dumas, and Pushkin appeared in essays that Howells wrote elsewhere. None, as we shall soon see, could match Dunbar’s literary potential in Howells’s eyes-not even Chesnutt. Though Chesnutt was a writer who was well respected for publishing in the Atlantic Monthly several Black-dialect short stories (which he would later compile for his first book, The Conjure Woman [1899]), he did not appear as racially authentic as he sounded in these volumes. In a to November 1901 letter to Henry Black [Blake?] Fuller, a Chicago novelist, Howells suggests that Chesnutt could pass for White: “You know he is a negro, though you wouldn’t know it from seeing him.” Thinking similarly, anthologists in the early twentieth century tended to omit Chesnutt from the African American canon, due to his ostensible lack of Black authenticity (see Figure 2). Thus, Dunbar’s impact on African American canon formation at the turn of the century-a period spanning from his rise to prominence in 1896 to the eventual disappearance of his work from national periodicals and from anthologized canons of American literature by World War I-exceeded Chesnutt’s, insofar as Dunbar’s perceived racial “purity” enabled critics and publishers to authenticate his dialect writing in ways initially inapplicable to the dialect writing of Chesnutt and other African American authors of ostensibly mixed racial ancestry.

In Howells’s eyes, the sort of interracial complexion that characterized not only Chesnutt, but also Dumas and Pushkin, disqualified them from the tradition of authentic African American literature. In his introduction to Dunbar’s third book of poems, Lyrics of Lowly Life (1896)-an introduction that incorporates but also modifies his review of Majors and Minors—Howells argues that though Dumas and Pushkin antedated Dunbar as renowned writers of African descent, “these were both mulattoes, who might have been supposed to derive their qualities from white blood … and who were the creatures of an environment more favorable to their literary development.” Dunbar, by contrast, was more authentic:

the father and mother of the first poet of his race in our language were negroes without admixture of white blood….

… Paul Dunbar was the only man of pure African blood and of American civilization to feel the negro life aesthetically and express it lyrically….

… There is a precious difference of temperament between the races which it would be a great pity ever to lose, and … this is best preserved and most charmingly suggested by Mr. Dunbar in those pieces of his where he studies the moods and traits of his race in its own accent of our English.

(“Introduction,” pp. vii-ix)

Howells’s investment in the discourse of blood in his introduction to Lyrics of Lowly Life followed in the wake of the Supreme Court decision for Plessy v. Ferguson,  which legalized the biological discourse of interracialism and supported public notions that one could subject racial identity to biological measurement. This discourse both pervaded the literary criticism and art of African American authors and determined the politics of  racial representation. By the time that Howells wrote his introduction to Lyrics of Lowly Life between September and December 1896, the biological language of Plessy v. Ferguson had already seeped into American popular consciousness for close to half a year. For Howells one drop of “Black blood” did not so much detract from the intellectual potency of “White blood”; rather, this drop became, in its “unmixed” state, a racial virtue—just as it was in the minstrel industry…

Read the entire article here.

The making of a middlerace: the social politics surrounding Black-White interracial marriages and Black White biracial identity

Eastern Illinois University, Charleston, Illinois
May 2008
253 pages

Yoftahe K. Manna

Thesis submitted in partial fulfillment of the requirements for the degree of Masters of Arts in Communication Studies

In an attempt to uncover the social politics surrounding Black-White interracial marriages and Black-White biracial identity, this thesis investigates outsiders’ and insiders’ perspectives on the issues. Black and White participants of the study reported positive attitudes toward Black-White interracial marriage, while they reported negative attitudes toward Black-White biracial individuals. No statistically significant differences were found between Blacks and Whites in attitudes toward Black-White interracial marriages and Black-White biracial identity. No statistically significant differences were found between men and women, either. The insiders’ reports, however, contradicted these findings. Both Black-White interracial couple and Black-White biracial adult participants of this study reported that society’s (Blacks’ and Whites’) attitudes toward them were negative. Findings are discussed and ideas for future studies forwarded.

Table of Contents

• Contents page
• Acknowledgments
• Abstract
• Foreword
• Chapter One: Review of the Literature
  • Introduction
  • BIack-White interracial marriage
  • Black-White intermarriages: Historical backgrounds
  • Interracial marriages on the rise
  • Intermarriage motivations
  • Challenges, discrimination, and stereotypes
  • Interracial marriages: Pathological?
  • Attitudes toward, and acceptance of, interracial marriages
  • Attitudes toward biracial identity
  • Black-White interracial marriages: Implications
  • Racial identity and Black-White biracial individuals
  • Implications of biracial identity
  • Role of environment and social support for biracial individuals
  • Implications of biracial identity
  • Social politics surrounding interracial marriage
  • Social politics surrounding biracial identity/Social stigma
  • Role of communication
  • Research importance
  • Symbolic interactionism and social constructionism
• Chapter Two: Attitudes toward Black-White Interracial marriage and Black-White biracial identity
  • Introduction
  • Method
    • Participants
    • Procedure
  • Results
    • Attitudes toward Black-White interracial marriages
    • Attitudes toward Black-White biracial individuals/identity
  • Discussion
• Chapter Three: The Social Politics Surrounding Black-White Interracial Marriages
  • Introduction
  • Method
  • Findings
    • “Just another marriage”
    • “We are possible because of love”
    • Family’s attitude toward Black-White interracial marriage andrelationship with the interracial couple
    • Social attitudes toward and society’s relationship with Black-White interracial families
    • “Human”
    • “We have differences but not racial ones”
    • “God-centered”
    • “No challenges, but … “
    • Advantages and disadvantages
    • Comfort zone
    • Role of communication
    • “Support matters”
    • Upbringing and environment
    • “Better covered”
    • Race talk
    • “What we mean”
  • Discussion
• Chapter Four: Middlerace: The Social Politics Surrounding Black-White Biracial Identity
  • Introduction
  • Method
  • Findings
    • Racial identity
    • Challenges, advantages, and disadvantages
    • Attitudes toward Black-White interracial marriage
    • Attitudes toward Black-White biracial individuals
    • “Support matters”
    • Environment’s role
    • Middlerace
    • Role of communication
    • Race talk
    • “My box”
  • Discussion
• Chapter Five: General Discussion: The Social Politics Surrounding Black-White Interracial
  • Marriages and Black-White Biracial Identity
    • Introduction
    • Role of communication
    • Conclusion and ideas for future studies
• References
• Appendix A
• Appendix B
• Appendix C

Read the entire thesis here.

Three Sad Races: Racial Identity and National Consciousness in Brazilian Literature

Cambridge University Press
1983
210 pages
216 x 140 mm
Paperback ISBN: 9780521155342

David T. Haberly, Professor of Portuguese
University of Virginia

An innovative interpretation of the development of Brazilian literature from the sixteenth to the twentieth centuries. Originally published in 1983, Three Sad Races is a study of how Brazilian literature deals with the nation’s racial diversity themes and gives vent to the general disquietude concerning this.

Table of Contents

• Acknowledgements
• Introduction
• 1. From Indians to Indianism
• 2. The songs of an exile: Antônio Gonçalves Dias
• 3. The novelist as matchmaker: José de Alencar
• 4. The poet as slave: Antônio de Castro Alves
• 5. A journey through the escape hatch: Joaquim Maria Machado de Assis
• 6. The black swan: João da Cruz e Sousa
• 7. From despair to Modernism
• 8. The harlequin: Mário de Andrade
• Conclusion: the Edenic metaphor
• Notes
• Selected bibliography
• Index

Carothers McCaslin’s Progeny Tracing the Theme of Redemption Chronologically Through the Multiracial McCaslins

Honors College Capstone Experience/Thesis Projects
1999
Paper 211
pages 38-50

Christine Reiss
Western Kentucky University

William Faulkner’s Go Down, Moses (1942) is a novel that depicts the complicated family history of the McCaslins. There are primarily three branches of the family: the white, male-descended McCaslins, the white, female-descended Edmondses, and the multiracial, male-descended Beauchamps. The multiracial line of the family, the Beauchamps, are the progeny of the original McCaslin patriarch, old Carothers McCaslin. His act of miscegenation with one of his slaves produces a daughter, on whom he then fathers a son. This act of miscegenation and incest sets in motion a family line that struggles with the weight of its father’s sin. The individuals seek to live the most liberated lives that they can, given the various social constraints with which they come into contact, and by the end of the novel, they accomplish a fair measure of freedom, perhaps even redemption, from their father’s sin.

Read the entire paper here.

The role of the media in influencing social perceptions of racial relations in Brazil

Wayne State University
2006
126 pages
Publication Number: AAT 3243076
ISBN: 9780542982705

Gildasio Mendes Dos Santos

Based on the tenets of Social Identity Theory (SIT), Self-Categorization Theory (SDT), Cross-Group Relations (CGR) and Inter-Group Contact (IGC), this study examined how media programs depiction of Blacks may alter Whites and Morenos¹ self-perceptions of racial/ethnic relations. This exposure may increase or decrease Whites and Morenos prejudice against Blacks and, because of the negative depiction of the Blacks in the media, the likelihood that Morenos will see themselves as more similar to Whites than with Blacks. The factorial design format of the experiment was 2 x 2. Path analytic procedures were employed to test the extent to which the data were consistent with the hypothesized relationships among the variables. Participants were 260 graduate students from a Brazilian Central University (UCDB), who were male and female, Whites and Morenos, aged 18 to 30, enrolled in classes in the morning and evening, and representing low, middle and high economic classes.

The hypothesis tested suggested that video (induction) has a statistically significant effect on White attitudes towards Blacks, and the path model accounts for the variance in the relationship between video portrayal, Attitudes Towards Blacks (ATB), Whites/Morenos Similarities (WMS), and Moreno Single and Dual Identity (MSDI). Implications for the study of the effect of television on racial relations are discussed.

¹ Moreno is a term for a mixed-race Brazilian. In practice, the word refers primarily to Brazilians of mixed Black and White race (Wikipedia).

Purchase the dissertation here.

International Perspectives on Racial and Ethnic Mixedness and Mixing

Routledge
2012-05-25
224 pages
Hardback ISBN: 978-0-415-59804-0

Edited by

Suki Ali, Senior Lecturer of Sociology
London School of Economics and Political Science

Chamion Cabellero, Senior Research Fellow
Social Capital Research Group
London South Bank University

Rosalind Edwards, Professor of Sociology
University of Southampton

Miri Song, Professor of Sociology
University of Kent

People from a ‘mixed’ racial and ethnic background, and people partnering and parenting across different racial and ethnic backgrounds, are increasingly visible internationally and often construed in diametrically opposed ways. On the one hand, images of racial and ethnic diversity are posed in opposition to unity and solidarity, creating a crisis of cohesive social trust. On the other hand, there are assertions that the portrayals of segregation and conflict ignore the reality of ongoing interactions between a mix of minority and majority racial, ethnic and religious cultures, where multiculture is an ordinary, unremarkable, feature of everyday social life.

This interdisciplinary volume brings internationally well-respected researchers together to explore the different contexts and concepts underpinning discussions about mixedness and mixing. Moving beyond pathologically focused research about confused identities and a dualistic black-white conception of mixedness, the book includes chapters on:

• Multiraciality and race classification
• Mixed race couples
• Mixedness in everyday life
• Mixed race politics

International Perspectives on Racial and Ethnic Mixedness and Mixing develops theoretical perspectives and presents intellectually shaped empirical evidence that can deal with complexity and normalcy in order to move the debate onto more fruitful grounds. It is an important book for students and scholars of race and ethnicity.

Table of Contents

1. Introduction / Suki Ali, Chamion Caballero, Rosalind Edwards and Miri Song
2. Multiraciality and census classification in global perspective / Ann Morning
3. Mixed race across time and place: an international perspective / Ilan Katz
4. Scaling diversity: mixed-race couples, segregation and urban America / Steven Holloway
5. The geography of mixedness in England and Wales / Charlie Owen
6. From ‘Draughtboard Alley’ to ‘Brown Britain’: the ordinariness of mixedness in British life / Chamion Caballero
7. How mixedness is understood and experienced in everyday life / Peter Aspinall and Miri Song
8. Finding value on a council estate in Nottingham: voices of white working class women / Lisa McKenzie
9. How to find mixed people in quantitative datasets / Anne Unterreiner
10. When ethnicity became an important family issue in Slovenia / Mateja Sedmak
11. Same difference? Developing a critical methodological stance in critical mixed race studies / Minelle Mahtani
12. Mixed race politics / Suki Ali

He speaks in your voice: American.

arts & sciences
Boston College
Fall 2009

Tricia Brick

Gene Andrew Jarrett began his 2006 book Deans and Truants with a deceptively simple question: What is African American literature? The term, after all, refers not merely to the subject matter of the works it describes but to literature that both represents the African American experience and is written by authors who are themselves black. But what, then, of black authors who have written works without black characters? Or of those who are of mixed race? “You can’t take this question for granted, because it’s at the heart of so many questions of human identity and, in particular, race,” says Jarrett, an associate professor of English.

The editor of such books as African American Literature Beyond Race: An Alternative Reader and The New Negro: Readings on Race, Representation, and African American Culture, 1892–1938 (with Harvard’s Henry Louis Gates, Jr.), Jarrett has spent his career studying racial representation in American literature—in particular, how African Americans have been understood both as characters in and as authors of literary works over the last two centuries. His Deans and Truants looks at black authors throughout American history who have used literature to challenge beliefs about race that were accepted as truths in their day.

And in his forthcoming book Representing the Race: The Politics of African American Literature from Jefferson to Obama, Jarrett examines the political implications of African American literature—from the role that Phillis Wheatley’s poetry played in Thomas Jefferson’s disparagement of African American political unity to the role that Barack Obama’s Dreams from My Father has had in shaping the bipartisan, pragmatic political culture of his presidency…

Read the entire article here.

Being Brown (episode 22)

Hapa Happy Hour: A lively discussion and celebration of the mixed heritage experience.
2011-07-22

The ladies discuss standards of beauty and “white” privilege.

Download the episode (00:22:28) here.

TV Review: Mixed Race Britain – Mixed Britannia

BioNews
Number 630 (2011-10-24)

Anoushka Shepherd

Mixed Race Britain: Mixed Britannia, BBC2, 6-20 October 2011, Presented by George Alagiah

I am mixed race, and thereby a member the fastest growing ethnic minority in the UK. My British dad met my Sri Lankan mum while travelling in the 1970s. They married and settled in Manchester where I grew up. And although I was definitely alive to the fact that their marriage was a joining of two very different cultures, I had no idea of the deep and contentious history of mixed relationships in this country.

In this three-part documentary, George Alagiah recounts the largely untold story of mixed race Britain and the many love stories that overcame extreme social hardship to create it…

…In summary, all three programmes are packed with interviews and are rich in photographs and footage from the archives. This is a very real and intimate recollection of the history of this country told in the refreshingly honest words of those who were there. All the stories told are different, interesting and moving in their own ways…

Read the entire review here.

Book review: What’s the use of race? Modern governance and the biology of difference

BioNews
Number 634 (2011-11-21)

Dr. Rachael Panizzo

Decoding the human genome has revealed details of our evolution and patterns of migration across the world. The study of genetic diversity between ethnic groups can help explain the ways in which race influences our biology and susceptibility to disease. It promises to deliver a new era of personalised medicine, where an individual’s unique DNA profile is used to make predictions about their future health; where specialised drugs are tailored to individual patients, based in part on their genetic ancestry.

But what do we mean by ‘race’, exactly? Is race a relevant biological or medical category, and how is it defined in practice?

These issues are considered in the collection of essays What’s the use of race? Modern governance and the biology of difference, edited by Dr Ian Whitmarsh of the University of California San Francisco, and Dr David Jones at the Massachusetts Institute of Technology. The contributors explore the use of race in biomedical research and some of the emerging practical applications in medicine and forensic science. Their diverse and sometimes conflicting perspectives result in an engaging book that highlights the complexity of the issue.
 
Genetics has become the foundation of a new ‘biocitizenship’, where it is our civic duty to know and share our own genetic information and engage with our health at a molecular level. Common genetic make-up replaces common social experience, and group identities are carved along lines of shared genetic traits, ‘reinterpreting existing political identities and creating new ones’, says Professor Dorothy Roberts, from Northwestern University. Social and political categories of difference—such as gender or race…

…In the medical setting, subtle statistical differences are often interpreted as blanket differences between races, and individual patients are assumed to reflect the average characteristics of their race. But Jay Kaufman, associate professor of epidemiology at McGill University, and Professor Richard Cooper, of Loyola University, Chicago, demonstrate that in practice, a patient’s ethnic identity adds little to the diagnosis or prognosis of disease and is rarely medically relevant.

The essays of Professor Jonathan Kahn (Hamline University), and Pamela Sankar, associate professor of bioethics at the University of Pennsylvania emphasise how embedded racial categories are in forensic science, giving examples of DNA fingerprinting and phenotyping. Originally, racial information was used in DNA fingerprinting technology to improve accuracy, but as it has improved substantially, Professor Kahn argues it is now superfluous, irrelevant, and risks perpetuating racial stereotypes – ‘conflating race, genes and violent crime’…

…Should race be used at all in medical research? Many authors argue that its inclusion reifies the concept of race as a fundamental human characteristic. But Dr Kaufmann, Professor Cooper, and Harvard School of Public Health Professor Nancy Krieger suggest race does have a place in biomedical research, as a social category—including information about race or ethnicity is a way of documenting health inequalities, which would otherwise be invisible and ignored….

Read the entire review here.