Mixed Race Studies

Talking the Talk: Linguistic Passing in Danzy Senna’s Caucasia

MELUS: Multi-Ethnic Literature of the U.S.
Volume 42, Number 2, Summer 2017
pages 156-176

Melissa Dennihy, Assistant Professor of English
Queensborough Community College, City University of New York, Bayside, New York

Danzy Senna’s 1998 novel Caucasia, set in 1970s New England, follows the breakup of the mixed-race Lee family: African American father Deck, white mother Sandy, and biracial daughters Cole and Birdie. When Deck and Sandy separate following the latter’s involvement in a risky political plot, darker-skinned sister Cole moves with Deck to Brazil, while protagonist Birdie goes undercover with Sandy, passing as white to help her mother dodge the FBI. Birdie’s passing has led critics to categorize Caucasia as a contemporary passing novel, situated within a long tradition of US passing literature established by works such as James Weldon Johnson’s The Autobiography of an Ex-Colored Man (1912) and Nella Larsen’s Passing (1929).¹ However, white is not the only passing identity assumed by Caucasia’s protagonist, and the multiple forms of passing Birdie and other characters undertake throughout the novel suggest that racial identity—how one constructs one’s race and how one’s race is constructed by others—continuously shifts by context. Passing is not portrayed as a permanent crossing of the color line in this text but as an ongoing series of acts involving regular adjustments in one’s performance of racial identity. Characters pass not just for white but for multiple racial and ethnic identities, including different versions of Blackness and whiteness.

In this sense, Senna’s novel challenges views of passing as an act in which one gives up who one “really” is to “become” white. Instead, Caucasia portrays passing as a tool used when one has a specific goal or outcome in mind: passing for white is not a permanent adoption of whiteness but a performance of it, used to access privileges, opportunities, or advantages. This is an important point since, long after we have acknowledged that race is not biological but socially constructed, some recent scholarship continues to portray passing as a masking of one’s “true” self or race. Valerie Rohy writes, for example, that “the term passing designates a performance in which one presents oneself as what one is not” (219).² The phrase “what one is not” suggests an originary self, whereas I use the term passing not to imply an authentic self hidden under a false identity but to suggest that racial identity is multifaceted and varied, involving continual reconstructions of the self in different contexts. To read Caucasia’s Birdie as a black girl who fakes it while passing as white overlooks the fact that Birdie must learn to pass for black as well as white; neither racial performance comes naturally to her. Learning to perform both whiteness and Blackness helps Birdie recognize the possibility of passing for both—and other—racial/ethnic identities: passing is not a singular transition from black to white but a series of multidirectional, continual crossings into and out of different racial identities as circumstances allow or require.

However, what is most notable about Senna’s passing story is not its multiple acts of passing in different directions but that they do not always depend solely or even primarily on physical appearance. Set in a post-civil rights United States no longer structured by the color line of the Jim Crow era, Senna’s novel presents racial identity as constructed through more than just the physical realm: the text’s protagonist learns to claim both Blackness and whiteness by modifying not only her appearance but also her use of language. The linguistic is a critical factor in facilitating successful passing in Caucasia, calling attention away from physical attributes in determining who can claim a certain racial identity. The novel’s portrayal of what I call linguistic passing—situationally altering one’s way of speaking, in addition to or instead of altering appearance, to pass as a member of or gain insider status within a particular racial group—broadens traditional understandings of passing by shifting emphasis from the physical and visual to the linguistic and audible. If one can talk the talk convincingly enough, Caucasia suggests, one can gain access to groups or opportunities one might otherwise be excluded from or…

The Limits of Whiteness: Iranian Americans and the Everyday Politics of Race

Stanford University Press
September 2017
224 pages
Cloth ISBN: 9780804792585
Paper ISBN: 9781503603370

Neda Maghbouleh, Assistant Professor of Sociology
University of Toronto

When Roya, an Iranian American high school student, is asked to identify her race, she feels anxiety and doubt. According to the federal government, she and others from the Middle East are white. Indeed, a historical myth circulates even in immigrant families like Roya’s, proclaiming Iranians to be the “original” white race. But based on the treatment Roya and her family receive in American schools, airports, workplaces, and neighborhoods—interactions characterized by intolerance or hate—Roya is increasingly certain that she is not white. In The Limits of Whiteness, Neda Maghbouleh offers a groundbreaking, timely look at how Iranians and other Middle Eastern Americans move across the color line.

By shadowing Roya and more than 80 other young people, Maghbouleh documents Iranian Americans’ shifting racial status. Drawing on never-before-analyzed historical and legal evidence, she captures the unique experience of an immigrant group trapped between legal racial invisibility and everyday racial hyper-visibility. Her findings are essential for understanding the unprecedented challenge Middle Easterners now face under “extreme vetting” and potential reclassification out of the “white” box. Maghbouleh tells for the first time the compelling, often heartbreaking story of how a white American immigrant group can become brown and what such a transformation says about race in America.

Uncompromising Activist: Richard Greener, First Black Graduate of Harvard College

Johns Hopkins University Press
September 2017
216 pages
7 b&w photos
Hardback ISBN: 9781421423296
E-book ISBN: 9781421423302

Katherine Reynolds Chaddock, Distinguished Professor Emerita of Education
University of South Carolina

Richard Theodore Greener (1844–1922) was a renowned black activist and scholar. In 1870, he was the first black graduate of Harvard College. During Reconstruction, he was the first black faculty member at a southern white college, the University of South Carolina. He was even the first black US diplomat to a white country, serving in Vladivostok, Russia. A notable speaker and writer for racial equality, he also served as a dean of the Howard University School of Law and as the administrative head of the Ulysses S. Grant Monument Association. Yet he died in obscurity, his name barely remembered.

His black friends and colleagues often looked askance at the light-skinned Greener’s ease among whites and sometimes wrongfully accused him of trying to “pass.” While he was overseas on a diplomatic mission, Greener’s wife and five children stayed in New York City, changed their names, and vanished into white society. Greener never saw them again. At a time when Americans viewed themselves simply as either white or not, Greener lost not only his family but also his sense of clarity about race.

Richard Greener’s story demonstrates the human realities of racial politics throughout the fight for abolition, the struggle for equal rights, and the backslide into legal segregation. Katherine Reynolds Chaddock has written a long overdue narrative biography about a man, fascinating in his own right, who also exemplified America’s discomfiting perspectives on race and skin color. Uncompromising Activist is a lively tale that will interest anyone curious about the human elements of the equal rights struggle.

Table of Contents

• Introduction: A Search for Identity
• 1. Boyhood Interrupted
• 2. Being Prepared
• 3. Experiment at Harvard
• 4. An Accidental Academic
• 5. Professing in a Small and Angry Place
• 6. The Brutal Retreat
• 7. Unsettled Advocate
• 8. A Violent Attack and Hopeless Case
• 9. Monumental Plans
• 10. Off White
• 11. Our Man in Vladivostok
• 12. Closure in Black and White
• Epilogue: The Passing of Richard Greener
• Acknowledgments
• Notes
• Bibliography
• Index

A young black girl tries to pass for white in 1960s rural Georgia in the short film ‘Across the Tracks’

Afropunk
2017-08-30

Eye Candy

Two African American sisters grow up in racially charged 1960s Georgia, but one is born with fair skin. And when schools integrate in their small town, she decides to change her destiny—by passing for white.

Set in modern day and 1960s rural Georgia, “Across The Tracks” follows two black sisters—one dark skinned, the other light skinned—as they both navigate the desegregation of their school and make choices that will change them forever. Shot by director/cinematographer Mike Cooke in the small town of Arlington, GA. and co-written by Kimberly James, “Across the Tracks” is a story so resonate with and relevant to the black experience even now you’ll wonder why it hasn’t been done sooner…

Read the entire article here.

Tips To Make Mixed Kids Feel Like They Belong

Just Analise
2017-08-23

Analise Kandasammy

Being a parent is the toughest job in the world. In fact, it’s the toughest job in the world which doesn’t have a retirement age.

So I’m putting it out there. I am not a parent and it is not my intention to tell people how to be better parents. In fact, I dislike judging people’s parenting styles (although I have from time to time because I’m not perfect). But what I do know is what it is like to be a mixed race kid trying to figure out where to belong in this world and trying to figure it out with no guidance.

I know that you think that by ignoring ethnicity altogether it might be better for your kid. After all, you are teaching him/her to love and respect all people, but it also does a disservice not to educate them about society and how to navigate the judgemental comments and intrusive questions of others. When you teach them how to to do this, you are teaching them to not absorb what people think and to not focus on it. When you teach them how to do this, you are teaching them self love and how to be a leader and an educator of others…

Read the entire article here.

Elaine Welteroth, Teen Vogue’s Refashionista

The New York Times Magazine
2017-08-31

Jazmine Hughes

Elaine Welteroth
Credit Erik Madigan Heck for The New York Times

The editor in chief has taken on a seemingly impossible task: reinventing the glossy magazine for a hyperempathetic generation.

If you are, like me, a person with no sense of style and a stomach paunch, you might understand why dressing for a fashion show would be a psychological challenge. The day before my first one, I begged my best-dressed co-worker to chaperone my visit to a fast-fashion outlet. I’d coveted a pleated gold-foil skirt I’d seen on the store’s website. My co-worker had approved the skirt on the model. I tried it on. She did not approve it on me. In person, the gold foil looked cheap, the waistband of the skirt unflattering. Instead, she picked out a rose-colored accordion skirt that I would never have thought to buy. I put it on the next morning. Four hours later, I spilled steak juice all down my front.

Maybe another person would have given up at that point, but I was on my way to meet Elaine Welteroth, the editor in chief of Teen Vogue. Hired at 29, she is the youngest-ever editor in chief of a Condé Nast publication, and only the second black woman to hold the title there. Since taking over the magazine last year, she has become a personality of sorts, appearing as herself on ABC’s ‘‘black-ish’’ and being photographed cuddled up to celebrities: the Black Lives Matter activist DeRay Mckesson, the actors Gabrielle Union and Aja Naomi King. As I headed to the Coach fall show this February, I found myself growing increasingly nervous to meet her. It wasn’t that she was famous, really. But I spent a significant portion of my adolescence fantasizing about running my own teen magazine, and, like her, I am a young, black New York-based editor with curly hair and myopia. She was famous to me…

Read the entire article here.

Jesmyn Ward, Heir to Faulkner, Probes the Specter of Race In the South

TIME
2017-08-24

Sarah Begley, staff writer

Ward, who teaches creative writing at Tulane, set her new novel in a coastal Mississippi town Beowulf Sheehan

“To understand the world, you must first understand a place like Mississippi” goes a line often attributed to William Faulkner. More than half a century later, Jesmyn Ward may be the newest bard of global wisdom.

The writer rocketed to literary fame in 2011 when she won the National Book Award for her second novel, Salvage the Bones, a lyrical Hurricane Katrina tale. As in her first novel, Where the Line Bleeds, the characters in Salvage live in the fictional Mississippi Gulf Coast hamlet of Bois Sauvage, which is based on Ward’s native DeLisle. Six years and two nonfiction books later, Ward has returned to fiction, and to Bois Sauvage, with Sing, Unburied, Sing, a mystical story about race, family and the long shadow of history.

Ward, 40, wrote her first two novels while moving around the country for writing programs and fellowships, but she has since returned home and started a family. Sing, Unburied, Sing is the first novel she’s written from there and the first she’s written as a mother. “The figurative language that I use is so informed by this place and by the things that I see and experience here,” she says, “that it helped me write Sing, because I’m able to observe and see these things and incorporate them into my writing.” Consider how nature relates to human behavior in this description of a grandfather on a difficult morning: “He matched the sky, which hung low, a silver colander full to leak.” Or when a mother watches her daughter cling to her son: “She sticks to him, sure as a burr: her arms and legs thorny and cleaving.”…

…Ward’s characters are informed of her own deep knowledge of a town like Bois Sauvage. For Sing, Ward asked herself what life would be like for a mixed-race boy like Jojo in contemporary Mississippi, a place where schools are still struggling with segregation and interracial dating has been a historic taboo. “I wanted to understand how he would navigate something of a coming of age in the modern South, where, yes, it is modern, but there are multiple waves of the past here,” she says…

Read the entire article here.