Mixed Race Studies

What Passes as Love: A Novel

Lake Union Publishing
2021-09-01
335 pages
Paperback ISBN:‎ 978-1542030601

Trisha R. Thomas

A young woman pays a devastating price for freedom in this heartrending and breathtaking novel of the nineteenth-century South.

1850. I was six years old the day Lewis Holt came to take me away.

Born into slavery, Dahlia never knew her mother―or what happened to her. When Dahlia’s father, the owner of Vesterville plantation, takes her to work in his home as a servant, she’s desperately lonely. Forced to leave behind her best friend, Bo, she lives in a world between black and white, belonging to neither.

Ten years later, Dahlia meets Timothy Ross, an Englishman in need of a wife. Reinventing herself as Lily Dove, Dahlia allows Timothy to believe she’s white, with no family to speak of, and agrees to marry him. She knows the danger of being found out. She also knows she’ll never have this chance at freedom again.

Ensconced in the Ross mansion, Dahlia soon finds herself held captive in a different way―as the dutiful wife of a young man who has set his sights on a political future. But when Bo arrives on the estate in shackles, Dahlia decides to risk everything to save his life. With suspicions of her true identity growing and a bounty hunter not far behind, Dahlia must act fast or pay a devastating price.

‘How is Pauli Murray not a household name?’ The extraordinary life of the US’s most radical activist

The Guardian
2021-09-17

Steve Rose

‘I lived to see my lost causes found’ … Pauli Murray. Photograph: Everett Collection Historical/Alamy

She explored her gender and sexuality in the 20s, defied segregation in the 40s and inspired Ruth Bader Ginsburg. Now, a film is bringing her trailblazing achievements to light

It seems inconceivable that someone like Pauli Murray could have slipped through the cracks of US history. A lawyer, activist, scholar, poet and priest, Murray led a trailblazing life that altered the course of history. She was at the forefront of the battles for racial and gender equality, but often so far out in front that her contributions went unrecognised.

In 1940, 15 years before Rosa Parks, Murray was jailed for refusing to move to the back of a bus in the Jim Crow south. In 1943, she campaigned successfully to desegregate her local diner, 17 years before the Greensboro lunch counter sit-ins of 1960. Her work paved the way for the landmark supreme court ruling Brown v Board of Education in 1954 – which de-segregated US schools – to the extent that Thurgood Marshall, a lawyer for the NAACP civil rights group, called Murray’s book States’ Laws on Race and Color “the bible for civil rights lawyers”.

Murray also co-founded the National Organization for Women (NOW), in 1966, alongside Betty Friedan. When Ruth Bader Ginsburg won the Reed v Reed case in 1971, which ruled that discrimination “on the basis of sex” was unconstitutional, her arguments were built on Murray’s work. Ginsburg named Murray as co-author of the brief. “We knew when we wrote that brief that we were standing on her shoulders,” Ginsburg later said.

Murray ought to be celebrated as an American hero, commemorated in stamps, statuary and street names, not to mention biopics, so why is her name relatively unknown?…

Read the entire article here.

Gibbes Museum’s Film Series to Focus on Racial Passing

Holy City Sinner
Charleston, South Carolina
2021-09-23

Ruth Negga and Tessa Thompson appear in “Passing” by Rebecca Hall, an official selection of the U.S. Dramatic Competition at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Edu Grau

The Gibbes Museum of Art has announced the second installment of its film series, titled “Gibbes Films in Focus: Passing Strange,” which will feature the Lowcountry’s first screening of the 2021 Sundance Film Festival selection, “Passing,” by Rebecca Hall, starring Tessa Thompson, Ruth Negga, Andre Holland, and Alexander Skarsgård and adapted from the groundbreaking novel by Nella Larsen.

In this series, the Gibbes will explore the tradition of race-passing narratives as represented on the silver screen. From Kate Chopin’s 1893 short story “Désirée’s Baby,” to the 1936 and 1951 adaptations of the musical “Showboat,” America has been enthralled by passing narratives, whereby a person of Black descent, but of ambiguous or white features, slips into white society, destabilizing the strict racial codes that have governed so much of American life. This three-part series will be held at the museum this fall…

Read the entire article here.

Racial Masks and Stereotypes in Imitation of Life and Bamboozled

Caméra Stylo: The Cinema Studies Undergraduate Student Journal
University of Toronto
Volume 13 (2013)
2013-04-01
pages 62-74

Nicole Wong

Visible signs of difference mark the racialized body only in com-bination with nonvisible social preconceptions and expectations. A racial stereotype is the link, the image, which ties the visible with the nonvisible imagined meanings and values specific to the culture in which they are produced and shared. The process of racial stereotyping therefore requires three components: the marked body, the collective society of meaning and image-makers, and the racial mask through which the latter views and defines the former. My concern in this article is how American¹ popular culture and mass media entertainment has become the foremost platform for racial meaning production, perpetuating false racial stereotypes, yet at the same time attempting to expose its own role as image-maker.

As forms of popular mass media entertainment, Douglas Sirk’s Imitation of Life (1959) and Spike Lee’s Bamboozled (2000) depict such an exposition of the racial stereotyping process, but with significant differences that come with forty years’ distance. These two films function as tragic allegories of the racial stereotype production process as popular entertainment, wherein central characters mask their marked bodies, their self-identity and essential personhood. Racial stereotypes literally are enacted on stage to entertain an audience, a downsized representation both American media makers and receivers. Through the optic of Sander Gilman’s conceptions of the Other and the Self, I will explore the motives behind, and subsequent futility of, attempts to mask racial self-identities with media-defined projected identities that ultimately turn performers into the slaves of spectators. I will also position the ideologies of both films as reflections of the racial performer/audience relationship of their respective time periods…

Read the entire article here.

Leave Them Wanting More: Douglas Sirk and Imitation of Life

Steyn Online
2021-09-18

Rick McGinnis, Rick’s Flicks

When Douglas Sirk left Hollywood he was at the zenith of his career, twenty years after he’d arrived there as a refugee from Nazi Germany, unsure if he’d ever make another movie. He had just made his most successful picture, based on what was probably the most controversial topic in America at the time. Maybe he understood that it’s always best to leave when you’re at the top, or maybe he was just tired.

Imitation of Life was an update of a 1934 film starring Claudette Colbert and Louise Beavers – a drama about miscegenation and racism and the colour caste system that was no less controversial when producer Ross Hunter decided to remake it – as a musical. Thankfully, by the time Sirk started filming, it was a melodrama again, and one starring Lana Turner, just after her daughter Cheryl Crane had been on trial for running a kitchen knife through Turner’s boyfriend, a mobbed-up gigolo thug named Johnny Stompanato.

Based on a novel by Fanny Hurst, the original film directed by John M. Stahl had Colbert’s Bea create a culinary empire based on a pancake recipe passed down through the family of Delilah (Beavers), her African-American maid. Both women prosper, but Bea’s happiness is threatened when her daughter falls in love with the man she wants to marry. James M. Cain’s 1941 novel Mildred Pierce – later made into a movie with Joan Crawford and a miniseries starring Kate Winslet – is basically a hardboiled rewrite of Hurst’s story, excising the crucial secondary plot involving Delilah and her daughter, a young woman striving to pass for white…

Read the entire article here.

Adele Logan Alexander

Charlie Rose
1999-10-26

Charlie Rose, Host

Adele Logan Alexander discusses the history of identity, race, and class in the United States through her own family story, as she does in her book “Homelands and Waterways: The American Journey of the Bond Family, 1846-1926.”

Watch the entire interview (00:17:52) here.

WTF!? A Few Stories I Don’t Know What To Do With

Black Power Media
2021-09-28

Jared A. Ball, Ph.D., Professor of Africana and Communications
Morgan State University, Baltimore, MD

From 00:21:44 through 00:34:01 in the video, Dr. Ball discusses his views on multiraciality within popular culture and how it connects with blackness in the United States.

Watch the clip here.

Erasure and Recollection: Memories of Racial Passing

Peter Lang
September 2021
366 pages
13 fig. b/w.
Paperback ISBN:978-2-8076-1625-7
ePUB ISBN:978-2-8076-1627-1 (DOI: 10.3726/b18256)

Edited by:

Hélène Charlery, Professor of English Literature
University of Toulouse-Jean Jaurès, Toulouse, France

Aurélie Guillain, Professor of American Literature
University of Toulouse-Jean Jaurès, Toulouse, France

Many recent studies of racial passing have emphasized the continuing, almost haunting power of racial segregation even in the post-segregation period in the US, or in the post-apartheid period in South Africa. This “present-ness” of racial passing, the fact that it has not really become “passé,” is noticeable in the great number of testimonies which have been published in the 2000s and 2010s by descendants of individuals who passed for white in the English-speaking world. The sheer number of publications suggest a continuing interest in the kind of relation to the personal and national past which is at stake in the long-delayed revelation of cases of racial passing.

This interest in family memoirs or in fictional works re-tracing the erasure of some relative’s racial identity is by no means limited to the United States: for instance, Zoë Wicomb in South Africa or Zadie Smith in the UK both use the passing novel to unravel the complex situation of mixed-race subjects in relation to their family past and to a national past marked by a history of racial inequality.

Yet, the vast majority of critical approaches to racial passing have so far remained largely focused on the United States and its specific history of race relations. The objective of this volume is twofold: it aims at shedding light on the way texts or films show the work of individual memory and collective recollection as they grapple with a racially divided past, struggling with its legacy or playing with its stereotypes. Our second objective has been to explore the great variety in the forms taken by racial passing depending on the context, which in turn leads to differences in the ways it is remembered. Focusing on how a previously erased racial identity may resurface in the present has enabled us to extend the scope of our study to other countries than the United States, so that this volume hopes to propose some new, transnational directions in the study of racial passing.

Table of Contents

• Introduction – Hélène Charlery and Aurélie Guillain
• Part I: Memories of Racial Passing – Reconstructing Local and Personal Histories – From Homer Plessy to Paul Broyard
  • To Pass or Not to Pass in New Orleans – Nathalie Dessens
  • Racial Passing at New Orleans Mardi Gras; From Reconstruction to the Mid- Twentieth Century: Flight of Fancy or Masked Resistance? – Aurélie Godet
  • Passing through New Orleans, Atlanta, and New York City: The Dynamics of Racial Assignation in Walter White’s Flight (1926) – Aurélie Guillain
  • African American Women Activists and Racial Passing: Personal Journeys and Subversive Strategies (1880s– 1920s) – Élise Vallier-Mathieu
• Part II: Memory, Consciousness and the Fantasy of Amnesia in Passing Novels
  • “What Irene Redfield Remembered”: Making It New in Nella Larsen’s Passing – M. Giulia Fabi
  • Between Fiction and Reality: Passing for Non- Jewish in Multicultural American Fiction – Ohad Reznick
  • Experiments in Passing: Racial Passing in George Schuyler’s Black No More and Arthur Miller’s Focus – Ochem G.l.a. Riesthuis
  • Passing to Disappearance: The Voice/ Body Dichotomy and the Problem of Identity in Richard Powers’s The Time of Our Singing (2004) – Anne-Catherine Bascoul
• Part III: Memories of Racial Passing within and beyond the United States: Towards a Transnational Approach
  • “The Topsy-Turviness of Being in the Wrong Hemisphere” Transnationalizing the Racial Passing Narrative – Sinéad Moynihan
  • Passing, National Reconciliation and Adolescence in Beneath Clouds (Ivan Sen, 2002) and The Wooden Camera (Ntshaveni Wa Luruli, 2003) – Delphine David and Annael Le Poullennec
  • Transnational Gendered Subjectivity in Passing across the Black Atlantic: Nella Larsen’s Passing, Michelle Cliff ’s Free Enterprise and Zadie Smith’s Swing Time – Kerry-Jane Wallart
• About the Authors/ Editors
• Index

UCF Faculty Member Holly McDonald Inspires Change Through Theatre

University of Central Florida News
Orlando, Florida
2018-03-27

Ashley Garrett

Holly McDonald can pinpoint the exact moment her love for the theatre began.

When she was 16, she rode a bus from her small hometown of Keyser, WV, to The Kennedy Center in Washington, D.C., to watch a production of the musical 42nd Street.

“I’d never seen a stage show of that magnitude,” McDonald says. “It was an enormous adventure for me. I saw the performance on stage and waited outside for the actors to come out, and I just fell in love.”

While studying theatre performance as an undergraduate then graduate student, her love grew when she discovered and explored how theatre can be used for social good. She found herself drawn to performance art that could convey a deeper message and teach a lesson…

…A Journey to Self-Discovery

McDonald credits her parents for instilling a sense of social justice within her from early childhood by “taking an active role in their community and stressing the importance of engagement with others.” It was her mother, in particular, who pushed her to help others whenever given the chance.

“My mother is a huge inspiration. She is someone who would frequently call and give me encouragement,” McDonald says. “She always said to me, ‘Follow your heart and do the right thing.’”

Her mother’s guidance led McDonald to take professional leave about five years ago to write her play, Proclamation of a Multiracial Woman. The semi-autobiographical play, which tells the story of an adopted biracial woman who searches for self-identity, relies heavily on themes from McDonald’s own life. She credits the play for providing her with an opportunity for self-reflection. Like her fictional counterpart, she searched for answers as a mixed-race woman, ultimately finding peace from within…

Read the entire article here.

Bernardine Evaristo on a childhood shaped by racism: ‘I was never going to give up’

The Guardian
2021-09-25

Bernardine Evaristo

Bernardine Evaristo: ‘I liked the same music as my little white pals, ate the same food, had the same feelings – human ones.’ Photograph: Suki Dhanda/The Observer

My creativity can be traced back to my heritage, to the skin colour that defined how I was perceived. But, like my ancestors, I wouldn’t accept defeat

When I won the Booker prize in 2019 for my novel Girl, Woman, Other, I became an “overnight success”, after 40 years working professionally in the arts. My career hadn’t been without its achievements and recognition, but I wasn’t widely known. The novel received the kind of attention I had long desired for my work. In countless interviews, I found myself discussing my route to reaching this high point after so long. I reflected that my creativity could be traced back to my early years, cultural background and the influences that have shaped my life. Not least, my heritage and childhood

Through my father, a Nigerian immigrant who had sailed into the Motherland on the “Good Ship Empire” in 1949, I inherited a skin colour that defined how I was perceived in the country into which I was born, that is, as a foreigner, outsider, alien. I was born in 1959 in Eltham and raised in Woolwich, both in south London. Back then, it was still legal to discriminate against people based on the colour of their skin, and it would be many years before the Race Relations Acts (1965 and 1968) enshrined the full scope of anti-racist doctrine into British law.

My English mother met my father at a Commonwealth dance in central London in 1954. She was studying to be a teacher at a Catholic teacher-training college run by nuns in Kensington; he was training to be a welder. They married and had eight children in 10 years. Growing up, I was labelled “half-caste”, the term for biracial people at that time…

Read the entire article here.