Mixed Race Studies

Miss Anne in Harlem: The White Women of the Black Renaissance

HarperCollins Publishers
2013-09-10
544 pages
Trimsize: 6 x 9
Hardcover ISBN: 9780060882389; ISBN10: 0060882387
eBook ISBN: 9780062199126; ISBN10: 0062199129

Carla Kaplan, Stanton W. and Elisabeth K. Davis Distinguished Professor of American Literature
Northeastern University, Boston, Massachusetts

New York City in the Jazz Age was host to a pulsating artistic and social revolution. Uptown, an unprecedented explosion in black music, literature, dance, and art sparked the Harlem Renaissance. While the history of this African-American awakening has been widely explored, one chapter remains untold: the story of a group of women collectively dubbed “Miss Anne.”

Sexualized and sensationalized in the mainstream press—portrayed as monstrous or insane—Miss Anne was sometimes derided within her chosen community of Harlem as well. While it was socially acceptable for white men to head uptown for “exotic” dancers and “hot” jazz, white women who were enthralled by life on West 125th Street took chances. Miss Anne in Harlem introduces these women—many from New York’s wealthiest social echelons—who became patrons of, and romantic participants in, the Harlem Renaissance. They include Barnard College founder Annie Nathan Meyer, Texas heiress Josephine Cogdell Schuyler, British activist Nancy Cunard, philanthropist Charlotte Osgood Mason, educator Lillian E. Wood, and novelist Fannie Hurst—all women of accomplishment and renown in their day. Yet their contributions as hostesses, editors, activists, patrons, writers, friends, and lovers often went unacknowledged and have been lost to history until now.

In a vibrant blend of social history and biography, award-winning writer Carla Kaplan offers a joint portrait of six iconoclastic women who risked ostracism to follow their inclinations—and raised hot-button issues of race, gender, class, and sexuality in the bargain. Returning Miss Anne to her rightful place in the interracial history of the Harlem Renaissance, Kaplan’s formidable work remaps the landscape of the 1920s, alters our perception of this historical moment, and brings Miss Anne to vivid life.

“Maneuvers of Silence and the Task of ‘New Negro’ Womanhood”

Journal of Narrative Theory
Volume 42, Number 1, Spring 2012
pages 46-68
DOI: 10.1353/jnt.2012.0006

Emily M. Hinnov, Assistant Dean of Curriculum & Lecturer of English
Granite State College, Concord, New Hampshire

Yes, she has arrived. Like her white sister, she is the product of profound and vital changes in our economic mechanism, wrought mainly by the World War and its aftermath. Along the entire gamut of social, economic and political attitudes, the New Negro Woman, with her head erect and spirit undaunted is resolutely marching toward the liberation of her people in particular and the human race in general.

— Editorial, The Messenger’s “New Negro Woman” issue (1923)
But I have no civilized articulation for the things I hate. I proudly love being a Negro woman; [it’s] so involved and interesting. We are the PROBLEM—the great national game of TABOO.

— Anne Spencer, qtd. in Countee Cullen’s Caroling Dusk (1927)
Here is a woman who tried to be decisive in extremis. She “spoke,” but women did not, do not, “hear” her. Thus she can be defined as a “subaltern”—a person without lines of social mobility.

— Gayatri Chakravorty Spivak, “Can the Subaltern Speak?”

Given the primitivist stereotypes projected upon African American women as oversexed, exotic creatures during the Harlem Renaissance era, contemporaneous poet Anne Spencer’s statement suggests that women writers’ doubly conscious performance of self must have been challenging (to say the least). With her comment about the state of “New Negro Womanhood” in mind, we might ask: to what extent were women writers associated with the Harlem Renaissance successful in critiquing representations of race or gender within the context of that male-dominated literary and cultural movement? Forthright literary depictions of race, gender, and mobility in now canonical Harlem Renaissance works by Nella Larsen and Zora Neale Hurston allow expression of varied facets of the African American woman’s experience during the early part of the twentieth century. Hurston’s women (and Hurston herself) refuse to be “tragically colored” and instead embrace the power inherent in their female sexuality—even using it, in part, remain perpetually mobile. For Larsen, however, the triple bind of double-consciousness, female sexuality, and white supremacy eventually disallows any true mobility for her fictional characters. When Larsen was accused of plagiarism in 1930, there were no legal charges, but her career never recovered from this blow. It seemed that “in America, whites might borrow from blacks with impunity, but Negro use of white materials is always suspect” (Douglas 105). As Ann Douglas writes, “The New Negro was a figure with few claims on mainline America’s attention, interest, or sympathy. If he insulted or displeased, he could be cut off, erased, without thought or regret” (106). It is difficult to determine how much mutuality between black and white artists and audiences could have existed in light of Larsen’s fate. She was “cut off” from what has developed into the African American literary canon essentially because she was a black female artist working within the confines of a racist and sexist culture. Thankfully, Larsen’s rediscovery in the 1980s, and the subsequent inclusion of her work in high school, college, and graduate school classrooms, enabled Larsen’s legacy to resist such erasure. Larsen and Hurston’s work has triumphantly evaded the threat of removal from the literary canon thanks to the gynocritical efforts of many feminist scholars, while other writers of the era still languish on the critical precipice of silence.

In this essay, I am especially interested in the ways in which two still largely ignored Harlem Renaissance women writers, Elise Johnson McDougald, in her more straightforward essay “The Task of Negro Womanhood,” and Marita O. Bonner, in her multigenred, haltingly-titled “On Being Young—a Woman—and Colored,” use silence as a means to maneuver among the various identity positions that comprise the interstices of “New Negro Womanhood.” Placing them within the context of more widely known writers of their era such as Hurston and Larsen is edifying,…

Passing as White: The Life Altering Effects on Loved Ones

Southern Connecticut State University
May 2006
122 pages
Publication Number: AAT 1435422
ISBN: 9780542641824

Kathleen Daubney

A Thesis Submitted to the School of Graduate Studies In Partial Fulfillment of the Requirement for the Degree of Master of Science

This thesis analyzes the theme of passing in Harlem Renaissance literature and deals with the consequences that such transitions to white society had on the passers’ friends and relatives. Choices that one person makes can have a domino and long lasting effect on his or her family and friends. This study focuses on: Passing by Nella Larsen, The Autobiography of an Ex-Coloured Man by James Weldon Johnson, “Passing,” by Langston Hughes, and Comedy: American Style and Plum Bun both by Jessie Fauset. This thesis discusses if the family and friends have knowledge of the passing, if they had a voice in the novel, and if the children had knowledge of their heritage. It also discusses the effects passing had on the families and friends of the passers, along with their responses.

TABLE OF CONTENTS

• PASSING AS WHITE: THE LIFE ALTERING EFFECTS ON LOVED ONES
• FAUSET’S PLUM BUN: PASSING AND RETURNING
• LARSEN’S PASSING: ESCAPE, WEALTH, OR APPEARANCE
• THE AUTOBIOGRAPHY OF AN EX-COLOURED MAN: WHITE, BLACK, WHITE?
• HUGHES “PASSING”: I LOVE YOU, BUT
• COMEDY AMERICAN STYLE: OLIVIA’S PASSING, THE FAMILY’S ESCAPE
• CONCLUSION: TO PASS OR NOT TO PASS
• REFERENCES

Purchase the dissertation here.

Racechanges: White Skin, Black Face in American Culture

Oxford University Press
May 1997
356 pages
Paperback ISBN13: 9780195134186; ISBN10: 0195134184

Susan Gubar, Distinguished Professor Emerita and Ruth N. Halls Professor Emerita of English
Indiana University

When the actor Ted Danson appeared in blackface at a 1993 Friars Club roast, he ignited a firestorm of protest that landed him on the front pages of the newspapers, rebuked by everyone from talk show host Montel Williams to New York City’s then mayor, David Dinkins. Danson’s use of blackface was shocking, but was the furious pitch of the response a triumphant indication of how far society has progressed since the days when blackface performers were the toast of vaudeville, or was it also an uncomfortable reminder of how deep the chasm still is separating black and white America?

In Racechanges: White Skin, Black Face in American Culture, Susan Gubar, who fundamentally changed the way we think about women’s literature as co-author of the acclaimed The Madwoman in the Attic, turns her attention to the incendiary issue of race. Through a far-reaching exploration of the long overlooked legacy of minstrelsy–cross-racial impersonations or “racechanges”—throughout modern American film, fiction, poetry, painting, photography, and journalism, she documents the indebtedness of “mainstream” artists to African-American culture, and explores the deeply conflicted psychology of white guilt. The fascinating “racechanges” Gubar discusses include whites posing as blacks and blacks “passing” for white; blackface on white actors in The Jazz Singer, Birth of a Nation, and other movies, as well as on the faces of black stage entertainers; African-American deployment of racechange imagery during the Harlem Renaissance, including the poetry of Anne Spencer, the black-and-white prints of Richard Bruce Nugent, and the early work of Zora Neale Hurston; white poets and novelists from Vachel Lindsay and Gertrude Stein to John Berryman and William Faulkner writing as if they were black; white artists and writers fascinated by hypersexualized stereotypes of black men; and nightmares and visions of the racechanged baby. Gubar shows that unlike African-Americans, who often are forced to adopt white masks to gain their rights, white people have chosen racial masquerades, which range from mockery and mimicry to an evolving emphasis on inter-racial mutuality and mutability.

Drawing on a stunning array of illustrations, including paintings, film stills, computer graphics, and even magazine morphings, Racechanges sheds new light on the persistent pervasiveness of racism and exciting aesthetic possibilities for lessening the distance between blacks and whites.

Searching for a new soul in Harlem

Gender News
The Clayman Institute for Gender Research
Stanford University
2012-02-27

Annelise Heinz, Ph.D. candidate in the Department of History
Stanford University

Allyson Hobbs on passing and racial ambiguity during the Harlem Renaissance

Harlem in the 1920s is known for its creative outpouring of art, music, and literature. A consciously political movement, the Harlem Renaissance was a cultural response to the dehumanizing limitations of Jim Crow, blackface minstrelsy, and economic disenfranchisement.

Early-20th-century America was organized along strict racial demarcations within a white supremacist world. Black authors like Alain Locke promoted a vision of the empowered “New Negro,” imbued with race pride. Ironically, during the same era that explicitly embraced a black identity, an extensive audience grew for literature focused on racial passing – stories about individuals of mixed-race heritage who passed as white.

For historian Allyson Hobbs, passing literature “functioned as a literary vehicle to critique racism and to draw attention to the absurdity of the American racial condition.” Yet, Hobbs also asserts that passing “opened a space for a fuller consideration of complex relationships within African American group identity.”

In this moment of celebrating African American culture, Jean Toomer and Nella Larsen, literary luminaries in the Harlem Renaissance, struggled with definitions of race. As individuals with mixed European and African ancestry, race structured the ways others saw them and shaped the choices available to them. Hobbs examines their personal and professional writings to argue for the diversity of mixed-race experiences and self-identities, which have largely been obscured or forgotten in the literature on passing…

Read the entire article here.

The Harlem Renaissance in Black and White

Harvard University Press
January 1996
560 pages
6-3/8 x 9-1/4 inches
Hardcover ISBN: 9780674372627

George Hutchinson, Booth Tarkington Professor of Literary Studies; Adjunct Professor of African American and African Diaspora Studies;  Adjunct Professor of American Studies
Indiana University, Bloomington

It wasn’t all black or white. It wasn’t a vogue. It wasn’t a failure. By restoring interracial dimensions left out of accounts of the Harlem Renaissance—or blamed for corrupting it—George Hutchinson transforms our understanding of black (and white) literary modernism, interracial literary relations, and twentieth-century cultural nationalism in the United States. What has been missing from literary histories of the time is a broader sense of the intellectual context of the Harlem Renaissance, and Hutchinson supplies that here: Boas’s anthropology, Park’s sociology, various strands of pragmatism and cultural nationalism—ideas that shaped the New Negro movement and the literary field, where the movement flourished. Hutchinson tracks the resulting transformation of literary institutions and organizations in the 1920s, offering a detailed account of the journals and presses, black and white, that published the work of the “New Negroes.” This cultural excavation discredits bedrock assumptions about the motives of white interest in the renaissance, and about black relationships to white intellectuals of the period. It also allows a more careful investigation than ever before of the tensions among black intellectuals of the 1920s. Hutchinson’s analysis shows that the general expansion of literature and the vogue of writing cannot be divorced from the explosion of black literature often attributed to the vogue of the New Negro—any more than the growing sense of “Negro” national consciousness can be divorced from expanding articulations and permutations of American nationality. The book concludes with the first full-scale interpretation of the landmark anthology The New Negro.
 
A courageous work that exposes the oversimplifications and misrepresentations of popular readings of the Harlem Renaissance, this book reveals the truly composite nature of American literary culture.

Invisible Darkness: Jean Toomer and Nella Larsen

University of Iowa Press
1993
255 pages, 10 photos
Paper 0-87745-437-X, 978-0-87745-437-3

Charles R. Larson, Professor of Literature
American University

Invisible Darkness offers a striking interpretation of the tortured lives of the two major novelists of the Harlem Renaissance: Jean Toomer, author of Cane (1923), and Nella Larsen, author of Quicksand (1928) and Passing (1929). Charles R. Larson examines the common belief that both writers “disappeared” after the Harlem Renaissance and died in obscurity; he dispels the misconception that they vanished into the white world and lived unproductive and unrewarding lives.

In clear, jargon-free language, Larson demonstrates the opposing views that both writers had about their work vis-à-vis the incipient black arts movement; he traces each writer’s troubled childhood and describes the unresolved questions of race that haunted Toomer and Larsen all of their lives. Larson follows Toomer through the wreckage of his personal life as well as the troubled years of his increasingly quirky spiritual quest until his death in a nursing home in 1967. Using previously unpublished letters and documents, Larson establishes for the first time the details of Larsen’s life, illustrating that virtually every published fact about her life is incorrect.

With an innovative chronology that breaks the conventions of the traditional biographical form, Larson narrates what happened to both of these writers during their supposed years of withdrawal. He demonstrates that Nella Larsen never really gave up her fight for creative and personal fulfillment and that Jean Toomer’s connection to the Harlem Renaissance—and the black world—is at best a dubious one. This strong revisionist interpretation of two major writers will have a major impact on African American literary studies.

Cane

W. W. Norton & Company, Inc.
January 2011 (Originally published in 1923)
560 pages
5 × 8 in
Paperback ISBN: 978-0-393-93168-6

Jean Toomer (1894-1967)

Edited by:

Rudolph P. Byrd (1953-2011), Goodrich C. White Professor of American Studies and African American Studies
Emory University

Henry Louis Gates, Jr., Alphonse Fletcher University Professor and Director, W. E. B. Du Bois Institute for African and African American Research
Harvard University

A masterpiece of the Harlem Renaissance and a canonical work in both the American and the African American literary traditions, Cane is now available in a revised and expanded Norton Critical Edition.

Originally published in 1923, Jean Toomer’s Cane remains an innovative literary work—part drama, party poetry, part fiction. This revised Norton Critical Edition builds upon the First Edition (1988), which was edited by the late Darwin T. Turner, a pioneering scholar in the field of African American studies. The Second Edition begins with the editors’ introduction, a major work of scholarship that places Toomer within the context of American Modernism and the Harlem Renaissance. The introduction provides groundbreaking biographical information on Toomer and examines his complex, contradictory racial position as well as his own pioneering views on race. Illustrative materials include government documents containing contradictory information on Toomer’s race, several photographs of Toomer, and a map of Sparta, Georgia—the inspiration for the first and third parts of Cane. The edition reprints the 1923 foreword to Cane by Toomer’s friend Waldo Frank, which helped introduce Toomer to a small but influential readership. Revised and expanded explanatory annotations are also included.

“Backgrounds and Sources” collects a wealth of autobiographical writing that illuminates important phases in Jean Toomer’s intellectual life, including a central chapter from The Wayward and the Seeking and Toomer’s essay on teaching the philosophy of Russian psychologist and mystic Georges I. Gurdjieff, “Why I Entered the Gurdjieff Work.” The volume also reprints thirty of Toomer’s letters from 1919–30, the height of his literary career, to correspondents including Waldo Frank, Sherwood Anderson, Claude McKay, Horace Liveright, Georgia O’Keeffe, and James Weldon Johnson.

An unusually rich “Criticism” section demonstrates deep and abiding interest in Cane. Five contemporary reviews—including those by Robert Littell and W. E. B. Du Bois and Alain Locke—suggest its initial reception. From the wealth of scholarly commentary on Cane, the editors have chosen twenty-one major interpretations spanning eight decades including those by Langston Hughes, Robert Bone, Darwin T. Turner, Charles T. Davis, Alice Walker, Gayl Jones, Barbara Foley, Mark Whalan, and Nellie Y. McKay.

A Chronology, new to the Second Edition, and an updated Selected Bibliography are also included.

Dangerous crossroads: Mestizaje in the U.S. Latino/a imaginary

Rice University
December 2007
197 pages
Publication ID: 3309864

John L. Escobedo, Assistant Professor of English
University of Colorado, Boulder

A thesis submitted in partial fulfillment of the requirement for the degree Doctor of Philosophy

My dissertation interrogates mestizaje and nationalism to rethink academic tendencies that construct resistant methodologies and singular national representations of hybrid theories and racial identities. To ground this argument, chapters one and two analyze how nationalism compromises current theoretical and feminist uses of mestizaje. The introductory chapter traces the influence of Latin American cultural theorists such as José Vasconcelos (1925) and Fernando Ortiz (1940) on contemporary U.S. Latino/a cultural critics. I argue that by selectively borrowing theoretical elements from Ortiz and Vasconcelos, U.S. Latino/a scholars unintentionally consolidate divergent Latino/a histories as well as ignore issues of nation building, class differences, and racial tensions to promote a unitary discourse of subversive mestizaje. Likewise, my analysis of Jovita González’s novel Caballero (1930) reveals how González’s feminist tactics counteract Mexico’s patriarchal oppression of women by going against traditional feminist themes esteemed in Chicano/a Studies. For González, nationalist tropes of indigenous curanderismo (spirituality) and magical realism insufficiently respond to the needs of oppressed Mexican American women.

The final two chapters evaluate the ramifications of constructing unitary racial identities of whiteness and blackness. My final investigation uncovers the existence of ethnicities within North American racial categorizations of whiteness and blackness that provide new insights to mestizaje’s disruption of ordered classifications of race in the United States. Chapter three argues that the southeastern European immigrant experience of racial inclusion and exclusion from Anglo Saxon whiteness allowed María Amparo Ruiz de Burton to play off of new conceptions of whiteness in an evolving imaginary of white U.S. mestizaje to write her novels The Squatter and the Don (1885) and Who Would Have Thought It? (1872). Chapter four examines the rise of the New Negro Movement during the Harlem Renaissance as a cultural event that required the erasure of individuals in the black community who did not mirror the collective identity of African Americans. This chapter specifically studies Puerto Rican archivist Arthur A. Schomburg as a figure who broadened the conception of the New Negro to recognize the intellectual participation and contribution of Afro Caribbeans to the Harlem Renaissance.

Read the entire dissertation here.

ENGL S-88 Study Abroad in Venice, Italy: Interracial Literature (32137)

Harvard Summer Program in Venice, Italy: Liberal arts studies in Italy’s city of canals
2010-06-03 through 2010-07-30
Mondays, Wednesdays, 10:00-12:30 CEST (Local Time)
(4 credits: UN, GR) Limited enrollment

Werner Sollors, Henry B. and Anne M. Cabot Professor of English and African-American Studies
Harvard University

This course examines a wide variety of literary texts on black-white couples, interracial families, and biracial identity, from classical antiquity to the present. Works studied include romances, novellas, plays, novels, short stories, poems, and nonfiction, as well as some films and examples from the visual arts. Topics for discussion range from interracial genealogies to racial “passing,” from representations of racial difference to alternative plot resolutions, and from religious and political to legal and scientific contexts for the changing understanding of race. Focus is on the European tradition and the Harlem Renaissance.

Prerequisites: none.

For more information, click here.