Mixed Race Studies

IRISH-GA 1085: Black Irish Writing

Gluckman Ireland House
New York University
Spring 2010

This course examines the textual force-fields of similarity and difference in the writing of racial and ethnic identities in the Atlantic World.  It begins by considering works of Irish writers who engaged with Atlantic slavery and the sympathetic and testamentary discourses within abolitionism in the late 18th century; authors discussed include Hugh Mulligan, Mary Ledbetter, Edmund Burke, Thomas Brannigan, and Denis Driscoll.  The course then examines the over-lapping traces of radical and revolutionary memory in American slavery and in Irish politics, concentrating on the roles of Irish figures in the writings of Frederick Douglass and Black figures in the writings and speeches of Daniel O’Connell.  The mid-19th century explosion of writing about race and ethnicity following the publication of Uncle Tom’s Cabin will be explored in relation to the many imitations of Stowe’s novel that sought to explain post-famine Ireland.  The course then considers the proliferation of texts that sought to understand the antinomies of desire and prohibition surrounding persons of mixed race, reading works by Mayne Reid, Dion Boucicault, and Charles Chesnutt. Texts that convey the fusion of African-American and Irish cultural forms will be discussed, including Blackface, Minstrelsy, and Dance.  After consideration of the use of race in the development of anti-Irish caricature (via readings of English (Punch) and American (Thomas Nast and the Nativists) cartoonists), the course will conclude by looking at shared and divergent textual and political strategies in writers of the Irish and Harlem Renaissances, concentrating on the ambivalence of dialect writing (Finley Peter Dunne, John Synge, Paul Laurence Dunbar and Claude McKay), and the limits of modernist primitivism (Eugene O’Neill’s “The Emperor Jones”).  The course will conclude with a discussion of the politics of memory along and across the color line in contemporary Irish and American public life.  Primary readings will be supplemented by theoretical and critical texts, including works by Paul Gilroy, Ian Baucom, Eric Lott, Robert Young, Perry Curtis, Marx, Freud, and Foucault.

‘The rivers of Zimbabwe will run red with blood’: Enoch Powell and the Post-Imperial Nostalgia of the Monday Club

Journal of Southern African Studies
Volume 37, Issue 4 (December 2011)
pages 731-745
DOI: 10.1080/03057070.2011.613691

Daniel McNeil, Lecturer in Media and Cultural Studies
Newcastle University, United Kingdom

In his influential account of post-colonial melancholia, Paul Gilroy suggests that contemporary reports of violence in Southern Africa reveal Britain’s inability to work through its grim history of imperialism and colonialism. Gilroy’s study links recent discussions of tragic Southern African themes to Enoch Powell’s ‘rivers of blood’ speech in 1968. However, it does not mention Powell’s critique of Britain’s ‘post-imperial nostalgia’ in a speech about Rhodesia later that year. This is not entirely surprising – the Conservative Central Office did not disseminate Powell’s call for Britons to move beyond sentimental attachment to ‘kith and kin’ in Rhodesia, and Rhodesian sympathisers in the Conservative Monday Club attempted to work around Powell’s refusal to support the ‘White Commonwealth’. Moreover, Powell opposed non-white ‘communalism’ whether he was emphasising the importance of the British Empire to English identity or challenging the ‘harmful myth’ of empire as an English nationalist. Consequently, this article uses archival material relating to the Monday Club and the Rhodesian Ministry of Information in order to document three of the main strands of post-colonial melancholia that apply to Powellite figures on the right who defended (white) minority rule in Rhodesia and/or demonised (non-white) minority cultures in the United Kingdom. The first main strand of post-colonial melancholia involves the belief that racial intermixture will lead to violence and economic instability. The second emphasises the importance of strong white rule to limit racial violence and industrial retardation. The third attempts to contest and then seize the position of victim, alleging one set of standards for the ‘civilised’ West and another set of standards for ‘failed, incompetent and pre-modern states.’

Read or purchase the article here.

Boundaries Transgressed: Modernism and miscegenation in Langston Hughes’s “Red-Headed Baby”

Atlantic Studies
Volume 3, Issue 1 (April 2006)
pages 97 – 110
DOI: 10.1080/14788810500525499

Isabel Soto

This essay is an expanded and revised version of a paper read at the 8th International Conference On the Short Story in English, organized by the Instituto Universitario de Investigación en Enstudios Norteamericanos, Alcalá de Henares (Spain), 28–31 October 2004.

This essay argues that while Langston Hughes‘s short story “Red-Headed Baby” (from The Ways of White Folks) may initially seem to depart from the Hughes repertoire (through its dizzying modernist style, for one), it ultimately endorses the author’s signature concerns of race, genre transgression and imaginative appropriation of alterity. I also seek to historicize Hughes’s text, inscribing it within a modernist practice, studies of which have traditionally promoted the Euro-American paradigm of a dehistoricized “modernist construction of authorship through displacement” (Cora Kaplan). Few writers of the first third of the twentieth century have undertaken travel—figurative and literal—as intensely as Hughes has. His work is anchored in representations of displacement and “Red-Headed Baby” is no exception, with its miscegenation motif and sailor protagonist. Hence my reading of Hughes’s short story will also draw on modes of inquiry that promote displacement as central to an understanding of cultural practice. I draw substantially on Paul Gilroy‘s black Atlantic model and formulations of diaspora—not least because his influential work barely mentions Hughes, that most diasporic of modernist writers. I will argue that travel was aesthetically enabling for Hughes, enhancing what elsewhere I have termed his poetics of reciprocity or mutuality. Finally, Duboisian double consciousness also contributes to my discussion, which proposes a dialogic relationship between The Souls of Black Folks and The Ways of White Folks.

Read or purchase the article here.

The Masters and the Slaves: Plantation Relations and Mestizaje in American Imaginaries

Palgrave Macmillan
January 2005
176 pages
Size 5 1/2 x 8 1/4
Paperback ISBN: 1-4039-6708-3
Hardcover ISBN: 1-4039-6563-3

Edited by:

Alexandra Isfahani-Hammond, Assistant Professor of Luso-Brazilian Literature
University of California, San Diego

The Masters and the Slaves theorizes the interface of plantation relations with nationalist projects throughout the Americas. In readings that cover a wide range of genres–from essays and scientific writing to poetry, memoirs and the visual arts–this work investigates the post-slavery discourses of Brazil, the United States, Cuba, Puerto Rico, Haiti and Martinique. Indebted to Orlando Patterson‘s Slavery and Social Death (1982) and Paul Gilroy‘s The Black Atlantic (1993), these essays fill a void in studies of plantation power relations for their comparative, interdisciplinary approach and their investment in reading slavery through the gaze of contemporary theory, with particularly strong ties to psychoanalytic and gender studies interrogations of desire and performativity.

Table of contents

• Introduction
• The Sugar Daddy: Gilberto Freyre and the White Man’s Love for Blacks—César Braga-Pinto
• Writing Brazilian Culture—Alexandra Isfahani-Hammond
• Authority’s Double Shadow: Thomas Jefferson and the Architecture of Illegitimacy—Helena Holgersson
• Fixing History: Race, Nation, and the Symbolics of Servitude in Haitian Noirisme —Valerie Kaussen
• Fanon as ‘Metrocolonial’ Flaneur in the Caribbean Post-Plantation/Algerian Colonial City—Nalini Natarajan
• From the Tropics: Cultural Subjectivity and Politics in Gilberto Freyre—Jossiana Arroyo
• Hybridity and Mestizaje: Syncretism or Subversive Complicity—Ramón Grosfoguel
• Giants of Three Colors: A Writer and an Artist Imagine Racial Mixture in 1940s Brazil—Luiza Franco Moreira
• Messianic Melancholic Imagination: Imagine Community with the Dead—Shreerekha Subramanian

“The New Kubla Khan: Mixed Race Multi-Nationalism”

Paper presented at the annual meeting of the American Studies Association
2009-05-24

Michele Elam, Martin Luther King, Jr. Centennial Professor of English, Professor, Director of African & African American Studies
Stanford University

This paper examines how, and to what ends, people of the “mixed race experience” are being discursively contextualized as posterchildren of the “post-race,” “post-nation” era. As early as 1996, Stanley Crouch was proclaiming that “race is over;” since then, others also have rung race’s death knell: Holland Cotter in a 2001 New York Times piece, for example, has claimed that the time for “ethno-racial identity” is past, that we are now witnessing the coming of “postblack or postethnic art” that represents what Anthony Appiah recently called a “New Cosmopolitanism.” This presentation argues that “mixed race” has emerged in the context of these “post-race” cultural discourses, discourses which suggest, as Belize in Tony Kushner’s Angels in America puts it, that “race, taste and history” are “finally overcome.” Hybridity for many represents “life after race”(Naomi Zack), a step “beyond race” (Dinesh D’Sousa), a gesture “against race”(Paul Gilroy), the “new racial order” (G. Reginald Daniel), a “new frontier”(Maria Root) advanced by a “new people” (Jon Michael Spencer) who are ushering in a new world beyond race, identity, and nation. My presentation examines this problematic representation of mixed race people as post-nation vanguards in both mainstream media and in the field of pop-culture, and the send-up of the idea that “mixed race” people constitute a new nation-beyond-nationalism in Danzy Senna’s novel, Symptomatic (2005).

Between Camps: Nations, Cultures and the Allure of Race (Also published in the United States by Harvard University Press as Against Race: Imagining Political Culture beyond the Color Line)

Routledge
2004-08-26
424 pages
Trim Size: 234X156
Paperback ISBN: 978-0-415-34365-7

Paul Gilroy, Anthony Giddens Professorship in Social Theory
The London School of Economics and Political Science

In this provocative book, now reissued with a new introduction, Paul Gilroy contends that race-thinking has distorted the finest promises of modern democracy.  He compels us to see that fascism was the principal political innovation of the twentieth century – and that its power to seduce did not die in a bunker in Berlin.

Between Camps addresses questions such as:

• Why do we still divide humanity into different identity groups based on skin colour?
• Did all the good done by the Civil Rights Movement and the decolonization of the Third World have such little lasting effect?

Gilroy examines the ways in which media and commodity culture have become pre-eminent in our lives in the years since the 1960s and especially in the 1980s with the rise of hip-hop and other militancies. With this trend, he contends, much that was valuable about black culture has been sacrificed in the service of corporate interests and new forms of cultural expression tied to visual technologies. He argues that the triumph of the image spells death to politics and reduces people to mere symbols.

At its heart, Between Camps is a Utopian project calling for the renunciation of race. Gilroy champions a new humanism, global and cosmopolitan, and he offers a new political language and a new moral vision for what was once called ‘anti-racism’.