Mixed Race Studies

James Weldon Johnson’s Feminization of Biraciality

Twentieth-Century Literature
Volume 67, Number 4, December 2021
pages 385-406

Rafael Walker, Assistant Professor of English
Baruch College, City University of New York

In considering fictions centered on characters of mixed Black-and-white parentage, critics tend to assimilate these stories into African American literary paradigms—in much the same way that, in real life, America considers biracial people as simply black. Working against this reductive reflex, this essay reads James Weldon Johnson’s 1912 novel The Autobiography of an Ex-Colored Man as a serious exploration of biracial identity and experience. Specifically, the article argues that Johnson draws on early twentieth-century conceptions of femininity as a vehicle for rendering mainly three facets of the lives of many biracial men: (1) hypervisibility (in a world obsessed with skin color), (2) sexuality (when identification is distorted), and (3) self-determination (where a racial hierarchy appears to eliminate agency). In its conclusion, the article suggests that the prevailing tendencies among readers of the novel to condemn the ex-colored man stems from an investment in the trope of the “tragic mulatto“—a plot device that at once sentimentalizes the fates of biracial characters and links those fates inextricably to biology rather than ideology.

Read or purchase the article here.

Racism in Ireland: “I grew up feeling like I was born with some awful condition”

Her
2020

Taryn de Vere

From online abuse to comments in the Dáil, racism has come to the forefront of the national conversation in recent months. But who is suffering and just how prevalent is it? In a new series, Her asks women living in Ireland to tell us about their real life experiences…

“No one should want to bleach their hair or hide their skin because they’ve been told the way they were born looks ‘ghetto'”

Vanessa Ifediora says that growing up black in Northern Ireland was difficult. “Bullying was rife, mostly instigated by the parents who sent their kids into school with a script of what to say to me,” says the Belfast woman. “Children that young only parrot what their parents teach them.

“When I was 16, the manager at my part-time job showed me a picture of some blonde haired baby whose mother was mixed race, and told me: ‘Keep your chin up, when you marry a white guy nobody will even know your children are black.'”

Moving away from her home city as an adult didn’t put an end to these experiences. Vanessa was also subjected to blatant racism while living in Cork.”It was only seven years ago – I don’t know what it’s like now – but, then,  in Cork people would openly walk right up to me and insult me…

Read the entire article here.

White Blood: A Lyric of Virginia

Sarabande Books
2020-05-05
112 pages
5.3 x 0.6 x 8.4 inches
Paperback ISBN: 978-1946448545

Kiki Petrosino, Professor of Poetry
University of Virginia

• Winner of the 2021 UNT Rilke Prize
• Hurston/Wright Foundation Legacy Award Nominee
• Library of Virginia Literary Awards Finalist
• Winner of the 2021 Spalding Prize for the Promotion of Peace and Justice

In her fourth full-length book, White Blood: A Lyric of Virginia, Kiki Petrosino turns her gaze to Virginia, where she digs into her genealogical and intellectual roots, while contemplating the knotty legacies of slavery and discrimination in the Upper South. From a stunning double crown sonnet, to erasure poetry contained within DNA testing results, the poems in this collection are as wide-ranging in form as they are bountiful in wordplay and truth. In her poem “The Shop at Monticello,” she writes: “I’m a black body in this Commonwealth, which turned black bodies/ into money. Now, I have money to spend on little trinkets to remind me/ of this fact. I’m a money machine & my body constitutes the common wealth.” Speaking to history, loss, and injustice with wisdom, innovation, and a scientific determination to find the poetic truth, White Blood plants Petrosino’s name ever more firmly in the contemporary canon.

Jennifer A. Jones: Afro-Mexicans, Migration, and the Permutations of Race

Dialogues in Afrolatinidad
Season 1, Episode 3
2021-05-31

Michele Reid-Vazquez, Host and Associate Professor
Department of Africana Studies
University of Pittsburgh

Dialogues in Afrolatinidad explores history, culture, and contemporary issues in Afro-Latin America and U.S.-Afro-Latinx communities. The podcast features interviews with scholars, writers, educators, artists, and community leaders who share their passion for Afro-Latin American and Afro-Latinx Studies, the significance of their intellectual, creative, or community engagement, and resources for learning more.

This episode features Dr. Jennifer A. Jones, a native of Chicago and a sociologist specializing in contemporary transnational Afro-Mexican studies. She discusses the way race is made in Latin America through her experiences in both Cuba and Mexico, as well as the broader impact of space, politics, and mobility on racial constructions throughout the U.S. She also highlights her recent book, The Browning of the New South, which explores blackness and anti-blackness in Mexico, the current migration of Afro-Mexicans to North Carolina, and their reformulations of race in the U.S. South.

Listen to the episode (00:34:06) here. Download the episode here.

The Obama Portraits

Princeton University Press
2020-02-11
152 pages
7 x 9 in.
76 color illustrations
Hardcover ISBN: 9780691203287

Edited by:

Taína Caragol, Curator of Painting and Sculpture and Latino Art and History
National Portrait Gallery, Washington, D.C.

Dorothy Moss, Curator of Painting and Sculpture
National Portrait Gallery, Washington, D.C.

Richard J. Powell, John Spencer Bassett Professor of Art and Art History
Duke University, Durham, North Carolina

Kim Sajet, Director
National Portrait Gallery, Washington, D.C.

From the moment of their unveiling at the National Portrait Gallery in early 2018, the portraits of Barack and Michelle Obama have become two of the most beloved artworks of our time. Kehinde Wiley’s portrait of President Obama and Amy Sherald’s portrait of the former first lady have inspired unprecedented responses from the public, and attendance at the museum has more than doubled as visitors travel from near and far to view these larger-than-life paintings. After witnessing a woman drop to her knees in prayer before the portrait of Barack Obama, one guard said, “No other painting gets the same kind of reactions. Ever.” The Obama Portraits is the first book about the making, meaning, and significance of these remarkable artworks.

Richly illustrated with images of the portraits, exclusive pictures of the Obamas with the artists during their sittings, and photos of the historic unveiling ceremony by former White House photographer Pete Souza, this book offers insight into what these paintings can tell us about the history of portraiture and American culture. The volume also features a transcript of the unveiling ceremony, which includes moving remarks by the Obamas and the artists. A reversible dust jacket allows readers to choose which portrait to display on the front cover.

An inspiring history of the creation and impact of the Obama portraits, this fascinating book speaks to the power of art—especially portraiture—to bring people together and promote cultural change.

Published in association with the Smithsonian’s National Portrait Gallery, Washington, DC

How Are We Still Debating Interracial Marriage in 2022?

The New York Times
2022-03-25

Jamelle Bouie, Opinion Columnist

“You would be OK with the Supreme Court leaving the question of interracial marriage to the states?”

“Yes,” said Senator Mike Braun of Indiana while fielding questions from local media on Tuesday. “If you’re not wanting the Supreme Court to weigh in on issues like that, you’re not going to be able to have your cake and eat it, too,” he said. “That’s hypocritical.”

Braun walked this back, of course, undoubtedly aware of the damage it could do if he let it stand. “Earlier during a virtual press conference, I misunderstood a line of questioning that ended up being about interracial marriage,” he said in a statement to NBC News. “Let me be clear on that issue — there is no question the Constitution prohibits discrimination of any kind based on race, that is not something that is even up for debate, and I condemn racism in any form, at all levels and by any states, entities or individuals.”

As damage control goes, this was unpersuasive. It’s not just that the questions he originally answered were clear; it’s that Braun’s answer was consistent with what he had said throughout the news conference. His argument to reporters was that the existence of certain rights, and the particular shape they take, was best left to the states. He used abortion and marijuana legalization as examples. It was then that a reporter asked if this applied to interracial marriage…

Read the entire article here.

An Interview with Paisley Rekdal

Kenyan Review
2021-07-07

Ruben Quesada

Paisley Rekdal is a Distinguished Professor at the University of Utah, where she is also the creator and editor of West: A Translation, as well as the community web projects Mapping Literary Utah and Mapping Salt Lake City. In May 2017, she was named Utah’s Poet Laureate and received a 2019 Academy of American Poets’ Poets Laureate Fellowship. Appropriate: A Provocation, which examines cultural appropriation, was published from W.W. Norton in Feb. 2021.

Her work has received a Guggenheim Fellowship, the Amy Lowell Poetry Traveling Fellowship, a Fulbright Fellowship, a Civitella Ranieri Residency, a National Endowment for the Arts Fellowship, Pushcart Prizes (2009, 2013), Narrative’s Poetry Prize, the AWP Creative Nonfiction Prize, and various state arts council awards. Her poems and essays have appeared in The New York Times Magazine, American Poetry Review, Kenyon Review, Poetry, The New Republic, Tin House, the Best American Poetry series (2012, 2013, 2017, 2018, 2019), and on National Public Radio, among others.

RUBEN QUESADA: What is the earliest memory you have about your relationship to literature?

PAISLEY REKDAL: I recall when I felt I understood something about literature that other people didn’t. It was in fifth grade, when we were discussing Lord of the Flies, and the teacher asked who the self-sacrificial character Piggy might also remind us of. Piggy was meant to stand in for Jesus and I remember muttering that in class while the rest of the students looked a little baffled. I understood then that works of literature were often telling multiple stories at once; this multiplicity of meaning seemed to irritate other people, though it didn’t irritate me…

Read the entire interview here.

Learning Your Own Name

The Gay & Lesbian Review
2022-02-25

Ren Iris

IF GENDER had a tagline, it would be “Gender: Paradoxes Abound.” Every day, we make countless assumptions based on gender expectations and societal norms. Sex assigned at birth and gender are often conflated and/or repurposed to fit institutional check-the-box guidelines. Gender—the abstraction, the perceived reality—is a chimera. Like most other words acting as a placeholder for an abstract concept, it is ever shifting and always context-dependent, even if it’s relegated to a box to be checked on a form.

We’ve gotten less restrictive lately, thanks to activists and antidiscrimination policies, and thanks also to the dissemination of intersectional training, often featuring educational resources such as the “gender unicorn” or “gender bread” person. But even with all that knowledge, we must constantly unlearn the restrictive, prescriptive understandings of gender. And in real time, during present interactions, referring to a gender-inclusive cheat sheet before responding is usually a thankless endeavor…

Read the entire article here.

After the murder of George Floyd, and a renewed energy around the Black Lives Matter movement in 2020, [Adwoa] Aboah found her conversations on her Gurls Talk podcast getting “a lot deeper. Everyone had so much to say, and everyone was going through such personal experiences, growth and sadness.” It also led to a second Vogue cover, this time alongside Marcus Rashford, shot in the footballer’s garden in Manchester, for an issue spotlighting “faces of hope”. It was a huge moment – and one she almost turned down. At the time, Aboah says, she “didn’t think it was my place to be that person. I think it’s because I hadn’t really delved into race and my feelings around it, and what I had been through. My mum’s white, my dad’s Black, and there had been a lot of confusion personally as to how I felt about it all. And, actually, it was great.” There’s a sense of gratitude in her voice as she describes “championing the Black community … I’m really happy that I did take that opportunity, because I am very much part of that community. I am a Black woman. I have a lot of things to say, which I hadn’t had the confidence to speak about.”

Hannah J. Davies, “Adwoa Aboah on acting, recovery and her racial awakening: ‘I am a Black woman. I have a lot to say’,” The Guardian, March 19, 2022. https://www.theguardian.com/fashion/2022/mar/19/adwoa-aboah-acting-recovery-racial-awakening-black-woman-lot-to-say.

The Journey to Separate but Equal: Madame Decuir’s Quest for Racial Justice in the Reconstruction Era

University Press of Kansas
April 2021
256 pages
Hardback ISBN: ISBN 978-0-7006-3183-4

Jack M. Beermann, Professor of Law and Harry Elwood Warren Scholar
Boston University School of Law

In The Journey to Separate but Equal: Madame Decuir’s Quest for Racial Justice in the Reconstruction Era, Jack Beermann tells the story of how, in Hall v. Decuir, the post–Civil War US Supreme Court took its first step toward perpetuating the subjugation of the non-White population of the United States by actively preventing a Southern state from prohibiting segregation on a riverboat in the coasting trade on the Mississippi River. The Journey to Separate but Equal offers the first complete exploration of Hall v. Decuir, with an in-depth look at the case’s record; the lives of the parties, lawyers, and judges; and the case’s social context in 1870s Louisiana. The book centers around the remarkable story of Madame Josephine Decuir and the lawsuit she pursued because she had been illegally barred from the cabin reserved for White women on the Governor Allen riverboat.

The drama of Madame Decuir’s fight against segregation’s denial of her dignity as a human and particularly as a woman enriches our understanding of the Reconstruction era, especially in Louisiana, including political and legal changes that occurred during that time and the plight of people of color who were freed from slavery but denied their dignity and rights as American citizens. Hall v. Decuir spanned the pivotal period of 1872–1878, during which White segregationist Democrats “redeemed” the South from Republican control. The Supreme Court’s ruling in Hall overturned the application of an 1869 Louisiana statute prohibiting racial segregation in Madame Decuirs case because of the status of the Mississippi River as a mode of interstate commerce. The decision represents a crucial precedent that established the legal groundwork for the entrenchment of Jim Crow in the law of the United States, leading directly to the Courts adoption of separate but equal in Plessy v. Ferguson.