Mixed Race Studies

Crimes of passing: The criminalization of blackness and miscegenation in United States passing narratives

University of California, Los Angeles
2005
158 pages
Publication Number: AAT 3175169
ISBN: 9780542133046

Susan Elaine Bausch

A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature

Between approximately 1880 and 1925, large numbers of legally black Americans crossed the color line and identified as white; in common parlance, they “passed.” After Reconstruction, the South attempted to legislate the separation of the races by enacting “Jim Crow” laws that mandated segregation and prohibited miscegenation (at least within marriage). This meant that many passers were not just violating a social taboo by crossing the color line, they were also breaking the law. Even in the North, there were some anti-miscegenation laws on the books, although convention and prejudice probably played a bigger role in limiting mixed-race marriages. In effect, these laws made it a crime for a black person to do what a white person did, which means that blackness itself was criminalized.

Table of Contents

• Acknowledgements
• Introduction
• Chapter One: Imitation White and Secret Murderers: The Criminalization of Blackness in Mark Twain’s Pudd’nhead Wilson
• Chapter Two: Feminine Transgressions: Crossing Racial and Sexual Boundaries in Nella Larsen’s Passing and the Rhinelander Case
• Chapter Three: Passing for What?: Joe Christmas’s Racial Uncertainty and Criminal Fate in William Faulkner’s Light in August
• Chapter Four: A Passing Success: The Cost of Mobility in James Weldon Johnson’s The Autobiography of an Ex-Coloured Man
• Conclusion
• Works Cited

Purchase the dissertation here.

Imperfect Unions: Staging Miscegenation in U.S. Drama and Fiction

University of Minnesota Press
July 2012
336 pages
9 b&w photos
5 1/2 x 8 1/2
paper ISBN: 978-0-8166-7099-4
cloth ISBN: 978-0-8166-7098-7

Diana Rebekkah Paulin, Associate Professor of English and American Studies
Trinity College, Hartford, Connecticut

Imperfect Unions examines the vital role that nineteenth- and twentieth-century dramatic and literary enactments played in the constitution and consolidation of race in the United States. Diana Rebekkah Paulin investigates how these representations produced, and were produced by, the black–white binary that informed them in a wide variety of texts written across the period between the Civil War and World War I—by Louisa May Alcott, Thomas Dixon, J. Rosamond Johnson, Charles Chesnutt, James Weldon Johnson, William Dean Howells, and many others.

Paulin’s “miscegenated reading practices” reframe the critical cultural roles that drama and fiction played during this significant half century. She demonstrates the challenges of crossing intellectual boundaries, echoing the crossings—of race, gender, nation, class, and hemisphere—that complicated the black–white divide at the turn of the twentieth century and continue to do so today.
 
Imperfect Unions reveals how our ongoing discussions about race are also dialogues about nation formation. As the United States attempted to legitimize its own global ascendancy, the goal of eliminating evidence of inferiority became paramount. At the same time, however, the foundation of the United States was linked to slavery that served as reminders of its “mongrel” origins.

Contents

• Introduction. Setting the Stage: The Black–White Binary in an Imperfect Union
• 1. Under the Covers of Forbidden Desire: Interracial Unions as Surrogates
• 2. Clear Definitions for an Anxious World: Late Nineteenth-Century Surrogacy
• 3. Staging the Unspoken Terror
• 4. The Remix: Afro-Indian Intimacies
• 5. The Futurity of Miscegenation
• Conclusion: The “Sex Factor”and Twenty-first Century Stagings of MiscegeNation
• Acknowledgments
• Notes
• Index

Race and Ethnicity in “The Autobiography of an Ex-Colored Man” and “The Rise of David Levinsky”: The Performative Difference

MELUS
Volume 29, Numbers 3/4, (Autumn-Winter, 2004), Pedagody, Canon, Context: Toward a Redefinition of Ethnic
American Literary Studies
pages 307-321

Catherine Rottenberg, Assistant Professor
Department of Foreign Literatures and Linguistics and the Gender Studies Program
Ben-Gurion University, Beer-Sheva, Israel

Contemporary critics have questioned the reliance on the blac-white binary as the defining paradigm of racial formation in the United States. Eric Goldstein contends that despite the black-white dichotomy’s power “it was never a sufficient framework for understanding the much more complex set of categories through which Progressive-Era Americans understood and spoke about race” (398). Susan Koshy warns us of the dangers of leaving “the intermediary racial groups” untheorized (159). Racialization has indeed been a complex and uneven process in the US, and the black-white divide is insufficient for explaining how racial categories have operated on the level of social practices. However, I argue that the very intelligibility of intermediary racial groups and ethnicity depends on the prior construction of the black-white binary. In effect, the black-white axis has operated to secure the tenuousness of race to a framework of stable boundaries, which in turn has provided the necessary grounding for the ideology of white supremacy (Wiegman 9).

In what follows I examine two seminal novels from the Progressive Era: Abraham Cahan’s The Rise of David Levinsky (1917) and James Weldon Johnson’s The Autobiography of an Ex-Colored Man (1912). These texts, now canonical within Jewish American and African American literary traditions respectively, were written just a few years apart. Both novels explicitly query what it means “to be American,” and they do so by exploring how “race” affects one’s chances of success in the Progressive Era US. Werner Sollors sums up the similarities between the two novels in the following way: “Both books depict the externally upward journeys of protagonists from poverty to material success, from ethnic marginality to a more ‘American’ identity, and from a small-town background to the urban environment of New York” (170).

While Sollors underscores the affinities between the two novels, I highlight the differences by juxtaposing specific scenes from each text, scenes that have certainn arrativea nd structurals imilarities. I examine the distinctive modalities of race and ethnicity as manifested in these Progressive Era texts, arguing that the texts reveal three aspects of racial discourse in the United States. First, racial discourse has largely evolved around an ideology of a binary opposition: the black-white divide. Second, racial discourse has created a very patent racial stratification; while black and white have, for the most part, served as the reference points and the defining terms, there have been “intermediary” racial groups. Third, the constructions of race and ethnicity have had very different historical trajectories in the US context. The texts, in sum, gesture toward both the historical difference between the racialized status of African Americans and the racial in-betweenness of other minority groups, as well as the way in which the black-white divide informs the construction of these in-between groups…

Read the entire article here.

Passing and the Rise of the African American Novel

University of Illinois Press
2001
208 pages
6 x 9 in.
Paper ISBN: 978-0-252-07248-2

M. Giulia Fabi, Associate professor of American literature
University of Ferrara, Italy

Revealing the role of light-skinned black characters passing for white in African American literature

A CHOICE Outstanding Academic Title, 2003

Passing and the Rise of the African American Novel restores to its rightful place a body of American literature that has long been overlooked, dismissed, or misjudged. This insightful reconsideration of nineteenth-century African American fiction uncovers the literary artistry and ideological complexity of a body of work that laid the foundation for the Harlem Renaissance and changed the course of American letters.

Focusing on the trope of passing—black characters lightskinned enough to pass for white—M. Giulia Fabi shows how early African American authors such as William Wells Brown, Frank J. Webb, Charles W. Chesnutt, Sutton E. Griggs, Frances E. W. Harper, Edward A. Johnson, and James Weldon Johnson transformed traditional representations of blackness and moved beyond the tragic mulatto motif. Challenging the myths of racial purity and the color line, these authors used passing to celebrate a distinctive, African American history, culture, and worldview.

Fabi examines how early black writers adapted existing literary forms, including the sentimental romance, the domestic novel, and the utopian novel, to express their convictions and concerns about slavery, segregation, and racism. Chesnutt used passing as both a structural and a thematic element, while James Weldon Johnson innovated by parodying the earlier novels of passing and presenting the decision to pass as the result, rather than the cause, of cultural alienation. Fabi also gives a historical overview of the canon-making enterprises of African American critics from the 1850s to the 1990s and considers how their concerns about promoting the canonization of African American literature affected their perceptions of nineteenth-century black fiction.

The Autobiography of an Ex-Colored Man

Dover Publications
May 1995 (Originally published in 1912)
112 pages
5 3/16 x 8 1/4
ISBN 10:  048628512X
ISBN 13: 9780486285122

James Weldon Johnson (1871-1938)

This remarkable novel documents the life of an American of mixed ethnicity who moves freely in society — from the rural South to the urban North and eventually, Europe. A revolutionary work which not only probes the psychological aspects of “passing for white” but also examines the American caste and class system.

“This damned business of colour”: Passing in African American novels and memoirs

Lehigh University
2005-04-28
230 pages
Publication Number: AAT 3167071
ISBN: 9780542026218

Irina C. Negrea

Presented to the Graduate and Research Committee of Lehigh University in Candidacy for the Degree of Doctor of Philosophy in English

The topic of this dissertation is an analysis of racial passing, as depicted in the novels The House Behind the Cedars by Charles Chesnutt, The Autobiography of an Ex-Colored Man, by James Weldon Johnson, and Passing by Nella Larsen, as well as in the memoirs The Sweeter the Juice by Shirlee Taylor Haizlip, Notes of a White Black Woman by Judy Scales-Trent, and Life on the Color Line by Gregory Williams.

Starting from the premise that passing is a complex phenomenon that reinforces and subverts the racial system simultaneously, this dissertation focuses on the subversive side of passing that comes to light especially when the passer is found out—a side that becomes obvious in the reactions it provokes in white racists: horror, fear, disgust, and insecurity.

One other new element that this dissertation brings into the field is a classification of passing that can be used as a tool for the analysis of similar literary works. The majority of passers fall into one of two categories: identificatory and performative. Identificatory passing is predicated on the passer’s identification with the white ideology. It is permanent, and the passer breaks all ties with his/her African American ancestry. At the other end of the spectrum is performative passing, based on the view of race as performance—a matter of props, makeup, and/or behavior. The passer crosses the color line and “acts” white, but in most cases, s/he does not break his/her ties with his/her African American roots and community. Rather, the performative passer tries to acknowledge both his/her racial identities, refusing to be boxed in one narrow racial category. These types of passing do not exist in a “pure” state; there are characters who start as performers of race and end up identifying with whiteness, for example, but the two basic types exist, in one combination or another, in all the stories of passing ever written. These two different types of passing engender different types of subversion of the racial system, and they are discussed as well in this dissertation.

Table of Contents

• Chapter I: “Gone Over on the Other Side:” Charles Chesnutt’s The House Behind the Cedars
• Chapter II: “They Wouldn’t Know you from White:” The Autobiography of an Ex-Colored Man
• Chapter III: “They Always Come Back:” Nella Larsen’s Passing
• Chapter IV: The Family’s “Heart of Darkness:” Passing in African American Memoirs
• Bibliography

Purchase the dissertation here.

The Language Trap: U.S. Passing Fiction and its Paradox

University of Kansas
2009
181 pages

Masami Sugimori, Instructor of English
University of South Alabama

Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy.

Through exploration of William Faulkner’s, James Weldon Johnson’s and Nella Larsen’s “passing novels,” this dissertation points out that narrative representation of racial passing facilitates and compromises the authors’ challenge to the white-dominant ideology of early-twentieth-century America. I reveal that, due to their inevitable dependence on language, these authors draw paradoxically on the white-dominant ideology that they aim to question, especially its system of binary racial categorization. While the “white” body of a “passing” character serves the novelists as a subversive force in white-supremacist society (which depends on the racial other to define “whiteness”), language, which is essentially ideological, traps the writers in racial binary and continually suggests that, while the character looks white, s/he is really black. Accordingly, the authors have to write under the constraints of the problem that American discourse of race must and, for the most part, does systematically suppress its own essential fictiveness.

Table of Contents

• Abstract
• Acknowledgments
• Introduction: The Passing Paradox: Representing Racial Chaos within the Symbolic Order
• Chapter 1: Racial Mixture, Racial Passing, and White Subjectivity in William Faulkner’s Absalom, Absalom!
• Chapter 2: Signifying, Ordering, and Containing the Chaos: Whiteness, Ideology, and Language in William Faulkner’s Intruder in the Dust
• Chapter 3: Narrative Order and Racial Hierarchy: James Weldon Johnson’s Double-Consciousness and “White” Subjectivity in The Autobiography of an Ex-Colored Man and Along This Way
• Chapter 4: Ordering the Racial Chaos, Chaoticizing the Racial Order: Nella Larsen’s Narrative of Indeterminacy and Invisibility in Passing
• Conclusion: Toward a Language for the Real, Chaotic and Unnamable
• Notes
• Works Cited

Read the entire dissertation here.

Narrative Order, Racial Hierarchy, and “White” Discourse in James Weldon Johnson’s The Autobiography of an Ex-Colored Man and Along This Way

MELUS: Multi-Ethnic Literature of the U.S.
Volume 36, Number 3, Fall 2011
page 37-62
DOI: 10.1353/mel.2011.0041

Masami Sugimori, Instructor of English
University of South Alabama

African Americans became increasingly mobile during the early twentieth century, as exemplified by the Great Migration that began around 1910. Reflecting the general anxiety about such racial mobility, the March 2, 1911, issue of The Independent included an article about racial passing, “When Is a Caucasian Not a Caucasian?” Referring to the downfall of a “white” family whose part-black ancestry, unknown even to themselves, accidentally became public, the anonymous author discusses the “stupidity” and “cruelty” of the one-drop law and advises “all white negroes” to leave the South and live as “white people” so that, “as the bleaching process goes on, the conundrum will cease to concern them, When is a Caucasian not a Caucasian?” Despite the author’s insight into the precarious nature of racial categories, the article’s logic is predicated on the assumption of stable whiteness. On the one hand, along with its title, the article’s rhetorical question “Who knows where . . . it [the family’s tragedy] may strike next?” emphasizes that any white person can really be nonwhite. On the other hand, to highlight the “stupidity” and “cruelty” of white supremacy, the writer must posit an unquestionably pure-white man as the society’s representative. Thus, concerning the husband who annulled his marriage to an unwitting passer under Louisiana’s “infamous law against intermarriage,” the article states that “[t]here was no question that he was a full Caucasian” (479) despite its ongoing claim of the endless questionability of pure whiteness.

One finds such simultaneous refutation and affirmation of clear-cut racial classification in James Weldon Johnson’s novel about passing published a year later, The Autobiography of an Ex-Colored Man (1912). As Samira Kawash points out. the novel’s scrutiny of the racial binary even problematizes “the simple black passing for white’ logic of passing . . . and its attendant model of race as the expression of a prior, embodied identity,” so that the “Ex-Coloured Man’s relation to blackness is shown…

University of North Florida Presents James Weldon Johnson Symposium

University of North Florida
Press Release
2012-03-29

Joanna Norris, Associate Director of Public Relations

he University of North Florida presents the James Weldon Johnson Symposium from noon to 4 p.m. Thursday, April 5, and from noon to 5 p.m. Friday, April 6, in the UNF Student Union Auditorium, Building 58W, Room 2704, in celebration of the centennial anniversary of the publication of James Weldon Johnson’s “Autobiography of an Ex-Colored Man.”

The symposium will feature student and faculty performances, poetry readings as well as music and dance performances. The keynote speaker will be Dr. JeffriAnne Wilder, assistant professor in the UNF Department of Sociology and Anthropology. She will discuss “Black Americans and Colorism in the 21st Century,” while UNF student Erin Mulkey will perform “Lift Ev’ry Voice and Sing,” a song written by Johnson and is considered to be the Negro national anthem.

Additionally, there will be faculty and student presentations addressing the life of Johnson as well as his Jacksonville origins and connections. The event will conclude at 4 p.m. Friday, April 6, with a performance by the renowned McIntosh County Shouters, a group that performs the “Southeastern Ring Shout,” which is among the oldest surviving African-American performance traditions on the North American continent.

For more information, click here.

Crossing the Color Line: Narratives of Passing in American Literature

St. Mary’s College of Maryland
English 400.01
Fall 2008

Christine Wooley, Assistant Professor of English
     
This course will consider representations of passing (and thus also miscegenation) in nineteenth- and twentieth-century U.S. culture. While passing has often been depicted-and dismissed-as an act of racial betrayal, more recent criticism has suggested that we view these depictions of racial transgression and deception in more complicated ways. In this class, we will analyze various narratives centered around passing and miscegenation as sites through which we can better examine-and understand-the construction of racial identities in particular historical and political contexts. We will ask whether or not narratives about passing and miscegenation challenge the stability of racial categories. Likewise, we will pay close attention to how such narratives also engage issues of class, ethnicity, and gender. Syllabus may include works by authors such as Harriet Wilson, William Wells Brown, Lydia Maria Child, Frances Harper, William Dean Howells, Pauline Hopkins, Mark Twain, Charles Chesnutt, Kate Chopin, James Weldon Johnson, Nella Larsen, George Schuyler, Toni Morrison, and Philip Roth. In addition, this class will also draw on a selection of historical and legal documents, current critical works on race, and films such as The Jazz Singer and Imitation of Life.