Mixed Race Studies

“Miscegenation” Making Race in America

University of Pennsylvania Press
2002
216 pages
6 x 9, 19 illus.
Cloth: ISBN 978-0-8122-3664-4
Paper ISBN: 978-0-8122-2064-3

Elise Lemire, Professor of Literature
Purchase College, State University of New York

In the years between the Revolution and the Civil War, as the question of black political rights was debated more and more vociferously, descriptions and pictorial representations of whites coupling with blacks proliferated in the North. Novelists, short-story writers, poets, journalists, and political cartoonists imagined that political equality would be followed by widespread inter-racial sex and marriage. Legally possible yet socially unthinkable, this “amalgamation” of the races would manifest itself in the perverse union of “whites” with “blacks,” the latter figured as ugly, animal-like, and foul-smelling. In Miscegenation, Elise Lemire reads these literary and visual depictions for what they can tell us about the connection between the racialization of desire and the social construction of race.

Previous studies of the prohibition of interracial sex and marriage in the U.S. have focused on either the slave South or the post-Reconstruction period. Looking instead to the North, and to such texts as the Federalist poetry about Thomas Jefferson and Sally Hemings, James Fenimore Cooper‘s Last of the Mohicans, Edgar Allan Poe‘s “Murders in the Rue Morgue,” and the 1863 pamphlet in which the word “miscegenation” was first used, Lemire examines the steps by which whiteness became a sexual category and same-race desire came to seem a biological imperative.

Table of Contents

• List of Illustrations
• Introduction: The Rhetorical Wedge Between Preference and Prejudice
• 1. Race and the Idea of “Preference” in the New Republic: The Port Folio Poems About Thomas Jefferson and Sally Hemings
• 2. The Rhetoric of Blood and Mixture: Cooper’s “Man Without a Cross”
• 3. The Barrier of Good Taste: Avoiding A Sojourn in the City of Amalgamation in the Wake of Abolitionism
• 4. Combating Abolitionism with the Species Argument: Race and Economic Anxieties in Poe’s Philadelphia
• 5. Making “Miscegenation”: Alcott‘s Paul Frere and the Limits of Brotherhood After Emancipation
• Epilogue: “Miscegenation” Today
• Notes
• Bibliography
• Index
• Acknowledgments

New People: Miscegenation and Mulattoes in the United States

Louisiana State University Press
1980
240 pages
6 x 9
Paper ISBN-13: 978-0-8071-2035-4

Joel Williamson, Lineberger Professor in the Humanities
University of North Carolina, Chapel Hill

New People is an insightful historical analysis of the miscegenation of American whites and blacks from colonial times to the present, of the “new people” produced by these interracial relationships, and of the myriad ways in which miscegenation has affected our national culture. Because the majority of American blacks are in fact of mixed ancestry, and because mulattoes and pure blacks ultimately combined their cultural heritages, what begins in the colonial period as mulatto history and culture ends in the twentieth century as black history and culture. Thus, understanding the history of the mulatto becomes one way of understanding something of the experience of the African American.

Williamson traces the fragile lines of color and caste that have separated mulattoes, blacks, and whites throughout history and speculates on the effect that the increasing ambiguity of those lines will have on the future of American society.

Interracialism: Black-White Intermarriage in American History, Literature, and Law

Oxford University Press
September 2000
560 pages
Paperback ISBN13: 9780195128574
Paperback ISBN10: 0195128575
Hardback ISBN13: 9780195128567
Hardback ISBN10: 0195128567

Edited by:

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

Interracialism, or marriage between members of different races, has formed, torn apart, defined and divided our nation since its earliest history. This collection explores the primary texts of interracialism as a means of addressing core issues in our racial identity. Ranging from Hannah Arendt to George Schuyler and from Pace v. Alabama to Loving v. Virginia, it provides extraordinary resources for faculty and students in English, American and Ethnic Studies as well as for general readers interested in race relations. By bringing together a selection of historically significant documents and of the best essays and scholarship on the subject of “miscegenation,” interracialism demonstrates that notions of race can be fruitfully approached from the vantage point of the denial of interracialism that typically informs racial ideologies.

Injun Joe’s Ghost: The Indian Mixed-Blood in American Writing

University of Missouri Press
2004
ISBN 978-0-8262-1530-7
288 pages
6 x 9

Harry J. Brown, Assistant Professor of English
DePauw University

What does it mean to be a “mixed-blood,” and how has our understanding of this term changed over the last two centuries? What processes have shaped American thinking on racial blending?  Why has the figure of the mixed-blood, thought too offensive for polite conversation in the nineteenth century, become a major representative of twentieth-century native consciousness?

In Injun Joe’s Ghost, Harry J. Brown addresses these questions within the interrelated contexts of anthropology, U.S. Indian policy, and popular fiction by white and mixed-blood writers, mapping the evolution of “hybridity” from a biological to a cultural category. Brown traces the processes that once mandated the mixed-blood’s exile as a grotesque or criminal outcast and that have recently brought about his ascendance as a cultural hero in contemporary Native American writing.

Because the myth of the demise of the Indian and the ascendance of the Anglo-Saxon is traditionally tied to America’s national idea, nationalist literature depicts Indian-white hybrids in images of degeneracy, atavism, madness, and even criminality. A competing tradition of popular writing, however, often created by mixed-blood writers themselves, contests these images of the outcast half-breed by envisioning “hybrid vigor,” both biologically and linguistically, as a model for a culturally heterogeneous nation.

Injun Joe’s Ghost focuses on a significant figure in American history and culture that has, until now, remained on the periphery of academic discourse. Brown offers an in-depth discussion of many texts, including dime novels and Depression- era magazine fiction, that have been almost entirely neglected by scholars. This volume also covers texts such as the historical romances of the 1820s and the novels of the twentieth-century “Native American Renaissance” from a fresh perspective. Investigating a broad range of genres and subject over two hundred year of American writing, Injun Joe’s Ghost will be useful to students and professionals in the fields of American literature, popular culture, and native studies.

Race Mixture in Nineteenth-Century U.S. and Spanish American Fictions: Gender, Culture, and Nation Building

University of North Carolina Press
October 2004
192 pages
5.5 x 8.5, notes, bibl., index
Paper ISBN:  978-0-8078-5564-5

Debra J. Rosenthal, Associate Professor of English
John Carroll University

Race mixture has played a formative role in the history of the Americas, from the western expansion of the United States to the political consolidation of emerging nations in Latin America. Debra J. Rosenthal examines nineteenth-century authors in the United States and Spanish America who struggled to give voice to these contemporary dilemmas about interracial sexual and cultural mixing.

Rosenthal argues that many literary representations of intimacy or sex took on political dimensions, whether advocating assimilation or miscegenation or defending the status quo. She also examines the degree to which novelists reacted to beliefs about skin differences, blood taboos, incest, desire, or inheritance laws. Rosenthal discusses U.S. authors such as James Fenimore Cooper, Catharine Maria Sedgwick, Walt Whitman, William Dean Howells, and Lydia Maria Child as well as contemporary novelists from Cuba, Peru, and Ecuador, such as Gertrudis Gómez de Avellaneda, Clorinda Matto de Turner, and Juan León Mera. With her multinational approach, Rosenthal explores the significance of racial hybridity to national and literary identity and participates in the wider scholarly effort to broaden critical discussions about America to include the Americas.

Mixing Race, Mixing Culture: Inter-American Literary Dialogues

University of Texas Press
2002
6 x 9 in.
324 pp., 4 photos, 1 chart
ISBN: 978-0-292-74348-9
Print-on-demand title

Edited by

Monika Kaup, Assistant Professor of English
University of Washington, Seattle

Debra Rosenthal, Assistant Professor of English
John Carroll University

Over the last five centuries, the story of the Americas has been a story of the mixing of races and cultures. Not surprisingly, the issue of miscegenation, with its attendant fears and hopes, has been a pervasive theme in New World literature, as writers from Canada to Argentina confront the legacy of cultural hybridization and fusion.

This book takes up the challenge of transforming American literary and cultural studies into a comparative discipline by examining the dynamics of racial and cultural mixture and its opposite tendency, racial and cultural disjunction, in the literatures of the Americas. Editors Kaup and Rosenthal have brought together a distinguished set of scholars who compare the treatment of racial and cultural mixtures in literature from North America, the Caribbean, and Latin America. From various angles, they remap the Americas as a multicultural and multiracial hemisphere, with a common history of colonialism, slavery, racism, and racial and cultural hybridity.

Table of Contents

• Acknowledgments
• Introduction
• I. Mixed-Blood Epistemologies
  1. Werner Sollors, Can Rabbits Have Interracial Sex?
  2. Doris Sommer, Who Can Tell? The Blanks in Villaverde
  3. Zita Nunes, Phantasmatic Brazil: Nella Larsen‘s Passing, American Literary Imagination, and Racial Utopianism
• II. Métissage and Counterdiscourse
  1. Françoise Lionnet, Narrating the Americas: Transcolonial Métissage and Maryse Condé‘s La Migration des coeurs
  2. Michèle Praeger, Créolité or Ambiguity?
• III. Indigenization, Miscegenation, and Nationalism
  1. Priscilla Archibald, Gender and Mestizaje in the Andes
  2. Debra J. Rosenthal, Race Mixture and the Representation of Indians in the U.S. and the Andes: Cumandá, Aves sin nido, The Last of the Mohicans, and Ramona
  3. Susan Gillman, The Squatter, the Don, and the Grandissimes in Our America
• IV. Hybrid Hybridity
  1. Rafael Pérez-Torres, Chicano Ethnicity, Cultural Hybridity, and the Mestizo Voice
  2. Monika Kaup, Constituting Hybridity as Hybrid: Métis Canadian and Mexican American Formations
• V. Sites of Memory in Mixed-Race Autobiography
  1. Rolando Hinojosa-Smith, Living on the River
  2. Louis Owens, The Syllogistic Mixedblood: How Roland Barthes Saved Me from the indians
• Coda: From Exoticism to Mixed-Blood Humanism
  1. Earl E. Fitz, From Blood to Culture: Miscegenation as Metaphor for the Americas
• Contributors
• Works Cited
• Index

Read the entire introduction here.

Demystifying the Tragic Mulatta: The Biracial Woman as Spectacle

Stanford Black Arts Quarterly
Volume 2, Issue 3 (Summer/Spring 1997)
pages 12-14

Stefanie Dunning, Associate Professor
Miami University (of Ohio)

To talk about the complexities of subjectivity is to enter into a discussion which necessarily locates itself at the intersection of race, clans, gender and sexuality. When thinking about my own subjective position, I am confronted by constructions that simultaneously identify, name, abridge and abstract me. Sometimes they help guide my thoughts about myself; at other times, they limit my thinking, reducing me to general categories of color, class, and desire. My present task, interrogation of a biracial subject position, is as much a gender discussion as it is a racial one. My investments in this discussion are deep; I am writing theoretically and distantly about myself— looking for truths about biraciality that I recognize in the words of other theorists, hoping to trace for myself and my audience one thread within a complex, unraveling cultural text. I am not interested here with how biracial subjects manage their subjectivites; such an approach inherently positions biraciality as problematic, the historical consideration of which falls beyond the scope of this project. Instead I will explore the way biracial subjectivity is gendered through its construction.

Women are the primary signifiers of miscegenation in literature and film. Likewise, the critical discourse on biraciality foregrounds the “tragic mulatta.” Yet, theorists regularly circumvent the issue of gender and theories lack interrogation of the point at which race and gender meet to sign biraciality. Visibility, i.e. what biracial people “look” like, makes up a significant part of biracial women’s experiences with uniracial onlookers. Moreover, visibility informs biracial women’s response to the uniracial “gaze.” This paper posits that biraciality is read differently “along gender lines.” While discourses about “mulattos” efface biracial men, biracial women are discursively foregrounded as “exotic.” Effectively, biraciality is inscribed with a specifically female status: the desire of ‘uniracial’ onlookers to exoticize biracial women inform the “gaze” which casts biracial women, “spectacle.”…

Read the entire article here.

Hollywood Fantasies of Miscegenation: Spectacular Narratives of Gender and Race

Princeton University Press
2004
376 pages
6 x 9, 142 halftones.
Paperback ISBN: 9780691113050

Susan Courtney, Associate Professor of English and Film Studies
University of South Carolina

Hollywood Fantasies of Miscegenation analyzes white fantasies of interracial desire in the history of popular American film.  From the first interracial screen kiss of 1903, through the [Motion Picture] Production Code‘s nearly thirty-year ban on depictions of “miscegenation,” to the contemplation of mixed marriage in Guess Who’s Coming to Dinner (1967), this book demonstrates a long, popular, yet underexamined record of cultural fantasy at the movies.

With ambitious new readings of well-known films like D.W. Griffith‘s 1915 epic The Birth of a Nation and of key forgotten films and censorship documents, Susan Courtney argues that dominant fantasies of miscegenation have had a profound impact on the form and content of American cinema.

What does it mean, Courtney asks, that the image of the black rapist became a virtual cliché, while the sexual exploitation of black women by white men under slavery was perpetually repressed? What has this popular film legacy invited spectators to remember and forget? How has it shaped our conceptions of, and relationships to, race and gender?

Richly illustrated with more than 140 images, Hollywood Fantasies of Miscegenation carefully attends to cinematic detail, revising theories of identity and spectatorship as it expands critical histories of race, sex, and film. Courtney’s new research on the Production Code’s miscegenation clause also makes an important contribution, inviting us to consider how that clause was routinely interpreted and applied, and with what effects.

Read the introduction in HTML or PDF format.

Raising Eurasia: Race, Class, and Age in French and British Colonies

Comparative Studies in Society and History
Volume 51, Issue 2 (April 2009)
pages 314-343
DOI: 10.1017/S0010417509000140

David M. Pomfret, Associate Professor
The University of Hong Kong

Sexual relationships between European men and indigenous women produced racially mixed offspring in all of Europe’s empires. Recent interdisciplinary scholarship has shown how these persons of mixed race, seen as transgressing the interior frontiers of supposedly fixed categories of racial and juridical difference upon which colonizers’ prestige and authority rested, posed a challenge to the elaborate but fragile sets of subjective criteria by which “whiteness” was defined.  Scholars critiquing the traditional historiography of empire for its tendency to present colonial elites as homogeneous communities pursuing common interests have emphasized the repertoire of exclusionary tactics, constructed along lines of race, class, and gender, devised within European colonial communities in response to the presence of “mixed bloods.” This article aims to show that the presence of people of biracial heritage inspired collaborative as well as exclusionary responses in outposts of European empire during the late imperial era. It also illustrates how, with white prestige and authority at stake, age, age-related subcategories, and in particular childhood and adolescence, powerfully underpinned responses to the threat this group posed to the cultural reproduction of racialized identity.

Footnotes
Acknowledgments: Research for this article was generously supported by the Hong Kong Government Research Grants Council Competitive Earmarked Research Grant (HKU7455/05H).

MALUNGU: The African Origin of the American Melungeons

Eclectica Magazine
July/August 2001

Tim Hashaw

Introduction

They settled in Virginia one year before the Pilgrims landed at Plymouth Rock. They sparked a major conflict between the Engllish Crown and American colonies one hundred and fifty years before the American Revolution. They lived free in the South nearly two hundred and forty years before the American Civil War.  Yet the African ancestors of the American Melungeons have remained elusive ghosts for the past four centuries; the missing characters in the developing saga of America’s largest mixed community. Now finally, though stridently denied by some descendants and misunderstood by others, the African fathers and mothers of Melungia are beginning to emerge from the dim pages of the past to take their rightful places of honor in American history.

One misconception over Melungeon origins comes from confusion over the status of these African-Americans who, along with whites and Indians, gave birth to this mixed community.  Modern scholars mistakenly assume that the African heritage of Melungeons derives from the offspring of white plantation owners and black female chattel slaves in the years 1780 to 1820.

Wrong on two counts. In fact:

1. The very first black ancestors of Melungeons appeared in tidewater Virginia, not in the 18th century, but in 1619.

2. Not one single Melungeon family can be traced to a white plantation owner and his black female slave. The vast majority of the African ancestors of Melungia were freeborn for more than three hundred years.

This bears repeating.

Melungeons are not the offspring of white southern plantation owners and helpless black slaves. Most of the African ancestors of Melungeons were never chattel slaves. They were frequently black men freed from indentured servitude just like many white servants of the 17th century. Less often, African ancestors of the Melungeons either purchased their freedom from slavery or were freed upon the deaths of their masters.

The black patriarchs of the Melungeons were commonly free African-American men who married white women in Virginia and other southern colonies, often before 1700.  Paul Heinegg in his revealing book, Free African Americans in Virginia, North Carolina, South Carolina, Maryland and Delaware, provides strong evidence that less than one percent of all free Africans were born of white slave-owners.

Understanding the status of the African-American ancestors of Melungeons and the era, in which they came to America, is critical to understanding their history and the origin of the name “Melungeon”….

Read the entire article here.